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Royal Palace of Madrid

The Royal Palace of Madrid (Palacio Real de Madrid) is the official residence of the Spanish royal family at the city of Madrid, although now used only for state ceremonies. The palace has 135000 m2 of floor space and contains 3,418 rooms. It is the largest royal palace in Europe.

The palace is owned by the Spanish state and administered by the Patrimonio Nacional, a public agency of the Ministry of the Presidency. The palace is on Calle de Bailén ("Bailén Street") in the western part of downtown Madrid, east of the Manzanares River, and is accessible from the Ópera metro station. Felipe VI and the royal family do not reside in the palace, choosing instead the Palace of Zarzuela in El Pardo. The palace is on the site of a bygone Muslim-era fortress constructed by Emir Muhammad I of Córdoba in the 9th century. The imposing Alcázar of Madrid provided both a safe for the royal treasure and a habitual residence to the Trastámara monarchs in the late Middle Ages. Having endured substantial expansion works during the 16th century, the royal alcázar remained on the site until it burned down on 24 December 1734. A new palace was then built from scratch on the same site on behalf of the Bourbon dynasty. Construction spanned the years 1738 to 1755 and followed a Berniniesque design by Filippo Juvarra and Giovanni Battista Sacchetti in cooperation with Ventura Rodríguez, Francesco Sabatini, and Martín Sarmiento. During the Second Spanish Republic the building was known as "Palacio Nacional".

The interior of the palace is notable for its wealth of art and the use of many types of fine materials in the construction and the decoration of its rooms. It includes paintings by artists such as Caravaggio, Juan de Flandes, Francisco de Goya, and Velázquez, and frescoes by Giovanni Battista Tiepolo, Corrado Giaquinto, and Anton Raphael Mengs. Many of the paintings at some time hung in the palace as part of the Spanish royal collection are exhibited elsewhere, especially in the Prado Museum and the Royal Collections Gallery, both in Madrid.

Other collections of great historical and artistic importance preserved in the building include the Royal Armoury of Madrid, porcelain, watches, furniture, silverware, and the world's only complete Stradivarius string quintet.

History of the building

The palace was initially built by Muhammad I, Umayyad Emir of Cordoba, between 860 and 880. After the Moors were driven out of Toledo in the 11th century, the castle retained its defensive function. Henry III of Castile added several towers. His son John II used it as a royal residence. During the War of the Castilian Succession (1476) the troops of Joanna la Beltraneja were besieged in the Alcázar, during which the building suffered severe damage.

The only drawing of the castle from the Middle Ages is one from 1534 by Cornelius Vermeyen.

Emperor Charles V, with the architects Alonso de Covarrubias and Luis de Vega, extended and renovated the castle in 1537. Philip II made Madrid his capital in 1561 and continued the renovations, with new additions. Philip III and Philip IV added a long southern façade between 1610 and 1636.

Philip V of Bourbon renovated the royal apartments in 1700. The Alcázar of the Habsburgs was austere in comparison to the Palace of Versailles where the new king had spent his childhood; and he began a series of redesigns mainly planned by Teodoro Ardemans and René Carlier, with the main rooms being redecorated by Queen Maria Luisa of Savoy and the Princess of Ursins in the style of French palaces.

The baroque palace

On Christmas Eve 1734, the Alcázar was destroyed by a fire that originated in the rooms of the French painter Jean Ranc. Response to the fire was delayed due to the warning bells being confused with the call to mass. For fear of looting, the doors of the building remained closed, hampering rescue efforts. Many works of art were lost, such as the Expulsion of the Moors, by Diego Velázquez. Others, such as Las Meninas, were rescued by tossing them out the windows. Fortunately, many pieces were saved because shortly before the blaze the king ordered that much of his collection be moved to the Buen Retiro Palace. This fire lasted four days and completely destroyed the old Alcázar, whose remaining walls were finally demolished in 1738.

Italian architect Filippo Juvarra oversaw work on the new palace and devised a lavish project inspired by Bernini's plans for the Louvre. Initially Juvarra wanted to build the palace in another location, however, the idea was discarded. His disciple Giambattista Sacchetti, also known as Juan Bautista Sacchetti or Giovanni Battista Sacchetti, was chosen to continue the work of his mentor. Sacchetti designed the structure to encompass a large square courtyard and resolved sightline problems by creating projecting wings.

In 1760, Charles III called upon Sicilian Francesco Sabatini, a Neoclassical architect, to enlarge the building. Sabatini's original idea was to frame the Plaza de la Armería with a series of galleries and arcades, to accommodate various dependencies, by constructing two wings along the square. Only the extension of the southeast tower known as la de San Gil was completed. Sabatini also planned to extend the north side with a large wing that echoed the style of the main building and included three square courtyards that would be smaller than the large central courtyard. Work on this expansion started quickly but was soon interrupted, leaving the foundations buried under a platform on which the royal stables were later built. The stables were demolished in the 20th century and replaced by the Sabatini Gardens. Charles III first occupied the palace in 1764.

In the 19th century, Ferdinand VII, who spent many years imprisoned in the Château de Valençay, began the most thorough renovation of the palace. The aim of this redesign was to turn the old-fashioned Italian-style building into a modern French-style palace. However, his grandson Alfonso XII proposed to turn the palace into a Victorian-style residence. Alfonso's plans were designed by the architect José Segundo de Lema and consisted of remodeling several rooms, replacing marble floors with parquet, and adding period furniture.

In the twentieth century, restoration work was needed to repair damage suffered during the Spanish Civil War, by repairing or reinstalling decoration and decorative trim and replacing damaged walls with faithful reproductions of the originals.

The palace is now open to the public, except during state functions, although it is so large that only a selection of rooms are on the visitor route at any one time, the route being changed every few months. An admission fee of €13 is charged; however, at some times it is free.

Exterior

The main façade of the palace, the one facing the Plaza de la Armeria, consists of a two-story rusticated stone base, from which rise Ionic columns on Tuscan pilasters framing the windows of the three main floors. The upper story is hidden behind a cornice which encircles the building and is capped with a large balustrade. This was adorned with a series of statues of saints and kings, but these were relocated elsewhere under the reign of Charles III to give the building a more classical appearance.

The restoration of the façade in 1973, which includes Sabitini's balcony of four Doric columns, returned some of Sachetti's sculptures. These include statues of the Aztec ruler Moctezuma II and the Inca emperor Atahualpa, works by Juan Pascual de Mena and Domingo Martínez, respectively. Representations of the Roman emperors Honorius, Theodosius I, and Arcadius by G.D. Olivieri, and Trajan by Felipe de Castro were placed in the Prince's courtyard. Flanking Sabatini's clock the Statues of Philip V, Ferdinand VI, Barbara of Braganza and Maria Luisa of Savoy interspersed with The Rising Sun Following the Zodiac. Above the clock is the royal coat of arms flanked by angels, and, above that, bells that date from 1637 and 1761.

Plaza de la Armería
The square as it exists now was laid-out in 1892, according to a plan by the architect Enrique María Repullés. However, the history of this square dates back to 1553, the year in which Philip II ordered a building to house the royal stables.

The Almudena Cathedral faces the palace across the plaza. Its exterior is neo-classical to match its surroundings while its interior is neo-gothic. Construction was funded by King Alfonso XII to house the remains of his wife Mercedes of Orléans. Construction of the church began in 1878 and concluded in 1992.

Narciso Pascual Colomer, the same architect who crafted the Plaza de Oriente, designed the layout of the plaza in 1879, but failed to materialize. The site now occupied by the Plaza de la Armería was used for many decades as anteplaza de armas. Sachetti tried to build a cathedral to finish the cornice of the Manzanares, and Sabatini proposed to unite this building with the royal palace, to form a single block. Both projects were ignored by Charles III.

Ángel Fernández de los Ríos in 1868 proposed the creation of a large wooded area that would travel all around the Plaza de Oriente, in order to give a better view of the Royal Palace. A decade later Segundo de Lema added a staircase to the original design of Fernández, which led to the idea of Francisco de Cubas to give more importance to the emerging church of Almudena.

Plaza de Oriente
The Plaza de Oriente is a rectangular park that connects the east façade of Palacio Real to the Teatro Real. The eastern side of plaza is curved and bordered by several cafes in the adjoining buildings. Although the plaza was part of Sacchetti's plan for the palace, construction did not begin until 1808 when King Joseph Bonaparte, who ordered the demolition of approximately 60 medieval structures, that included a church, monastery and royal library, located on the site. Joseph was deposed before construction was completed, it was finished by Queen Isabella II who tasked architect Narciso Pascual Colomer with creating the final design in 1844.

Pathways divide the Plaza into three main plots: the Central Gardens, the Cabo Noval Gardens and the Lepanto Gardens. The Central Gardens are arranged in a grid around the central monument to Philip IV, following the Baroque model garden. They consist of seven flowerbeds, each bordered with box hedges and holding small cypress, yew and magnolias and annual flowers. The north and south boundaries of the Central Gardens are marked by a row of statues, popularly known as the Gothic kings— sculptures representing five Visigoth rulers and fifteen rulers of the early Christian kingdoms in the Reconquista. They are carved from limestone, and are part of a series dedicated to all monarchs of Spain. These were ordered for the decoration of the Palacio Real and were executed between 1750 and 1753. Engineers felt the statues were too heavy for the palace balustrade, so they were left on ground level where their lack of fine detail is readily apparent. The remainder of the statues are in the Sabatini Gardens.

Isabel II laid out the grounds so that Pietro Tacca's equestrian statue of Philip IV was placed in the center, opposite the Prince's Gate.

Campo del Moro Gardens
These gardens are so named because the Muslim leader Ali ben Yusuf allegedly camped here with his troops in 1109 during an attempted reconquest of Madrid. The first improvements to the area occurred under King Philip IV, who built fountains and planted various types of vegetation, but its overall look remained largely neglected. During the construction of the palace various landscaping projects were put forth based on the gardens of the Royal Palace of La Granja de San Ildefonso, but lack of funds hampered further improvement until the reign of Isabel II who began work in earnest. Following the taste of the times, the park was designed in the Romanticist style.

The Triton fountain from the Islet Garden of Aranjuez and the Fountain of the Shells from the Palace of the Infante Luis at Boadilla del Monte were aligned in the center of the right angled pathways by Isabel II, according to plans by Narciso Pascual Colomer. Under the regency of Maria Christina of Austria, the park was reformed according to Ramon Oliva's romanticism plans. Between the Fountain of Tritons and the palace is The Large Cavern or Grotto (Camellia House), built by Juan de Villanueva during the reign of Joseph Bonaparte. Sacchetti's 1757-1758 Little Cavern or Grotto (Potato Room) is in front of the Parade Ground.

Sabatini Gardens

The Sabatini Gardens adjoin the north side of the Palacio real and extend to the calle de Bailén and the cuesta de San Vicente. The garden follows the symmetrical French design and work began in 1933, under the Republican government. Although they were designed by Zaragozan architect Fernando García Mercadal, they were named for Francesco Sabatini who designed the royal stables that previously occupied this site. These gardens feature a large rectangular pond which is surrounded by four fountains and statues of Spanish kings which were originally intended to crown the Royal Palace. Geometrically sited between its rides, there are several fountains.

The Republican government constructed the gardens to return the area from control of the royal family to the people, the public was not allowed in the gardens until 1978 when they were opened by King Juan Carlos I.

Grand Staircase
Built by Sabatini in 1789 when Charles IV wanted it moved to the opposite side of where Sabatini placed it in 1760, it is composed of a single piece of San Agustin marble. Two lions grace the landing, one by Felipe de Castro and another by Robert Michel. The frescoes on the ceiling is by Corrado Giaquinto and depicts Religion Protected by Spain. On the ground floor is a statue of Charles III in Roman toga, with a similar statue on the first floor depicting Charles IV. The four cartouches at the corners depict the elements of water, earth, air and fire.

Royal Library
The Royal Library was moved to the lower floor during the regency of Maria Christina. The bookshelves date from the period of Charles III, Isabel II and Alfonso XII.

Highlights of the collection include the Book of hours of Isabella I of Castile, a codex of the time of Alfonso XI of Castile, a Bible of Doña María de Molina and the Fiestas reales, dedicated to Ferdinand VI by Farinelli. Also important are the maps kept in the library, which analyze the extent of the kingdoms under the Spanish Empire. Also on display a selection of the best medals from the Royal Collection.

The bookcovers demonstrate evolution of binding styles by era. Examples in the holdings include Rococo in gold with iron lace, Neoclassical in polychrome and Romantic with Gothic and Renaissance motifs.

The Archives of the Royal Palace contains approximately twenty thousand articles ranging from the Disastrous decade (1823-1833) to the proclamation of the Second Spanish Republic in 1931. In addition, it holds some scores of musicians of the Royal Chapel, privileges of various kings, the founding order of the Royal Monastery of San Lorenzo de El Escorial, the testament of Philip II and correspondence of most of the kings of the House of Bourbon.

Royal Pharmacy
During the reign of Felipe II the Royal Pharmacy became an appendage of the royal household and ordered the supply of medicines, a role that continues today.

The collection includes jars made by La Granja de San Ildefonso, 19th century, and Talavera de la Reina pottery, 18th century.

Royal Armory

Along with the Imperial Armoury of Vienna, the armoury is considered one of the best in the world and consists of pieces as early as the 13th century. This collection of weapons and armor once worn by kings and their top soldiers. The building, designed by J.S. de Lema and E. Repulles, was opened in 1897

The collection highlights the tournament pieces made for Charles V and Philip II by the leading armourers of Milan and Augsburg. Among the most remarkable works are full armour and weapons that Emperor Charles V used in the Battle of Mühlberg, and which was portrayed by Titian in his famous equestrian portrait housed at the Museo del Prado. Unfortunately, parts of the collection were lost during the Peninsular War and during the Spanish Civil War.

Still, the armoury retains some of the most important pieces of this art in Europe and the world, including a shield and burgonet by Francesco and Filippo Negroli, one of the most famous designers in the armourers' guild.

King Charles III's Apartments
The Halberdier's Room, or Guard Room, was designed by Sabatini, and includes the fresco by Tiepolo, Venus and Vulcan. Two paintings by Luca Giordano depict scenes from the life of Solomon.

The Hall of Columns has a ceiling fresco by Giaquinto, representing The Sun before Which All the Forces of Nature Awaken and Rejoice, an allegory of the king as Apollo. An 1878 bronze statue of Charles V Vanquishing Fury is by Ferdinand Barbedienne. The bronze chandeliers were made in Paris in 1846, and installed by Isbella II for her balls.

The Throne Room dates from Charles III in 1772, and features Tiepolo's ceiling fresco, The Apotheosis of the Spanish Monarchy. Bronze sculptures include the Four Cardinal Virtues, four of the Seven Planets, Satyr, Germanicus, and four Medici lions flanking the dual throne.

Charles III's Anteroom (Saleta) contains a 1774 ceiling fresco Apotheosis of Trajan by A.R. Mengs. The Antechamber of Charles III (The Conversation Room) also contains a ceiling fresco by Mengs, The Apotheosis of Hercules. This room has four royal family portraits by Goya.

The Queen's apartments and banqueting hall
Formerly the queen's apartments under Charles III, the three rooms were converted into a banquet hall by Alfonso XII in 1879, and completed in 1885. The three ceiling frescoes remained though, Dawn in Her Chariot by Raphael Mengs, Christopher Columbus Offering the New World to the Catholic Monarchs by Alejandro González Velázquez, and Boabdil Giving the Keys to Granada to the Catholic Monarchs by Francisco Bayeu y Subías.

Apartments of Infante Luis
These rooms were formerly occupied by Infante Luis, Count of Chinchón before his exile. The Stradivarius Room now contains a viola, two violoncello, and two violins by Stradivari. The ceiling fresco by A. G. Velazquez, depicts Gentleness accompanied by the Four Cardinal Virtues.

The Chamber of the Infante Luis, Musical Instruments Room, has a ceiling fresco by Francisco Bayeu depicting Providence Presiding over the Virtues and Faculties of Man.

Royal Chapel
Designed in 1748 by Sacchetti and Ventura Rodríguez, the chapel features ceiling frescoes by Giaquinto, including The Trinity, Allegory of Religion, Glory and the Holy Trinity Crowning the Virgin. Above the High Altar is Ramon Bayeu's St. Michael. The reliquary altar has Ercole Ferrata's 1659 silver relief Pope Leo I Stopping Attila at the Gates of Rome.

The Crown Room
Formerly the apartment of Alfonso XIII's mother, Maria Christina of Austria, the room contains Charles III's throne, scepter and crown. Tapestries from Jacopo Amigoni's Four Seasons adorn the walls. Also of note are the abdication speech of Juan Carlos I and the proclamation speech of Felipe VI.

Recent events
The wedding banquet of Prince Felipe and Letizia Ortiz took place on 22 May 2004 in the central courtyard of the palace.

title: Royal Palace of Madrid


text:
Talk:Piano Sonata No. 23 (Beethoven)

Folk song
The discussion of first movement proposes that "On the banks of Allan Water" inspired the rhythm of the opening and then shoots the idea down saying "there is no support in that fact for the claim that the rhythm is based on a folk song." The second theme is then, somewhat implausibly, proposed to be a quotation of the song. A quick listen to the folk song suggests that they have only a passing similarity. I think a citation showing that some music critic of note has proposed this connection is necessary to keep any of this discussion. Otherwise, I will remove it. Iellwood (talk) 20:02, 5 September 2014 (UTC)

 * It is utter tosh and I will remove it right now. Syek88 (talk) 22:52, 5 April 2015 (UTC)

Movements

 * three movements are wrong?

 * 2. Introduzione: Adagio molto
 * 3. Rondo: Allegro moderato - Prestissimo

A response to the above comment above, which actually refers to Sonata No. 21, the Waldstein (Opus 53), and also to the article on the sonata Opus 57 ("Appassionata"):

At least one person, Hans von Bulow (not the greatest interpreter of Beethoven) said Opus 53 has two movements, but everyone else seems to call the Introduzione to be a separate movement (despite its name) from the Rondo. Sometimes they are put on the same track in recordings, but really the third movement seems to be separate from its introduzione structurally, and thus referring to the sonata as a three movement work makes sense.

The article on Opus 57 says the finale has "all the repeats" of sonata form, but this is inaccurate. Significantly, this is the one of the only instances--in fact, probably the only single instance--in a large scale sonata form movement wherein only the second section (development and recapitulation) is repeated and the exposition is not. While von Bulow and others find this repeat off-putting in performance, it is critical in prolonging the passion and despair of the movement, and as the neither of the outer movements repeat the exposition (as though the forward momentum cannot be stopped) this repeat is totally shocking to the listener. So insistent was Beethoven that this crucial repeat be observed he specifies in the score "la seconda parte due volte" ("the second part two times") in addition to the repeat signs and also includes a relatively long first ending. It is notable that Beethoven thought to include this very unusual structural feature in the first movement of Opus 59 No. 1, the F major string quartet, but cancelled it out and the movement has no repeats at all. (In the finale, he was going to repeat both exposition and the second part, but again cancelled the second repeat while leaving the exposition repeat intact.)

5:6 ratio
This text is misleading: "The main theme has an odd rhythm, somewhat like a dotted rhythm, except with a 5:6 ratio instead of 3:4, that is difficult to play" There is a 5:1 ratio of note lengths, or 5/6 note length, and it is not difficult to play. In the development, to make it even more misleading, there is a section involving pentuplet semiquavers set against the original 5:1 ratio theme, which a little difficult to play, but not very much so because there is only one semiquaver to set against the pentuplets. I have no idea how to fix this problem without losing information.

 * I removed it entirely, and I think we can live with losing the information. The rhythm is not really odd, and thus I see no reason to mention it at all. It's just a dotted rhythm, notated in 12/8, and it's not difficult to play. EldKatt (Talk) 07:52, 22 April 2007 (UTC)

 * Judicious. :) Quendus 07:53, 23 April 2007 (UTC)

It isn't difficult to play, but it is an interesting rhythm. I think, the way most people play it, it has little or no interest. The fault is there's and not Beethoven's. 75.48.19.159 (talk) 06:28, 11 December 2009 (UTC)

Beethoven's reception to the title
The text says, ''While the early Sonata No. 8, Pathétique, was named by Beethoven himself, the Appassionata was so labeled by the publisher. Beethoven was outraged with the nickname, feeling that all his works were written to be played passionately and not just this one. but the linked BBC article says The subtitle for the Sonata was the publisher's addition, but Beethoven did not for once see cause to object.'' Can GregW, who inserted the comment, or anyone else, find a cite for the current text? - Gyan 03:19, 8 May 2006 (UTC)

I can't find conclusive information on this, but didn't he write this sonata for a duke or some noble of the sort? And the noble was the publisher, since the piece was dedicated to him. The noble thus gave the piece a nickname, and Beethoven, although unhappy, could not really do anything about it or object. I remember having read that somewhere, but I don't really remember where. - dagamezmasta June 13 2006

 * Funny, one source I just checked has informed me that no references to the title Appassionata have been found before 1838, long after Beethoven's death.... I wonder if anyone's actually researched this. 69.86.17.145 (talk) 20:52, 10 August 2008 (UTC)

Currently the text quoted above (Pathétique, was named by Beethoven himself) has been changed and is now telling quite the opposite... Actually, one generally says that Pathetique and Les Adieux are the only Beethoven sonatas that have actually been named by the composer. Though some musicologists have been telling otherwise, they never gave any proof for their claim (as far as I know, the idea started with Prod'homme and Tovey ). Admittedly, there is no hard proof for the "other side" either. However Beethovens friend and early biographer implicitly suggests that the title has been assigned by Beethoven himself. Anyway, the original 1800 print of the scores already carried the name Grande Sonate Pathétique. (--Chrispi80 (talk) 16:19, 26 April 2009 (UTC))

There is actually a contradiction between this article and that of Sonata Pathétique:

"Unlike the early Sonata No. 8, Pathétique[1], the Appassionata was not named by the composer, but was so labeled in 1838 by the publisher of a four-hand arrangement of the work." (this article)

"Although commonly thought to be one of the few works to be named by the composer himself, it was actually named (to Beethoven's liking) by the publisher, who was impressed by the sonata's tragic sonorities.[2]" (article of Pathétique: http://en.wikipedia.org/wiki/Piano_Sonata_No._8_(Beethoven) )

Both claims are cited, but I think some internal consistency would be nice. Can we get to the bottom of this, or is it all just speculation? DreadSam (talk) 07:26, 6 May 2009 (UTC)DreadSam

Well, yes, we can get to the bottom of the question - however this will still leave us with some speculation (as is typical when discussing historical details of minor importance). Here are the undisputed facts: (a) the title did appear on the first print of the sonata, (b) Beethoven mentioned the title in writing several times without hinting at anything that might suggest that he did not choose the title. But then (c) the composer did neither say explicitly that he choose the title personally. As there is no autograph of op. 13, we only can rely on such information as Beethovens contempories have left us. Tracing back, the very earliest note stating that the title is genuinely Beethovens is the one that I cited here (though the copy I cited has been printed in the 20th century, it's an exact graphical reprint of the mid 19th century original). The author, Schindler, has been a friend of Beethovens and had also access to a series of original documents of which some are lost today. Nobody contradicted him at that time. On the other hand, Schindler later has been criticed for not holding up to standards of academic writings. Anyway: the thesis, that Beethoven (and not the publisher) assigned the title has been undisputed for more than one century; then suddenly some authors started to tell a different story but without citing any references or giving any other proof, thus rendering there claim worthless (from a scientific point of view). Most notably, there is no single paper discussion the problem of who came up with that title; even worse, it seems like virtually nobody did actually really care for the question, with statements about the title having been assigned by Beethoven (or his publisher) mostly appearing just to beef up the introduction to some other article with some fancy side notes. Thus I personally assume that this idea surfaced accidently with a mistake made by one mid 20th century author (possibly French musicologist Prod'homme) and then travelled from article to article, just as noone thought it necessary to check the references for such an unimportant question (but this is nothing more but my personal beliefs). If it should have happened like that, this process would have been supported by the different claims beeing scattered unevenly in different musicolists communities: while German (and most of the French) literature on Beethoven until today exclusively features the "Beethoven has choosen title" claim, the opposite opinion seems to be somewhat more popular in English publications, lately. --Chrispi80 (talk) 11:38, 6 May 2009 (UTC)

Verbatim unattributed excerpt
I wonder if it necessary to include in the article a verbatim excerpt from a separate text on the Web, in fact one of the references:  [sic]. The article's paragraph that begins "The third movement" is almost all taken verbatim from the text at this URL. (Not that I disagree with its content.) If no one can think of anything more appropriate to say, then at least the reference should be given credit for the verbatim excerpt.Daqu 00:10, 12 July 2006 (UTC)

Would someone kindly respond to my query above (Verbatim unattributed excerpt) ?
And, can someone please explain why my comments regarding the first and third movements of the Appassionata were removed? If there is no response after a reasonable period, I will revert them, and replace the verbatim plagiarism with a link to the original.Daqu 20:01, 5 September 2006 (UTC)

Concern: "Sonata for a good man?"
I don't believe it is correct that the Appassionata was the sonata featured in the film "the lives of others." can someone verify this.

It isn't the Sonata for a good man, but it is referenced in the film; I have reworded the article to reflect this. MarcelLionheart 02:50, 7 June 2007 (UTC)

Requested move: Appassionata

 * The following discussion is an archived discussion of the proposal. Please do not modify it. Subsequent comments should be made in a new section on the talk page. No further edits should be made to this section.

No consensus to move. Vegaswikian (talk) 17:53, 23 September 2011 (UTC)

Piano Sonata No. 23 (Beethoven) → Appassionata – Relisted. --rgpk (comment) 14:31, 16 September 2011 (UTC).

I get 3,510 post-1990 Google Book hits for Beethoven Appassionata piano sonata -Wikipedia, compared to 419 for Beethoven piano "Sonata No. 23" -wikipedia. Beethoven's sonatas currently all have article titles in this format, i.e. No. 1, No. 2, No. 3, etc. IMO, this is a most unfortunate convention since it makes all the names confusingly similar. It would be like using Zip codes instead of city names. After all, the point of names is to allow us to easily distinguish among similar items. Kauffner (talk) 08:19, 7 September 2011 (UTC)
 * Oppose. There is a redirect which is found. No need to give up consistency. --Gerda Arendt (talk) 06:14, 12 September 2011 (UTC)
 * I should add that as Sonata No. 14 has already been renamed Moonlight Sonata, there is no longer consistency in naming regardless of what happens to this title. As I already argued in the nom, these names represent consistency taken to its reducio ad absurdum. Kauffner (talk) 16:53, 16 September 2011 (UTC)
 * The Mondscheinsonate (Beethoven would not have said it in English, nor in German ...) was moved with one oppose and one support. I wonder why that was considered a consensus? Reductio ad absurdum, please, if we need Latin, --Gerda Arendt (talk) 20:07, 16 September 2011 (UTC)
 * Yeah, I agree with Gerda that consensus wasn't reached on that one. Looks like there isn't a lot of feedback being generated by these requests.  Try the talk page at WP:CM for more editors.DavidRF (talk) 20:53, 16 September 2011 (UTC)

 * Oppose. This isn't needed.DavidRF (talk) 20:53, 16 September 2011 (UTC)
 * Oppose. I'd move Moonlight Sonata back also. It should all be managed consistently and efficiently with redirects. We need more multiple RMs, to fix these things systematically. N oetica Tea? 23:00, 16 September 2011 (UTC)
 * It seems that the time has come to explain in detail why it is better to use a common name than an obscure name as an article title. To give such similar names to so many pieces of music ignores not only the titling guidelines, but also the practical reasons that article titles exist. If you Google up "Appassionata", you get various results, each with a title that appears in a way that focuses the reader's attention on that. So it is important that the user be able to determine from the titles which results are about the topic he is looking for. Then when he arrives at the article, he should be able to look at the title and see immediately if he is at the right place or not. As far as redirects go, these have very little effect on traffic patterns compared to article titles. "Appassionata" gets eight times more Google Book hits than "Sonata No. 23", presumably because the vast majority of authors on this subject understand it to be the more recognizable title. Kauffner (talk) 02:01, 17 September 2011 (UTC)
 * Please show precisely what Google searches warrant that claim, Kauffner. And note that the term "appassionata" refers to many more items than the Beethoven sonata, in any list of hits from a simple search. You also need to take account of variant forms for the other title: "Sonata 23"; "Sonata #23"; "23rd Sonata"; "twenty-third sonata"; "sonata twenty-three". N oetica Tea? 02:15, 17 September 2011 (UTC)

 * Support as Appassionata is used much more frequently than No. 23, and many pianists would not recognize the No. 23 as the being the Appassionata sonata. Similar to Moonlight Sonata's move.  Clarity should not be sacrificed for consistency.   -  down  load  ׀  talk  05:07, 17 September 2011 (UTC)
 * Which pianists? - You find the article just as well under Appassionata NOW because of the redirect, why change? --Gerda Arendt (talk) 06:11, 17 September 2011 (UTC)

 * Comment. Maybe we could make a hybrid title like Piano Sonata No. 23 "Appassionata"? They already do something similar to this at Naming conventions (aircraft) by stipulating a title format of manufacturer-designation-name. If we introduced this kind of naming convention here, the article names could be consistent and still recognisable, and pieces with no commonly-used nickname could stay at their current titles. —  Mr. Stradivarius ♫ 04:52, 18 September 2011 (UTC)

 * I Second the Comment.  Recordings are usually labeled 'Piano Sonata No. 23 "Appassionata"', so why not use that with both parts included ?    In fact, it should be 'Piano Sonata No. 23, Op. 57 "Appassionata"' with the Opus number as well, as that is actually what is used on CDs.  — Preceding unsigned comment added by 63.196.195.124 (talk) 23:54, 18 September 2011 (UTC)
 * The above discussion is preserved as an archive of the proposal. Please do not modify it. Subsequent comments should be made in a new section on this talk page. No further edits should be made to this section.

Move discussion in progress
There is a move discussion in progress which affects this page. Please participate at Talk:Piano Sonata No. 1 (Beethoven) - Requested move and not in this talk page section. Thank you. —RM bot 11:00, 22 November 2011 (UTC)

 * Note the date of the foregoing notice. The discussion, now long closed, concerned whether to move the sonata articles to new titles incorporating opus numbers. The conclusion was not to do so. Drhoehl (talk) 23:46, 12 March 2012 (UTC)

Move discussion in progress
There is a move discussion in progress which affects this page. Please participate at Talk:Piano Sonata No. 8 (Beethoven) - Requested move and not in this talk page section. Thank you. —RM bot 20:40, 2 January 2012 (UTC)

 * Note the date of the foregoing notice. The discussion, speedily closed long ago, concerned whether to move this article to a new title "Appassionata Sonata." Drhoehl (talk) 23:46, 12 March 2012 (UTC)

Commons files used on this page or its Wikidata item have been nominated for speedy deletion
The following Wikimedia Commons files used on this page or its Wikidata item have been nominated for speedy deletion: You can see the reasons for deletion at the file description pages linked above. —Community Tech bot (talk) 00:08, 8 March 2022 (UTC)
 * Klaviersonate Nr. 23 f-moll op. 57 Appassionata - I. Allegro assai.ogg
 * Klaviersonate Nr. 23 f-moll op. 57 Appassionata - II. Andante con moto.oga
 * Klaviersonate Nr. 23 f-moll op. 57 Appassionata - III. Allegro ma non troppo.ogg

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

title: Talk:Piano Sonata No. 23 (Beethoven)


text:
Stanisław Lubomirski (1722–1782)

Prince Stanisław Lubomirski (born 25 December 1722 in Kraków; died 12 August 1782 in Łańcut) was a Polish nobleman. He was awarded Knight of the Order of the White Eagle on 3 August 1757 in Warsaw, and later was also awarded the Order of Saint Stanislaus.

He was the Grand Guardian of the Crown from 1752, onward, the Grand Marshal of the Crown starting in 1766. He was the commissioner of the knighthood of the Crown Treasury Commission in 1765, the counselor of the Permanent Council in 1780, the starost of Wiślica in 1765, the starost of Kałusz, starost of Goszczyń and starost of Lubochnia.

He was married to Princess Elżbieta Izabela Czartoryska since 9 June 1753 and they had four children: Elżbieta Lubomirska, Julia Lubomirska, Aleksandra Lubomirska and Konstancja Małgorzata Lubomirska. His properties included Lubomirski Palace in Lwów, Lubomirski Palace in Łańcut, and the vast estates of Wiśnicz and Przeworsk. He is also the namesake for Warsaw's Lubomirski Ramparts.

Life
He was a Member of Parliament (Sejm) between 1746 and 1762. Through his life he was one of the members of the prominent Familia.

Son of Józef Lubomirski, voivode of Czerniaków, and Teresa Mniszchówna, brother of Antoni, castellan and voivode of Kraków.

With his wealth he constantly supported the political interests of the Familia. He played the major role of one of the leaders of the Czartoryski camp (he married Elżbieta, daughter of August Aleksander Czartoryski). His daughters were Julia Potocka, Konstancja Rzewuska, Elżbieta Izabela Potocka and Aleksandra Potocka. Later, he was an implacable enemy of the last king of Poland - Stanisław II August. Meritorious for the development of Warsaw, he fought against Russian influence in Poland.

For the first time he was a deputy (poseł) from the Sandomierz voivodeship to the Sejm of 1746. To the Sejm in 1748 he was chosen as a Crown envoy from Livonia. He was elected again in 1756, again from the Sandomierz powiat of the Sandomierz voivodeship. In 1758 he was chosen as a deputy to the Sejm once more. In 1758 he reactivated the Polish Masonic Lodge - "Trzech Braci" - Three Brothers. Member of the Extraordinary Sejm of 1761 from the Sandomierz Province. On 29 April 1761 he broke up the extraordinary parliament with liberum veto. In 1762 he was chosen as a Member of Parliament from the Sandomierz again, and in 1764 he was the deputy from Sandomierz to the Royal election, where he played a major role as one of the initiators of the reforms of the state. He was the marshal of the Sandomierz voivodeship in the Czartoryski confederation in 1764. In 1764 he was one the electors of Stanisław August Poniatowski from the Sandomierz Province. In 1766 he was once again chosen as a deputy from his province. Having received the marshal's staff in 1766, he was one of the    contributed to modernize and expand the capital city of Warsaw, and worked on the reform of the criminal justice system. During the Bar Confederation, he tried to influence strengthen the king in resistance towards Russia, trying to win him over to the side of the Confederates and France. Member of the confederation of 1773. As a member of the delegation to the Partition Sejm (1773–1775), he was a representative of the opposition. However, on 18 September 1773 he signed treaties of cession by the Polish–Lithuanian Commonwealth of the lands seized by Russia, Prussia and Austria in the first partition of Poland.

After the first partition, he belonged to the magnate opposition trying to ally with Austria. Openly acting against the king, he received a seat in the Permanent Council. There, he was a Member of the Police Department of the Council in 1779.

He donated funds to the astronomical observatory built by Nathanael Matthaeus von Wolf in Gdańsk (Danzig).

title: Stanisław Lubomirski (1722–1782)


text:
Dragomir Milošević

Dragomir Milošević (Serbian Cyrillic: Драгомир Милошевић; born 4 February 1942) is a former Bosnian Serb commander of the Sarajevo-Romanija Corps (SRK) of the Army of Republika Srpska (VRS) which besieged Sarajevo for three years during the Bosnian War. He was subsequently convicted of war crimes and sentenced to 29 years in prison.

Background
Milošević was an officer in the Yugoslav People's Army (JNA) prior to 1992. The JNA posted Milošević to Lukavica, near Sarajevo which is where he was when the war began. He succeeded Stanislav Galić as commander of the SRK on 10 August 1994 and remained in that position until the end of the war.

In December 2004, he surrendered to the U.N. International Criminal Tribunal for the Former Yugoslavia (ICTY), before which he faced charges for four counts of crimes against humanity and three counts of violations of the laws or customs of war.

ICTY conviction
On 12 December 2007, Milošević was convicted on five counts of terror, murder and inhumane acts conducted during a campaign of sniping and shelling which resulted in the injury and death of a great number of civilians in the besieged Bosnian capital. Two counts of unlawful attacks against civilians were dismissed. He was sentenced to 33 years of imprisonment. In the judgment summary, the Trial Chamber noted that many witnesses testified that “…there was no safe place in Sarajevo; one could be killed or injured anywhere and anytime”. Milošević had “….abused his position and that he, through his orders, planned and ordered gross and systematic violations of international humanitarian law" and it was under Milošević's command of the SRK that modified air bombs, which were “…inaccurate and served no military purpose”, were deployed. The repeated use of the weapon was considered an aggravating factor by the Trial Chamber in reaching its decision.

In January 2008, the prosecution filed an appeal to have the 33-year sentence increased to life in prison. In its appeal, the prosecution cited the use of particularly savage weapons and tactics against civilians in Sarajevo by the SRK while Milošević was in command. On 12 November 2009, the Tribunal Appeals Chamber partially affirmed the convictions and reduced the sentence to 29 years.

On 22 March 2011, Milošević was transported to Estonia to serve his sentence at Tartu Vangla.

title: Dragomir Milošević


text:
Automatic door

An automatic door, also known as an auto door, is a door that opens automatically, without the need for human intervention or usually upon sensing the approach of a person. A person can be detected by microwave pulses, infrared sensors, or pressure-sensing pads.

History
In the 1st century AD, mathematician Heron of Alexandria in Roman Egypt invented the first known automatic door. He described two different automatic door applications. The first application used heat from a fire lit by the city's temple priest. After a few hours atmospheric pressure built up in a brass vessel causing it to pump water into adjacent containers. These containers acted as weights that – through a series of ropes and pulleys – would open the temple's doors at about the time people were to arrive for prayer. Heron used a similar application to open the gates to the city.

In 1931, engineers Horace H. Raymond and Sheldon S. Roby of the tool and hardware manufacturer Stanley Works designed the first model of an optical device triggering the opening of an automatic door. The invention was patented and installed in Wilcox's Pier Restaurant in West Haven, Connecticut for the benefit of waiters carrying plates of food and drink. The entire system plus installation was sold for $100.

In 1954, Dee Horton and Lew Hewitt invented the first sliding automatic door. The automatic door used a mat actuator. In 1960, they co-founded Horton Automatics Inc and placed the first commercial automatic sliding door on the market.

With the invention of the Gunn diode, microwave motion detectors became common in automatic doors in the 1970s. In 1980, the first automatic door using an infrared sensor was introduced.

In popular culture

 * In H. G. Wells’ 1899 serialised story When the Sleeper Wakes appears an automatic door that slides upwards into the ceiling.
 * Automatic pocket doors are a common fixture of the fictional universe of Star Trek.

title: Automatic door


text:
Province of Siena

The province of Siena (provincia di Siena, ) is a province in the Tuscany region of Italy. Its capital is the city of Siena.

Geography
The province is divided into seven historical areas:
 * Alta Val d'Elsa
 * Chianti senese
 * The urban area of (Monteriggioni and Siena)
 * Val di Merse
 * Crete Senesi Val d'Arbia
 * Val di Chiana senese
 * Val d'Orcia and Monte Amiata

The area is a hilly one: in the north is Colline del Chianti; Monte Amiata is the highest point at 1738 m; and in the south is Monte Cetona. To the west are the Colline Metallifere (lit. 'Metalliferous Hills'), whilst the Valdichiana lies to east.

Historically, the province corresponds to the northeastern portion of the former Republic of Siena.

The chief occupations are agricultural (wheat, grapes and fruit) and silk culture. The wine known as Chianti is produced here as well as in other parts of Tuscany: the Chianti Colli Senesi, however, is limited to this province.

Apart from the city of Siena the principal towns are Poggibonsi, Colle di Val d'Elsa, Montepulciano, Chiusi, and San Gimignano.

Comuni
There are 35 comuni (: comune) in the province.

Here is a list of comuni (municipalities) by population, as of 2015:

This is the complete list of comuni in the province of Siena:

 * Abbadia San Salvatore
 * Asciano
 * Buonconvento
 * Casole d'Elsa
 * Castellina in Chianti
 * Castelnuovo Berardenga
 * Castiglione d'Orcia
 * Cetona
 * Chianciano Terme
 * Chiusdino
 * Chiusi
 * Colle di Val d'Elsa
 * Gaiole in Chianti
 * Montalcino
 * Montepulciano
 * Monteriggioni
 * Monteroni d'Arbia
 * Monticiano
 * Murlo
 * Piancastagnaio
 * Pienza
 * Poggibonsi
 * Radda in Chianti
 * Radicofani
 * Radicondoli
 * Rapolano Terme
 * San Casciano dei Bagni
 * San Gimignano
 * San Quirico d'Orcia
 * Sarteano
 * Siena
 * Sinalunga
 * Sovicille
 * Torrita di Siena
 * Trequanda

Government
The Province of Siena is an administrative body of intermediate level between a municipality (comune) and Lombardy region.

The three main functions devolved to the province of Siena are:
 * local planning and zoning;
 * provision of local police and fire services;
 * transportation regulation (car registration, maintenance of local roads, etc.).

As an administrative institution, the province of Siena has its own elected bodies. From 1945 to 1995 the President of the province of Siena was chosen by the members of the Provincial Council, elected every five years by citizens. From 1995 to 2014, under provisions of the 1993 local administration reform, the President of the Province was chosen by popular election, originally every four, then every five years.

On 3 April 2014, the Italian Chamber of Deputies gave its final approval to the Law n.56/2014 which involves the transformation of the Italian provinces into "institutional bodies of second level". According to the 2014 reform, each province is headed by a President (or Commissioner) assisted by a legislative body, the Provincial Council, and an executive body, the Provincial Executive. President (Commissioner) and members of Council are elected together by mayors and city councilors of each municipality of the province respectively every four and two years. The Executive is chaired by the President (Commissioner) who appoint others members, called assessori. Since 2015, the President (Commissioner) and other members of the Council do not receive a salary.

In each province, there is also a Prefect (prefetto), a representative of the central government who heads an agency called prefettura-ufficio territoriale del governo. The Questor (questore) is the head of State's Police (Polizia di Stato) in the province and his office is called questura. There is also a province's police force depending from local government, called provincial police (polizia provinciale).

title: Province of Siena


text:
Wikipedia:Newbie Mission

These steps are designed to give new users an easy and fun introduction to Wikipedia.

 * Create an account. This is done clicking "create an account or log in" in the upper right hand corner and following the instructions.
 * Go to your user page. When logged in, this can be done by either clicking "control-." or by clicking your account name in the upper right hand corner of the page.
 * Write a paragraph about yourself on your user page. To do this click 'edit this page' and use the buttons at the top of the text field to accomplish the list of tasks until you learn the syntax. This paragraph should include the following:
 * A. An internal link to the town and country in which you live.
 * B. An external link to your favorite website.
 * C. One word in italics and one word in bold.

 * Add list with internal links to three of your hobbies or interests. To do this add a '*' at the beginning of each line of the list.
 * Go to the list of Featured Articles and pick one or two to read. This is an example of what a good article should be like.
 * Read up on Wikipedia policies and guidelines and etiquette.
 * Search for a subject you're interested in, and remember, be bold!
 * A. Random article
 * B. Visit the Community Portal

title: Wikipedia:Newbie Mission


text:
Edward Yourdon

Edward Nash Yourdon (April 30, 1944 – January 20, 2016) was an American software engineer, computer consultant, author and lecturer, and software engineering methodology pioneer. He was one of the lead developers of the structured analysis techniques of the 1970s and a co-developer of both the Yourdon/Whitehead method for object-oriented analysis/design in the late 1980s and the Coad/Yourdon methodology for object-oriented analysis/design in the 1990s.

Biography
Yourdon obtained his B.S. in applied mathematics from Massachusetts Institute of Technology (MIT) in 1965, and did graduate work in electrical engineering and computer science at MIT and the Polytechnic Institute of New York.

In 1964 Yourdon started working at Digital Equipment Corporation developing FORTRAN programs for the PDP-5 minicomputer and later assembler for the PDP-8. In the late 1960s and early 1970s he worked at a small consulting firm and as an independent consultant. In 1974 Yourdon founded his own consulting firm, YOURDON Inc., to provide educational, publishing, and consulting services. After he sold this firm in 1986 he served on the Board of multiple IT consultancy corporations and was advisor on several research project in the software industry throughout the 1990s.

In June 1997, Yourdon was inducted into the Computer Hall of Fame, along with such notables as Charles Babbage, James Martin, Grace Hopper, and Gerald Weinberg. In December 1999 Crosstalk: The Journal of Defense Software Engineering named him one of the ten most influential people in the software field.

In the late 1990s, Yourdon became the center of controversy over his beliefs that Y2K-related computer problems could result in severe software failures that would culminate in widespread social collapse. Due to the efforts of Yourdon and thousands of dedicated technologists, developers and project managers, these potential critical system failure points were successfully remediated, thus avoiding the problems Yourdon and others identified early enough to make a difference.

In the new millennium, Yourdon became Faculty Fellow at the Information Systems Research Center of the University of North Texas as well as Fellow of the Business Technology Trends Council for the Cutter Consortium, where he also was editor of the Cutter IT Journal.

Work
After developing structured analysis techniques of the 1970s, and object-oriented analysis/design in the late 1980s and 1990s, in the new millennium Yourdon specialized in project management, software engineering methodologies, and Web 2.0 development. He also founded and published American Programmer magazine (now titled Cutter IT Journal). He is the author of the book Decline and Fall of the American Programmer.

Yourdon Inc.
In 1974, Yourdon founded the consulting firm Yourdon Inc. in New York, which provided consulting, educational and publishing in the field of software engineering. In the early 1980s, the company had multiple offices in North America and Europe and a staff of 150 people. They trained over 250,000 people in the topics of structured programming, structured design, structured analysis, logical data modeling and project management.

In 1986, Yourdon sold the consulting company. It later became part of the Canadian (Québec) software company CGI Informatique. The publishing division had published over 150 books on software engineering topics before it became part of Prentice Hall.

Yourdon structured method
In the 1980s Yourdon developed the Yourdon structured method (YSM) in SSADM based on the functional structuring. The method supports two distinct design phases: analysis and design. YSM includes three discrete steps: the feasibility study; essential modeling; and implementation modeling. It offers a series of models:
 * The behavioral model: states that system behavior can be described in three ways: functions, dynamics and relationships.
 * The processor environment model (PEM): describes the allocation of computing functions in processor hardware.
 * The software environment model (SEM): defines the software architecture and its effects from each processor.
 * The code organizational model (COM): shows the modular structure of each task

The Yourdon structured method (YSM) and structured analysis and design technique (SADT) are examples of structured design methods.

Year 2000 (Y2K) problem
During the late 1990s, he was one of the leading proponents of the theory that the 'Y2K bug' could lead to a collapse of civilization, or at least protracted economic depression and technological breakdown on a wide scale. He wrote several books on the subject, including Time Bomb 2000 (ISBN 0-13-020519-2), and produced at least one video putting forth that theory (and offering advice on how to survive the coming crisis). Yourdon was criticized by some when his predictions (vigorously refuted by some experts in advance) failed to materialize at the scale predicted. This may have caused him to lose credibility with some in the software industry.

Final years and death
In his final years, Yourdon served as an internationally recognized expert witness and computer consultant specializing in project management, software engineering methodologies, and Web 2.0 development. He died on January 20, 2016, as a result of a post-surgical blood infection.

Personal life
Yourdon was married to Toni Nash. He had three children; daughter Jennifer, and sons Jamie and David. He also had five grandchildren; Liam Christopher, Owen Edward, Edward Roland ("Teddy"), Elliot ("Ellie") Ann, and Khalil Slice. Yourdon had five sisters; Toni, Teri, Tina, Aleda, and Patrice.

Yourdon was also an avid photographer whose photos were published in The New York Times, Los Angeles Times, The Wall Street Journal, Fast Company, Forbes, Time/CNN, The New York Observer, New York magazine, Wired, and the Huffington Post.

Publications
Yourdon authored over 550 technical articles and authored or coauthored 26 computer books since 1967. A selection:
 * 1967. Real-Time Systems Design. Information & Systems Press.
 * 1972. Design of On-Line Computer Systems. Prentice Hall.
 * 1975. Techniques of Program Structure and Design. Prentice Hall.
 * 1976. Learning to Program in Structured COBOL, Part I and II. With C. Gane and T. Sarson and T. Lister. Prentice Hall.
 * 1978. Learning to Program in Structured COBOL, Part II. With Timothy Lister. Prentice Hall.
 * 1979. Classics in Software Engineering . Prentice Hall.
 * 1982. Writings of the Revolution. Prentice Hall.
 * 1988. Managing the System Life Cycle. 2nd ed. Prentice Hall.
 * 1989. Modern Structured Analysis. Prentice Hall.
 * 1992. Decline and Fall of the American Programmer. Prentice Hall.
 * 1994. Object-Oriented Systems Development: An Integrated Approach. Prentice Hall.
 * 1996. Case Studies in Object-Oriented Analysis and Design. With Carl Argila. Prentice-Hall.
 * 1996. Rise and Resurrection of the American Programmer. Prentice-Hall.
 * 1997. Death March: The Complete Software Developer's Guide to Surviving "Mission Impossible" Projects. Prentice Hall.
 * 1999. The Complete Y2K Home Preparation Guide. With Robert Roskind. Prentice Hall.
 * 1999. ''Time Bomb 2000: What the Y2K Computer Crisis means for you!'. With Jennifer Yourdon. Prentice Hall.
 * 1999. The Y2K Financial Survival Guide. With Jennifer Yourdon and Peter G. Gordon. Prentice Hall.
 * 2001. Managing High-Intensity Internet Projects. Prentice Hall
 * 2002. Byte Wars: The Impact of September 11 on Information Technology. Prentice Hall
 * 2003. Death March (2nd edition). Prentice Hall
 * 2004. Outsourcing: Competing in the Global Productivity Race. Prentice Hall
 * 2004. Outsourcing: Competing in the Global Productivity Race. Prentice Hall

title: Edward Yourdon


text:
File:ZeroMinusTen.jpg

Summary
James Bond 007 - Zero Minus Ten

© 1998 Coronet Books (paperback).

Source: Image scanned and uploaded by 23skidoo.

Rationale for "fair use" in the article Zero Minus Ten :

No free or public domain images have been located for this book.

This image is used on various websites, and has been published in several books, so use on Wikipedia does not make it significantly more accessible or visible than it already is. It does not detract from the original and is used for information purposes only.

title: File:ZeroMinusTen.jpg


text:
Henry Alleyne Nicholson

Henry Alleyne Nicholson FRS FRSE FGS FLS (11 September 1844 – 19 January 1899) was a British palaeontologist and zoologist.

Life
The son of John Nicholson (1809–1886), a biblical scholar, and his wife Annie Elizabeth Waring, he was born at Penrith, Cumberland on 11 September 1844. His younger sister was the writer Annie Elizabeth Nicholson Ireland, and one of his brothers was John Henry Nicholson, author and poet. He was educated at Appleby Grammar School and then studied Sciences at the universities of Göttingen (Ph.D., 1866) and Edinburgh (D.Sc., 1867; M.D., 1869). Geology had early attracted his attention, and his first publication was a thesis for his D.Sc. degree titled On the Geology of Cumberland and Westmoreland (1868).

In 1869 he began lecturing in Natural History at the extramural classes linked to Edinburgh University.

In 1871 he was appointed professor of natural history in the University of Toronto; in 1874 professor of biology in the Durham College of Science and in 1875 professor of natural history in the University of St. Andrews. This last post he held until 1882, when he became Regius Professor of natural history in the University of Aberdeen.

In 1870 he was elected a Fellow of the Royal Society of Edinburgh his proposer being Peter Handyside. He was elected a Fellow of the Royal Society of London in 1897.

His original work was mainly on fossil invertebrata (graptolites, stromatoporoids and corals); but he did much field work, especially in the Lake District, where he labored in company with Robert Harkness and afterwards with John Edward Marr. He was awarded the Lyell Medal by the Geological Society in 1888.

In 1898 he promoted Alfred William Gibb as the first Professor of Geology at Aberdeen University. Nicholson retired in 1899.

He died at Aberdeen on 19 January 1899.

Publications
During his career he published 167 papers, usually as the sole author, and 12 textbooks, most importantly The Ancient Life History of the Earth.

 * Ancient Life-History of the Earth (1877).
 * Manual of Zoology (of which there were 7 editions) and other text-books of Zoology.
 * Manual of Palaeontology (1872, 3rd ed, 2 vols., with Richard Lydekker, 1889).
 * Monograph of the Silurian Fossils of the Girvan District in Ayrshire (with R. Etheridge, jun.) (1878–1880).
 * Monograph of the British Stromatoporoids in Palaeontograph. Soc. (1886–1892).
 * ''Lives and labours of leading naturalists (1894)

title: Henry Alleyne Nicholson


text:
Pentachlorophenol

Pentachlorophenol (PCP) is an organochlorine compound used as a pesticide and a disinfectant. First produced in the 1930s, it is marketed under many trade names. It can be found as pure PCP, or as the sodium salt of PCP, the latter of which dissolves easily in water. It can be biodegraded by some bacteria, including Sphingobium chlorophenolicum.

Uses
PCP has been used as a herbicide, insecticide, fungicide, algaecide, and disinfectant and as an ingredient in antifouling paint. Some applications were in agricultural seeds (for nonfood uses), leather, masonry, wood preservation, cooling-tower water, rope, and paper. It has previously been used in the manufacture of food packaging materials. Its use has declined due to its high toxicity and slow biodegradation.

Two general methods are used for preserving wood. The pressure process method involves placing wood in a pressure-treating vessel, where it is immersed in PCP and then subjected to applied pressure. In the nonpressure process method, PCP is applied by spraying, brushing, dipping, or soaking.

Pentachlorophenol esters can be used as active esters in peptide synthesis, much like more popular pentafluorophenyl esters.

Exposure
People may be exposed to PCP in occupational settings through the inhalation of contaminated workplace air and dermal contact with wood products treated with PCP. Also, general population exposure may occur through contact with contaminated environment media, particularly in the vicinity of wood-treatment facilities and hazardous-waste sites. In addition, some other important routes of exposure seem to be the inhalation of contaminated air, ingestion of contaminated ground water used as a source of drinking water, ingestion of contaminated food, and dermal contact with soils or products treated with the chemical.

Toxicity
Short-term exposure to large amounts of PCP can cause harmful effects on the liver, kidneys, blood, lungs, nervous system, immune system, and gastrointestinal tract. Elevated temperature, profuse sweating, uncoordinated movement, muscle twitching, and coma are additional side effects.

Contact with PCP (particularly in the form of vapor) can irritate the skin, eyes, and mouth. Long-term exposure to low levels, such as those that occur in the workplace, can cause damage to the liver, kidneys, blood, and nervous system. Finally, exposure to PCP is also associated with carcinogenic, renal, and neurological effects. The U.S. Environmental Protection Agency toxicity class classifies PCP in group B2 (probable human carcinogen).

Monitoring of human exposure
Pentachlorophenol may be measured in plasma or urine as an index of excessive exposure. This is usually performed by gas chromatography with electron-capture or mass-spectrometric detection. Since urine contains predominantly conjugated PCP in chronic exposure situations, prior hydrolysis of specimens is recommended. The current ACGIH biological exposure limits for occupational exposure to PCP are 5 mg/L in an end-of-shift plasma specimen and 2 mg/g creatinine in an end-of-shift urine specimen.

Absorption in humans and animals
PCP is quickly absorbed through the gastrointestinal tract following ingestion. Accumulation is not common, but if it does occur, the major sites are the liver, kidneys, plasma protein, spleen, and fat. Unless kidney and liver functions are impaired, PCP is quickly eliminated from tissues and blood, and is excreted, mainly unchanged or in conjugated form, via the urine. Single doses of PCP have half-lives in blood of 30 to 50 hours in humans. Biomagnification of PCP in the food chain is not thought to be significant due to the fairly rapid metabolism of the compound by exposed organisms.

Releases to the environment
PCP has been detected in surface waters and sediments, rainwater, drinking water, aquatic organisms, soil, and food, as well as in human milk, adipose tissue, and urine. As PCP is generally used for its properties as a biocidal agent, considerable concern exists about adverse ecosystem effects in areas of PCP contamination.

Releases to the environment are decreasing as a result of declining consumption and changing use methods. However, PCP is still released to surface waters from the atmosphere by wet deposition, from soil by run off and leaching, and from manufacturing and processing facilities. PCP is released directly into the atmosphere via volatilization from treated wood products and during production. Finally, releases to the soil can be by leaching from treated wood products, atmospheric deposition in precipitation (such as rain and snow), spills at industrial facilities, and at hazardous waste sites.

After PCP is released into the atmosphere, it decomposes through photolysis. The main biodegradative pathway for PCP is reductive dehalogenation. In this process, the compound PCP is broken down to tetrachlorophenols, trichlorophenols, and dichlorophenols. Another pathway is methylation to pentachloroanisole (a more lipid-soluble compound). These two methods eventually lead to ring cleavage and complete degradation.

In shallow waters, PCP is also quickly removed by photolysis. In deep or turbid water processes, sorption and biodegradation take place. In reductive soil and sediments, PCP can be degraded within 14 days to 5 years, depending on the anaerobic soil bacteria that are present. However, adsorption of PCP in soils is pH dependent because it increases under acidic conditions and decreases in neutral and basic conditions.

Synthesis
PCP can be produced by the chlorination of phenol in the presence of catalyst (anhydrous aluminium or ferric chloride) and a temperature up to about 191 °C. This process does not result in complete chlorination and commercial PCP is only 84–90% pure. The main contaminants include other polychlorinated phenols, polychlorinated dibenzo-p-dioxins, and polychlorinated dibenzofurans. Some of these species are even more toxic than the PCP itself.

Pentachlorophenol by country
Pentachlorophenol is classified as a persistent organic pollutant (POP). In May 2015, countries which have signed the Stockholm Convention voted 90–2 to ban pentachlorophenol use. The United States is not a signatory and has not banned the chemical.

New Zealand
PCP was used in New Zealand as a timber preservative and antisapstain treatment, but since 1988 is no longer used.

It was also sold as a moss killer to the general public (by Shell, at least) in the form of a 115g/L aqueous solution and labelled as a poison.

United States
Since the early 1980s, the purchase and use of PCP in the U.S. has not been available to the general public. Nowadays, most of the PCP used in the U.S. is restricted to the treatment of utility poles and railroad ties. In the United States, any drinking-water supply with a PCP concentration exceeding the MCL, 1 ppb, must be notified by the water supplier to the public. Disposal of PCP and PCP-contaminated substances are regulated under RCRA as F-listed (F021) or D-listed (D037) hazardous wastes. Bridges and similar structures such as piers can still be treated with pentachlorophenol.

Chile
PCP was widely used in Chile until the early 1990s as a fungicide to combat the so-called "blue stain" in pine timber under the name of Basilit.

title: Pentachlorophenol


text:
Jupiter, Romania

Jupiter is a summer resort on the Romanian seacoast, on the Black Sea, 4 km north of Mangalia.

title: Jupiter, Romania


text:
Jacqueline Boyer

Eliane Ducos (born 23 April 1941), known professionally as Jacqueline Boyer, is a French singer and actress. She is also the daughter of performers Jacques Pills and Lucienne Boyer.

In 1960, she won the Eurovision Song Contest for France singing "Tom Pillibi", with music composed by André Popp and lyrics by Pierre Cour. The resulting single reached #33 in the UK Singles Chart in May 1960. At 18 years and 341 days of age at the time of her victory, Boyer was the first teenager to win the contest and the youngest until 1964. Following the death of Lys Assia in 2018, Boyer as of 2024, 64 years after her victory, is the longest surviving winning singer of the Eurovision Song Contest (although not the oldest by age).

Filmography

 * Das Rätsel der grünen Spinne
 * Soldatensender Calais
 * Schlager-Raketen
 * Gauner-Serenade (1960)
 * Der nächste Urlaub kommt bestimmt
 * Auf den Flügeln bunter Träume
 * Flotte Formen – Kesse Kurven
 * So schön wie heut', so müßt' es bleiben

title: Jacqueline Boyer


text:
Neptun, Romania

Neptun is a summer resort on the Romanian seacoast, on the Black Sea, 6 km north of Mangalia. It is part of a string of such resorts, Olimp, Jupiter, Cap Aurora, and Venus.

History
Neptun hosts the summer residence of the president, Nufărul (English: The Water Lily).

Built in 1972, it is owned by the Importanne Resort corporation. Located on a beach called "At the flags" (Romanian: La steaguri).

Climate
The marine climate has hot summers, with the average temperature in June being over 22 °C, most of the days being sunny, and winters being gentle with rare snows. The mean annual temperature is 11.2 °C, and precipitation is low (under 400 mm yearly).

Personalities

 * Inna – Romanian singer, winner of two MTV Europe Music Awards and best-selling music act from Eastern Europe of the current decade.

title: Neptun, Romania


text:
Olimp, Romania

Olimp is a summer resort on the Romanian seacoast, on the Black Sea, 7 km north of Mangalia.The Comorova forest is near the summer resort. It has a tall waterfront between beach and many hotels.

title: Olimp, Romania


text:
Venus, Romania

Venus is a summer resort in Romania, on the Black Sea coast, 3 km north of Mangalia.

title: Venus, Romania


text:
User:Toffelginkgo

Contribution history

 * Mc1r
 * Joan of Arc
 * DreamHack
 * Gerbil
 * Dinosaur

Minor contributions

 * The Battle Hymn of the Republic
 * Gulliver's Travels
 * Adenovirus
 * Downhill Battle
 * Fido

Formatting

 * Jurassic Park
 * Avocado

title: User:Toffelginkgo


text: Category:Moroccan writers

title: Category:Moroccan writers


text:
Sean Thornton

Sean Thornton (born 18 May 1983) is a former professional footballer.

He made 11 appearances in the Premier League for Sunderland in the 2002–03 season and has made over 200 appearances in the Football League, mostly for Sunderland, Doncaster Rovers and Leyton Orient.

Tranmere Rovers
Thornton began his career with Football League Second Division club Tranmere Rovers in 2001, for whom he made 13 appearances in the 2001–02 season, scoring once against Wigan Athletic. He was out of contract in summer 2002 and joined Premier League side Sunderland in July 2002, for a fee of £225,000 agreed at tribunal, amid allegations by Tranmere that Sunderland had breached FA and Football League regulations by making an illegal approach for Thornton, for which Sunderland were later fined £1,500.

Sunderland
Thornton did not feature in the Sunderland first team at the beginning of the 2002–03 season and joined Blackpool on a one-month loan in November 2002. He made his debut for Sunderland in a FA Cup third-round replay win over Bolton Wanderers in January 2003, impressing manager Howard Wilkinson who said, "That was the first full game I've seen Sean in and I must say it was a very promising and mature performance. He's certainly a player we want to keep an eye on and bring on but it's now up to him to show he can produce that standard consistently." He made 14 appearances for Sunderland in the 2002–03 season, despite missing part of the season after being called up for the Ireland Under-20 squad for the World Youth Championships in the United Arab Emirates in March 2003. In April 2003, he scored with an impressive volley to give Sunderland an early lead against Chelsea although Sunderland went on to lose the match. He was unable to help Sunderland from being relegated at the end of the season. All 11 of his Premier League appearances that season ended in defeat, giving him the record for worst season that was broken 13 years later by Aston Villa's Jack Grealish.

Thornton made 13 appearances for Sunderland at the start of the 2003–04 season, before suffering an ankle injury in a reserve team game in October 2003. He returned to the side in January 2004 and made a further 17 appearances, helping Sunderland to the semifinal of the FA Cup, and the Division One playoff semifinal. Thornton was unable to command a regular first team place at the start of the 2004–05 season and by September 2004, was seeking a move away from the club. A transfer did not materialise and with his first team chances limited, he made only 20 appearances for Sunderland in the 2004–05 season. At the end of the season, he was transfer listed.

Doncaster Rovers
Following Sunderland's promotion to the Premier League in May 2005, Thornton was sold to Football League One club Doncaster Rovers in July 2005 for a club record fee of £175,000. He made 36 appearances for Doncaster in the 2005–06 season, missing several weeks owing to an ankle injury suffered in September 2005 that needed surgery. He helped Doncaster reach the quarterfinals of the Football League Cup, putting in a fine performance and scoring the third goal when Doncaster beat Premier League club, Aston Villa 3–0 in November 2005. Manager Dave Penney praised Thornton, saying: "It was a great goal for Sean and he's looking much brighter and sharper these days, and long may that continue." After the game, Thornton said that he felt had made the right move in the summer, saying "It was a gamble for me. I still had two years left on my contract at Sunderland. It was one of them – would I go, would I not go? Obviously we're playing good football and I think I made the right decision. Now, hopefully, we can carry on the success until the end of the season and get promoted. That's the main thing." In the 2006–07 season, Thornton made 41 appearances, and helped Doncaster to victory over Bristol Rovers in the Football League Trophy final in April 2007 when he swung in a corner kick for Graeme Lee to head in to score the extra time winner at the Millennium Stadium, Cardiff.

Leyton Orient
Thornton was released by Doncaster manager, Sean O'Driscoll at the end of the 2006–07 season, and joined another League One side, Leyton Orient in July 2007 on a two-year contract. Orient manager Martin Ling said that he was "... pleased to have Sean on board. We've been looking for a creative midfielder and Sean fits the bill perfectly. He will fit into our style of play and I believe we have signed a quality player." He scored on his debut against Southend United in August 2007, with a spectacular free kick from 30 yards in a 2–1 away win, and went on to make 34 appearances in the 2007–08 season, although he missed four matches after being sent off in October 2007 for allegedly punching another player. The following season, he joined Shrewsbury Town in September 2008 on a one-month loan, where he scored once against Darlington. On his return to Orient, he regained his place in the first team under new manager Geraint Williams and made a total of 34 appearances for Orient in the 2008–09 season in addition to his loan spell at Shrewsbury Town. He signed a new one-year contract with Orient in June 2009, with the option of a further year, but was released by Williams' replacement Russell Slade on 9 May 2010 after putting on too much weight.

Sean Thornton became something of a cult hero at Orient, leading to local folk-punk artist Steve White recording and releasing a song in praise of Thornton.

Aberystwyth Town
After false reports that he had signed for FC Metalist Kharkiv, Thornton signed for Aberystwyth Town on a short-term contract on 13 September 2011, in a move that was described by the club as 'arguably the biggest signing in Welsh Premier League history'. The midfielder scored his first goal in Aber colours on 11 November 2011, as the Seasiders hammered Port Talbot Town 4–0 at the Genquip Stadium. On 16 November 2011, it was announced that Thornton had agreed to extend his stay with Aberystwyth Town until the end of the 2011/12 Welsh Premier League campaign. He scored his second goal for the club in the 1–1 draw with Afan Lido. He was signed for another season (2012–13) at Aberystwyth Town.

Bala Town
On 3 January 2014, Thornton agreed to join Welsh Premier League side Bala Town. He was handed the number nine shirt.

Drogheda United
On 4 January 2015 Sean agreed to sign for hometown club Drogheda United in what would be his first experience of playing in the League of Ireland. Thornton signed along with former Athlone Town player Sean Brennan. Thornton made his debut against Bray Wanderers in a 1–0 away win. In his next game Thornton set up the winner with a free kick in a 3–2 win against Sligo Rovers.

On 26 November Thornton re-signed with the club on a year deal.

Rathmullen Celtic FC
Upon seeing his contract out with Drogheda United Thornton was recruited by newly-formed Non League side Rathmullen Celtic who play in Division 3 of the NEFL. Under the guidance of Chairman Robbie McDonnell and manager Stewie Barnett Thornton masterminded promotion to Div 2 for Rathmullen after reproducing arguably some of the best form of his career. Scoring 28 goals and assisting 14 in an advanced midfield role. However Thornton never got to play Division 2 football with Rathmullen after a pre season of upheaval seen the club go into administration before the new season began.

Athboy Celtic
With Rathmullen folding Thornton became a free agent. He received an offer from Athboy Celtic. The Meath club were playing in Division 1. With Thornton they finished outside the automatic promotion places and remained in division 1.

Newfoundwell FC
After one season at Athboy which resulted in a failed promotion attempt, Thornton followed manager Derek Kavanagh to the premier league of the NEFL and to 2017 treble winners Newfoundwell FC. The stay at the Well was short, as after failing to field a team in 2 separate matches the club were disqualified from the league and effectively disbanded in May 2019.

Moneymore FC
Thornton again found himself as a free agent and with the transfer window opening on 1 June 2019 he had the opportunity to sign for any NEFL club. Thornton opted to sign for Moneymore in the NEFL Div 3.

International career
Thornton represented the Republic of Ireland Under-16 team at the 2000 UEFA European Under-16 Football Championship and the Under-19 team at the 2002 UEFA European Under-19 Football Championship.

Playing statistics
(to end of 2008–09 season)

Honours
Sunderland
 * Football League Championship: 2004–05

Doncaster Rovers
 * Football League Trophy: 2006–07

Personal life
Thornton's younger brother, Kevin, was also a professional footballer.

title: Sean Thornton


text: User talk:129.19.68.114

title: User talk:129.19.68.114


text:
Air Force Materiel Command

The Air Force Materiel Command (AFMC) is a Major Command (MAJCOM) of the United States Air Force (USAF). AFMC was created on July 1, 1992, through the amalgamation of the former Air Force Logistics Command (AFLC) and the former Air Force Systems Command (AFSC).

AFMC is headquartered at Wright-Patterson Air Force Base in Dayton, Ohio. AFMC is one of nine Air Force Major Commands and has a workforce of approximately 80,000 military and civilian personnel. It is the Air Force's largest command in terms of funding and second in terms of personnel. AFMC's operating budget represents 31 percent of the total Air Force budget and AFMC employs more than 40 percent of the Air Force's total civilian workforce.

The command conducts research, development, testing and evaluation, and provides the acquisition and life cycle management services and logistics support. The command develops, acquires and sustains the air power needed to defend the United States and its interests. This is accomplished through research, development, testing, evaluation, acquisition, maintenance and program management of existing and future USAF weapon systems and their components.

History
The United States Armed Forces procurement of military aircraft began when the United States Army's Aeronautical Division of the Signal Corps (United States Army), acquired several examples of the Wright Military Flyer of 1909. USAAF/USAF aircraft Research and Development (R&D) was merged with aircraft procurement twice in the 20th century (e.g., 1944, 1992).

Air Materiel Command was established on March 9, 1946, and in November 1946, AMC's History Office published Materiel Research and Development in the Army Air Arm, 1914-1945. In 1947, AMC bases were transferred to the newly established United States Air Force, with facilities such as the storage depot in Maywood, California, being renamed Cheli Air Force Station.

On April 1, 1961, as part of the DoD reorganization under President John F. Kennedy and his Secretary of Defense, Robert S. McNamara, the Air Force Logistics Command was established at Wright-Patterson Air Force Base, replacing the Air Materiel Command and assuming the latter's supply and maintenance roles. The material procurement role was transferred. On the same date, Air Force Systems Command was also established at Andrews Air Force Base, Maryland, assuming the R&D role of the former Air Research and Development Command while also inheriting AMC's materiel procurement role.

Activation duties AFMC, 1992
Air Force Materiel Command (AFMC) was activated on July 1, 1992, as part of a post-Cold War, USAF-wide reorganization that resulted in the merger of AFLC and AFSC into a single major command.

After AFMC was established, the command's infrastructure saw significant reductions through Base Realignment and Closure (BRAC) actions. This included the BRAC-directed closure/privatization of the San Antonio Air Logistics Center at Kelly Air Force Base, Texas and the closure of Kelly Air Force Base as an independent installation, with incorporation of its runways and remaining military flight line areas as the Kelly Field Annex to adjacent Lackland Air Force Base.

The Sacramento Air Logistics Center at McClellan Air Force Base was also closed/privatized and McClellan Air Force Base totally closed. McClellan became a totally civilian airport with the exception of Coast Guard Air Station Sacramento and the Air Force Recruiting Service's 364th Recruiting Squadron.

Reorganization
In 2012 there was a major reorganization (5 Center Construct) and several new centers were organized. Among them, the Air Force Sustainment Center at Tinker Air Force Base now directs the Oklahoma City Air Logistics Complex at Tinker Air Force Base, the Ogden Air Logistics Complex at Hill Air Force Base, and the Warner Robins Air Logistics Complex at Robins Air Force Base. The center provides depot maintenance, supply chain management and installation support. In 2015, the command officially activated its sixth center, the Air Force Installation and Mission Support Center, which provides centralized management of installation and mission support. The center is located at Joint Base San Antonio, Texas.

Mission
Air Force Materiel Command conducts research, development, test and evaluation, and provides acquisition management services and logistics support.

AFMC headquarters is the major unit located at Wright-Patterson Air Force Base, Ohio. There are also nine additional AFMC host bases.

In addition, the command operates associate units and tenant activities on several non-AFMC bases, including the Air Force Nuclear Weapons Center at Kirtland Air Force Base, New Mexico.

Headquarters

 * Headquarters Air Force Materiel Command (Wright-Patterson AFB, Ohio)

Air Force Installation and Mission Support Center
The Air Force Installation and Mission Support Center (AFIMSC) serves as the single intermediate-level headquarters responsible for providing installation and mission support capabilities. Its headquarters are located at Joint Base San Antonio-Lackland, Texas and it has the following subordinate units.

 * Air Force Civil Engineer Center (Joint Base San Antonio-Lackland, Texas)
 * Air Force Installation Contracting Center (Wright-Patterson AFB, Ohio)
 * Air Force Security Forces Center (Joint Base Antonio-Lackland, Texas)
 * Air Force Services Center (Joint Base San Antonio-Lackland, Texas)

Air Force Life Cycle Management Center
The Air Force Life Cycle Management Center's (AFLCMC) mission is to deliver affordable and sustainable combat capabilities to US and international partners. It is the single center responsible for total life cycle management of all aircraft, engines, munitions, and electronic systems. Its headquarters are located at Wright-Patterson AFB, Ohio and it has the following subordinate units.

 * 66th Air Base Group (Hanscom AFB, Massachusetts)
 * 88th Air Base Wing (Wright-Patterson AFB, Ohio)
 * Acquisition Excellence Directorate (Wright-Patterson AFB, Ohio)
 * Agile Combat Support Directorate (Wright-Patterson AFB, Ohio)
 * Air Force Security Assistance & Cooperation Directorate (Wright-Patterson AFB, Ohio)
 * Armament Directorate (Eglin AFB, Florida)
 * Bombers Directorate (Wright-Patterson AFB, Ohio)
 * Business & Enterprise Systems Directorate (Gunter Annex, Maxwell AFB, Alabama)
 * Command, Control, Communications and Intelligence (C3I) and Networks Directorate
 * Digital Directorate (Hanscom AFB, Massachusetts)
 * Fighters & Advanced Aircraft Directorate (Wright-Patterson AFB, Ohio)
 * Intelligence, Surveillance and Reconnaissance (ISR) and Special Operations Force (SOF) Directorate (Wright-Patterson AFB, Ohio)
 * Mobility & Training Aircraft Directorate (Wright-Patterson AFB, Ohio)
 * Presidential and Executive Airlift Directorate (Wright-Patterson AFB, Ohio)
 * Program Execution Directorate (Wright-Patterson AFB, Ohio)
 * Propulsion Directorate (Tinker AFB, Oklahoma)
 * Rapid Sustainment Directorate (Wright-Patterson AFB, Ohio)

Air Force Nuclear Weapons Center
The Air Force Nuclear Weapons Center (AFNWC) is the Air Force's nuclear-focused center, synchronizing all aspects of nuclear materiel management in support of Air Force Global Strike Command. Its headquarters are located at Kirtland AFB, New Mexico and it has the following subordinate units.

 * Air-Delivered Capabilities Directorate (Kirtland AFB)
 * Ground Based Strategic Deterrent Systems Directorate (Hill AFB, Utah)
 * Minuteman III Systems Directorate (Hill AFB, Utah)
 * Nuclear Command, Control, and Communications (NC3) Integration Directorate (Hanscom AFB, Massachusetts)
 * Nuclear Technology and Integration Directorate (Kirtland AFB)

Air Force Research Laboratory
The Air Force Research Laboratory (AFRL) is the Air Force's only organization dedicated to leading the discovery, development and integration of technologies in air, space and cyber for the US Air and Space Forces. Its headquarters are located at Wright-Patterson AFB, Ohio and it has the following subordinate units.

 * 711th Human Performance Wing (Wright-Patterson AFB, Ohio)
 * Aerospace Systems Directorate (Wright-Patterson AFB, Ohio)
 * Air Force Office of Scientific Research (Arlington, Virginia)
 * Air Force Strategic Development Planning and Experimentation Office (Wright-Patterson AFB, Ohio)
 * Directed Energy Directorate (Kirtland AFB, New Mexico)
 * Information Directorate (Rome Research Site, New York)
 * Materials and Manufacturing Directorate (Wright-Patterson AFB, Ohio)
 * Munitions Directorate (Eglin AFB, Florida)
 * Sensors Directorate (Wright-Patterson AFB, Ohio)
 * Space Vehicles (Kirtland AFB, New Mexico)

Air Force Sustainment Center
The mission of the Air Force Sustainment Center (AFSC) is to provide sustainment and logistics readiness. The center provides integrated logistics and sustainment to the Air Force through depot maintenance, supply chain management and installation support. Its headquarters are located at Tinker Air Force Base, Oklahoma and it has the following subordinate units.

 * 72nd Air Base Wing (Tinker Air Force Base, Oklahoma)
 * 75th Air Base Wing (Hill Air Force Base, Utah)
 * 78th Air Base Wing (Robins Air Force Base, Georgia)
 * 448th Supply Chain Management Wing (Tinker Air Force Base, Oklahoma)
 * 635th Supply Chain Operations Wing (Scott AFB, Illinois)
 * Ogden Air Logistics Complex (Hill Air Force Base, Utah)
 * Oklahoma City Air Logistics Complex (Tinker Air Force Base, Oklahoma)
 * Warner Robins Air Logistics Complex (Robins Air Force Base, Georgia)

Air Force Test Center
The Air Force Test Center (AFTC) conducts developmental and follow-on testing and evaluation of crewed and uncrewed aircraft and related avionics, flight-control, munitions, and weapon systems. Its headquarters are located at Edwards AFB, California and it has the following subordinate units.

 * 96th Test Wing (Eglin AFB, Florida)
 * 412th Test Wing (Edwards AFB, California)
 * Arnold Engineering Development Complex (Arnold AFB, Tennessee)

Other units

 * National Museum of the US Air Force (Wright-Patterson AFB, Ohio)

title: Air Force Materiel Command


text:
File:Graves of January Uprising veterans.jpg

Self made