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Mick Channon

Michael Roger Channon (born 28 November 1948) is an English former professional footballer who played as a forward, most notably for Southampton, and went on to represent the England national team in the 1970s. Scoring over 250 goals in his career, he also became known for his trademark windmill goal celebration. Channon later became a successful racehorse trainer.

Southampton
Channon was born in Orcheston, Wiltshire and made his debut for Southampton as a 17-year-old in 1966, scoring in a match against Bristol City. Within three years he had established himself as the club's main goalscorer and was consistent in front of goal at a time when Southampton were one of the less fashionable teams in English football's First Division. However, despite a record season tally of 21 goals for Southampton in 1974, the club was relegated to the Second Division at the end of the season.

Channon stayed loyal to Southampton despite obvious concerns for his international chances and was rewarded in 1976 which was a special year for Channon. Southampton were still in the Second Division but nevertheless enjoyed a dream run to the FA Cup final where they played Manchester United. Although Southampton were a lower division side, they were considerably more experienced than Manchester United's youthful team. Southampton won 1–0, with Channon playing a part in the winning goal scored late in the game by Bobby Stokes. It was his first domestic honour in the game.

Manchester City
In the 1977 close season, Channon left Southampton — still in the Second Division — to join Manchester City in a £300,000 deal. His new club were making progress, having just finished second in the First Division behind champions Liverpool, but this was where they peaked and Channon struggled to settle. He made 72 appearances and scored 24 goals during his time at Manchester City.

Return to Southampton
Channon went back to Southampton (by now back in the First Division) in September 1979. Now in his thirties, he continued to play regularly though his goals ratio was not good in his second spell, with only ten coming in each of his first two seasons back at the club. He joined Newcastle United in 1982 after playing 510 games for Southampton over two spells, scoring a total of 185 goals placing him top of the club's list of all-time goalscorers.

After Southampton
Channon lasted barely a month at Newcastle before joining Bristol Rovers. His impressive career seemingly on the decline, he failed to score in nine games for Bristol Rovers before a sudden departure again, this time to Norwich City where, at the age of 34, he found some of his old touch. He played 88 games over three seasons, scoring 16 goals, and suffered a mixed end to his Norwich career in 1985 when the club won the League Cup — Channon's second and final domestic honour — with a 1–0 win over Sunderland at Wembley, but were then relegated (with Sunderland) at the end of the same season. Channon joined Portsmouth and Finn Harps (where he played in one League of Ireland Cup game), before retiring from the game in 1986.

International career
Called up to make his debut for the England national team by Alf Ramsey in October 1972, Channon played well enough in a 1–1 draw with Yugoslavia at Wembley to be selected for the squads for two subsequent qualifying matches for the 1974 FIFA World Cup, although he was not eventually in the team for either. However, he won his second cap in a famous 5–0 hammering of Scotland at Hampden Park in February 1973, scoring his first goal in the process.

As the year progressed, Channon scored again in a match against Wales and then added a brace in a 7–0 thumping of Austria before he was picked by Ramsey for his first competitive match – a crucial and ultimately infamous World Cup qualifier against Poland at Wembley. If England did not win, they would not qualify for the tournament. Channon, in his tenth England outing, was in an attacking line-up which spent pretty much the whole match in the Poland half, trying to break the deadlock. Channon saw his own chances saved by the eccentric but inspired goalkeeper Jan Tomaszewski and the game ended 1–1.

He played in a series of post-season friendlies for England, scoring in three of them and was kept in the side the following October as England began their campaign to qualify for the 1976 European Championships. Channon scored in the game against Czechoslovakia as England won 3–0. Channon's next goal for England was a while coming — in September 1975 — as England beat Switzerland in a friendly. England had two qualifying games left at the end of the year for the 1976 European Championships and Channon scored in both, but England lost 2–1 to Czechoslovakia in Bratislava and then only drew 1–1 with Portugal in Lisbon. England failed to qualify and Czechoslovakia went on to win the tournament.

After winning an FA Cup medal in the 1976 Final, Channon was back at Wembley days later to score twice in England's 4–0 win over Northern Ireland; he then scored again four days later against Scotland but England lost 2–1 at Hampden Park. There followed a summer tournament in the U.S. for the bi-centennial celebrations, and Channon scored twice in a thrilling game against Italy as England came from two goals down to win 3–2, whilst also becoming the first Southampton player to captain England. A fortnight later, Channon scored again as England defeated Finland 4–1 in Helsinki to get their qualification campaign for the 1978 FIFA World Cup off to a perfect start, though this would be tempered later by a defeat against Italy in Rome.

In March 1977, Channon scored twice as England beat Luxembourg at Wembley to get their World Cup campaign back on track; Luxembourg were the 'whipping boys' of the group and England would later need to demolish Luxembourg by a similar or better scoreline in Luxembourg to give themselves a chance of overhauling Italy and qualifying for the World Cup.

Channon hit his 20th England goal in a 2–1 win over Northern Ireland in May 1977. A week later came another Channon goal against Scotland – this time from the penalty spot – but this proved an infamous England defeat as the Scots won 2–1 and their fans invaded the Wembley pitch in celebration, ripping up clods of souvenir turf and pulling down one of the crossbars.

After an ill-fated move to Manchester City affected his form, Ron Greenwood chose to omit him from the starting line-up when England played the crucial World Cup qualifier in Luxembourg in October 1977. England won 2–0 and, despite victory over Italy in the last game of the campaign, the goals record was insufficient to take them to the World Cup. Channon was not selected for his country again; his international career ended with 46 appearances and a healthy 21 goals. England's failure to qualify for three major international tournaments during Channon's career leaves him as the most-capped player never to have been named to a World Cup or European Championships squad. As of 17 July 2018, he remains joint 18th in the all-time England scorers list, level with Kevin Keegan and Steven Gerrard.

Horse racing
Channon always had an interest in horse racing during his football career. After retiring from full-time professional football in 1986, he began working as an assistant trainer, before becoming a licensed trainer in his own right in 1990. He initially had ten horses.

He then moved to the West Ilsley stables near Newbury, formerly owned by the Queen, and began to increase his number of horses, eventually ending up with almost 200.

In 2002, he ended the season with 123 winners, topping the 100-mark for the first time in his career. In May 2012, he produced his first Classic winner when Samitar took the Irish 1,000 Guineas.

Among owners who have had their horses with Channon are old colleagues and acquaintances from his footballing days, including Kevin Keegan, Alan Ball, Chris Cattlin and Sir Alex Ferguson.

In October 2022, Channon announced he will close his 33-year career at the end of the season, with his son Jack taking over the license.

Personal life
On 27 August 2008, Channon was involved and injured in a motorway accident on the M1. He was travelling from the Doncaster Sales to his West Ilsley stables in Berkshire when the accident happened. Channon was reported to have suffered a punctured lung and broken arm and jaw.

During an interview with Clare Balding broadcast on BBC One on 3 January 2009, Channon spoke about how, as a result of the broken jaw, he was subsequently fitted with metal plates in his face. Bloodstock agent and friend Tim Corby died in the accident.

He was the subject of This Is Your Life in 2001 when he was surprised by Michael Aspel while being interviewed at his West Ilsley racing stables near Newbury.

Football honours
Southampton
 * FA Cup: 1975–76

Norwich City
 * Football League Cup: 1984–85

Individual
 * Rothmans Golden Boots Awards: 1973, 1974

Group 1 / Grade I wins
Great Britain
 * Cheveley Park Stakes: Seazun (1999), Queen's Logic (2001)
 * Dewhurst Stakes: Tobougg (2000)
 * Falmouth Stakes: Music Show (2010)
 * King's Stand Stakes: Piccolo (1995)
 * Nunthorpe Stakes: Piccolo (1994)
 * St. James's Palace Stakes: Zafeen (2003)
 * Sun Chariot Stakes: Majestic Roi (2007)

Canada
 * E. P. Taylor Stakes: Lahaleeb (2009)

France
 * Grand Prix de Saint-Cloud: Youmzain (2008)
 * Prix Morny: Silca's Sister (2005)
 * Prix Rothschild: Ascension (2001)
 * Prix de la Salamandre: Tobougg (2000)

Germany
 * Preis von Europa: Youmzain (2006)

Ireland
 * Irish 1,000 Guineas: Samitar (2012)
 * Moyglare Stud Stakes: Mail The Desert (2002)

Italy
 * Gran Criterium: Nayarra (2011)
 * Premio Lydia Tesio: Eva's Request (2009)
 * Premio Roma : Imperial Dancer (2003)

title: Mick Channon


text:
Wikipedia talk:WikiProject Albums/Incomplete infobox

Wikiproject Albums/Needs infobox conversion
I wanted to create this for the conversion of infoboxes that use old styles. Does that sound like a good idea? gren グレン 10:10, 22 August 2005 (UTC)

Release formats
What does this section in the table mean? Slicing 02:16, 25 October 2005 (UTC)

No Reviews
Shall we write "none" or "0" when there are no reviews yet? Promonex 01:30, 18 January 2006 (UTC)

Historical?
Is this page still used or should it be tagged as historical/deleted? --kingboyk 16:57, 21 August 2006 (UTC)

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


text:
User talk:Timwi/Archive/Jun 05 - Oct 05

The Latin language revival
You deleted my paragraph below on the grounds that it was an 'incoherent POV rant'. I don't know what POV is, but I don't think what I wrote was incoherent, and to call it a rant is quite an undeserved insult. The fact is that there is a Latin language revival movement that has even created a Latin wikipedia, so I think it's only fair to speak about it on that page. Now, how would you suggest turning my paragraph into a coherent, non ranting one so that you won't decide to delete it? Or can any of what I said be denied, and in particular that the Latin language revival has not so far received the same attention from authorities, either cultural or political, that other language revivals are receiving? I'm hardly ranting, I just ask you to find a wording that won't make you delete my work. Thanks in advance.

On the other end of the spectrum, the most emblematic language of European education throughout the centuries, which gave a cultural cohesion to the continent across all of her universities until the aforementioned period, continues to be neglected by all authorities, either cultural or political, and despite a precariously growing number of speakers.

 * It is incoherent because the reader is left to guess what the "most emblematic language of European education" is. It is POV (see NPOV about this) because different people may have different opinions on its "emblematicness", about whether it "gave a cultural cohesion to the continent", and your claim that it "continues to be neglected" implicitly attributes some level of importance to it which is also POV. I flagged it as a "rant" because the paragraph seems to aim less at conveying information, and more at criticising those who don't acknowledge your perceived importance of Latin or don't give it what you perceive as adequate attention. — P.S. please create a user account and sign your messages. Thank you. — Timwi 22:41, 2 Jun 2005 (UTC)

 * I grant that 'the reader is left to guess what the "most emblematic language of European education" is', and that can easily be rectified. I also agree that 'different people may have different opinions on its "emblematicness"', so I'll change that; but I don't see how it can be denied that it "gave a cultural cohesion to the continent" at least at an academic level, as it was the official language of university for centuries. Maybe I should just add that 'academy' precision. I have still to check the link about POV, but I'm a bit confused about your claim that my words "continues to be neglected" implicitly attribute some level of importance to it. On a merely human basis, I think we all attribute 'some level of importance to our languages', so I confess I do so about mine; I just think it's an acknowledged human and linguistic right to do it. But, as I said, I'll read the POV info to check what's so wrong with this.

 * It's fair enough to say that the paragraph may seem to 'aim less at conveying information, and more at criticising those who don't acknowledge your perceived importance of Latin or don't give it what you perceive as adequate attention.' It did aim at conveying information, but also, at the same time, I admit it, at pointing out a situation of abandonment. Again, can this fact not be stated without being accused of ranting? How can one describe poverty, violence, abuse, abandonment, famine, etc. without seeming to criticise someone or something?

 * Also, can you tell me how to create a user account to sign my messages? Thank you.

 * I'm not sure if arguing with me is going to be particularly helpful; I'm not much of an expert neither on the topic of language revival, nor on NPOV. But I think you should take a look around Wikipedia, especially the Wikipedia policies and guidelines (no, you don't have to read all of it before editing). Also have a look at the Introduction, the guideline to sign your posts on talk pages, and... you create an account by clicking "create an account" (top right corner). See also Why create an account. — Timwi 13:21, 3 Jun 2005 (UTC)

 * Who should I argue with, as it was you who considered yourself with the authority to delete a paragraph I had considered useful? Now you say you are no expert on the topic of language revival, or on NPOV? In any case, I hope the new paragraph passes your criteria. I'll try to become more conversant with editing policies. Thanks also for the tip on creating an account. I should have seen it myself, sorry. Avitus.

 * Your new version is much better. :-) Thanks for fixing it. — By the way, just because I deleted it doesn't necessarily mean that I have the "authority" to decide what goes in an article and what doesn't. I am editor just like you; I make judgements in good faith, but I make mistakes. I don't really consider this a mistake, though, because clearly it helped you improve that paragraph significantly. :-) Maybe my edit summary, which you took as offensive, was a mistake though. So I apologise. — P.S. have a look at sign your posts on talk pages and use the quadruple-tilde to sign your messages. — Timwi 20:25, 3 Jun 2005 (UTC)

 * Thank you for your very constructive approach. I agree the paragraph is much more objective now. It's just that deletions make one feel so powerless. Discussion is always better, although it's probably only my fault for not having a wikipedia account yet. Regarding signature, etc. please bear with me, I have a lot to learn yet about wikipedia. Cheers for now though. Avitus 62.137.150.24

S2 link
Look at Talk:Singapore Changi Airport passenger traffic by airline. There is a discussion between me and the article's creator about the code links in the article that that is the talk page for. No one but me and the article's creator appears to have been in the discussion up to this moment. Who, between me and the article's creator, do you think is being more logical (please explain with your own opinions.) Georgia guy 14:43, 4 Jun 2005 (UTC)

 * Although I am not entirely sure why you contacted me about this (just because I edited S2?), I am happy that you did because I also hate it when people insert links like those. :-) — Timwi 15:41, 4 Jun 2005 (UTC)

Double redirects
Hi Timwi,

I wrote my own software to detect double redirects; I was validating its output when I noticed you had already fixed a vast majority of the articles that my software identified. Nice job I must say. I have a question: Are you checking the following:
 * redirects that exist at a name that is canonically identical to the name they point at
 * redirects that redirect to disambiguation pages

I only ask because I wanted to explore these but I don't want to duplicate work with you. Thanks and keep up the good work. Triddle 09:31, Jun 10, 2005 (UTC)

 * The answer to both is no, I'm afraid :) — My script is fully automatic. Both of the cases you mention require manual intervention (for the first one, I would check if an appropriate article exists elsewhere, if not delete the redirect; in the second case, you would need to find out which of the links in the disambiguation page it would be most sensible to redirect to). — The only reason I wrote the script is because I realised that many people are leaving double-redirects behind when they move pages. Because of that, I search for double-redirects by scanning Recent Changes. — Timwi 22:48, 10 Jun 2005 (UTC)

MediaZilla skin
I see the one you uploaded to http://download.wikimedia.org/bugzilla/, but it doesn't seem to be complete: it puts the side bar under the page. Is there any way you can put the current one there?

 * I didn't upload it there; Brion VIBBER must have put it there. And no, I don't have it anymore. Please contact Brion as he has access to the actual MediaZilla server. But my guess would be that the file there is complete and you've made a mistake or done something wrong. Since I'm not an expert at this, and I did it a long time ago, and I've lost interest in it, I'm afraid I can't help you. — Timwi 22:52, 10 Jun 2005 (UTC)

TNG pages
STOP! Read the project's naming conventions: WikiProject Star Trek. Please understand before you revert next time. Cburnett 21:48, Jun 13, 2005 (UTC)

 * I have read those so-called "naming conventions" and I strongly disagree that they should have a right to override the global naming conventions of Wikipedia as a whole. If a page "XYZ" redirects to "XYZ (something)" then the latter should be moved to the former rather than adding those useless parentheses to every single link to it. The parentheses are for disambiguation, but there is nothing to disambiguate here. — Timwi 21:54, 13 Jun 2005 (UTC)

 * There are at some articles such as Coming of Age or Emissary. ST episode lists have been "plagued" by false linking and using the dab technique on all pages ensures there's no false linking. Cburnett 22:02, Jun 13, 2005 (UTC)

 * Oh, so instead you ensure that everything not only violates Wikipedia style guidelines, but everything links to loads of redirects too. — Sorry, but I'm not happy with that. — Timwi 22:14, 13 Jun 2005 (UTC)

 * You speak with big words when they don't apply. From WP:MOS:

 * The following rules don't claim to be the last word. One way is often as good as another.

 * From WP:RULES:

 * Those who edit in good faith, show civility, seek consensus, and work towards the goal of creating an impartial encyclopedia, should find a welcoming environment.

 * ...all of which are being followed.

 * Maybe when all the articles exist and the episode lists aren't riddled with red links then the convention can be dropped. But right now, this one small facet of WP's style guide is more of a hinderance than a benefit. Cburnett 22:22, Jun 13, 2005 (UTC)

Double-redirects
Re: Fix of double redirect on Liaotung... a redirect page What did you catch? Liodung is not strictly the peninsula, but all of eastern Liaoning Province. You may be correct, but the names and geo-regions mappings were so messed up in a few articles (including ones under research for additional expansion) I just want to check Wot Happend. Thanks! Fabartus 02:11, 24 Jun 2005 (UTC)

 * Hi. Please fix your signature. :-p — I only fixed a double-redirect. I don't tend to look at what they're pointing at. If you think it's wrong, you can change it yourself. I don't know anything about Liaotung. :) — Timwi 08:25, 24 Jun 2005 (UTC)

OGG Vorbis sizes
On WP:SPOKEN you say that your sound files are too big for some reason. Have you looked at the usual causes, such as the OGG Vorbis quality setting in Audacity? — Chameleon 11:38, 26 Jun 2005 (UTC)

 * Yes. And I've left the project. If you think the files are too big, please download them, re-encode them and re-upload them. I won't complain. — Timwi 22:34, 26 Jun 2005 (UTC)

Re: Copyright and Britannica Article List
Hi, i noticed on the mailing list you wrote I've asked this back when I did the Columbia list.., I do you still have this list? I am enquiring as it would eventually be a great addition to the WikiProject Missing encyclopedic articles. It seems the britannica lists are safe now as far as i can tell, so i cant see why these would not be, plus the lists will be much smaller by now i guess. thanks Bluemoose 4 July 2005 10:17 (UTC)

Edits reattributing
Timwi, hi! For about half a year I have been contributing as Eleassar777 to the English Wikipedia (>5000 edits) and have made a large number of edits also to Slovenian Wikipedia (sl.wikipedia.org), Wikimedia Commons and Wikisource. Recently I left "777" out as I find it more elegant this way. If you would take a minute to reattribute my edits, I would be very very grateful. Thank you in advance and happy wiki-ing! -- Eleassar  my talk 4 July 2005 19:06 (UTC)
 * I do not have any access that enables me to do this for you, and I'm puzzled as to why you thought I did. I would be grateful if you could clarify this. — Timwi 5 July 2005 10:01 (UTC)

An admin advised me to do so. From my talk page: "I suggest you contact User:Brion_VIBBER or User:Timwi instead. Angela is possibly busy with matters that are non-developer related. Mgm|(talk) 20:52, Jun 12, 2005 (UTC)".

Thanks anyway, no problem. -- Eleassar  my talk 5 July 2005 14:21 (UTC)

 * Oh, I see. That user was mixing me up with User:Tim Starling then. — Timwi 5 July 2005 19:47 (UTC)

Help desk wikiproject
I have created a new Wikiproject which aims to bring computer veterans and people who need help with software tools they use on Wikipedia together. I'm writing this to you because I saw you on the bot list and wanted to know if you would be willing to help. There is already an open case: WikiProject help desk/20050702 Dmcdevit. The Windows tool that Dmcdevit uses to perform Transwikis has broken since the software upgrade. Triddle July 6, 2005 22:30 (UTC)

Hoboism?
Why did you change hobo to hoboism? There are only 590 or so google hits for hoboism, so it's not really a commonly used term. I think it's more natural to leave the page as "hobo," since "hoboism" is so infrequently said. In comparison, look at the article Clown. The word "clowning" is quite common, but that page is still listed under its plain noun form, rather that the verbized form of the noun. There's no need to put hobo under the less common hoboism, when you consider that other articles are left in their plain form. --Carl 01:19, 11 July 2005 (UTC)

I just came here to ask the same thing. I have *never* heard the term "hoboism" and I'm pretty familiar with the lore and literature of hobos. Kaibabsquirrel 01:58, 11 July 2005 (UTC)

 * I can't say I've heard or read a lot about hobos, but I have certainly heard the term hoboism before. I just went by my feeling without checking Google. :-p – Timwi 21:31, 11 July 2005 (UTC)

 * Okay, didn't mean to snap at you or anything. Sorry.  It's been reverted.  Kaibabsquirrel 02:57, 12 July 2005 (UTC)

Bot to fix double redirects
Timwi I read here that you have a bot that fixes double redirects. Can you share the script with me? I want it for a mediawiki on my site. Thanks 213.23.250.170 19:15, 15 July 2005 (UTC)

 * I can't without any contact details of yours... – Timwi 19:40, 15 July 2005 (UTC)

 * Indeed, I forgot I'm not a registered user of wikipedia(en). My email is back2theprimitive1983 at hotmail. Thank you! 82.82.234.80 20:43, 15 July 2005 (UTC)

templates?
Hi! What was that thing with the language templates, I didn't quite get it? --rydel 16:08, 12 August 2005 (UTC)
 * Well, the category for native speakers is called "Category:User (languagecode)-N", so for some reason I expected the templates to follow the same naming scheme. But apparently the native-speaker templates don't have the "-N", while for the categories, omitting the "-N" takes you to a super-category of all speakers of that language. – Timwi 16:30, 12 August 2005 (UTC)

Re: ISO 3166-2
As I see you replying to others' messages here, I would like to ask for a follow-up of your message to me dated 12 Mar 2004 about ISO 3166-2 because I also replied to your message at my talk page. Do you know whether it is copyright-okay to post ISO 3166-2 codes here? I really have to know the exact answer before posting any ISO 3166-2 codes. Otherwise, I will not proceed any further on this.--Jusjih 23:00, 22 August 2005 (UTC)
 * 12 Mar 2004? That's more than a year ago. :-) – I don't see any problem with posting a list of ISO codes; we already have lists of codes for countries and languages. But I'm not an expert, so I'm not quite sure why you're asking me. – Timwi 12:42, 23 August 2005 (UTC)
 * Because when I posted some start-ups more than 1 year ago without codes first, you asked me. I made the reply at my talk page. This is what I think: codes alone should probably not be copyrightable. When we contend posting codes copyright-okay, I will proceed soon.--Jusjih 21:44, 23 August 2005 (UTC)

Votes for deletion/Caspian James Crichton-Stuart IV
Hi, on your removal of this from the day log Votes for deletion/Log/2005 August 22, I think we don't do this because we use the day logs as archives when they've been completed. Just leave the completed discussion in place. --Tony Sidaway Talk 18:29, 23 August 2005 (UTC)

Image:Scrabble tournament game 15.png, Image:Scrabble tournament game 18.png
I'm guessing and tagging these PD, like the others. Please correct me if wrong. --Duk 21:26, 22 September 2005 (UTC)
 * As far as I'm concerned, you can regard them PD, assuming no copyright or other restrictions from the maker of Scrabble (Hasbro/Mattel) apply. — Timwi 10:36, 23 September 2005 (UTC)
 * Looks like Quadell had tagged the other ones PD last October. See .--Duk 16:09, 23 September 2005 (UTC)
 * Yes, I know... see :-) — Timwi 09:12, 26 September 2005 (UTC)

Double article on Geographical Centre of Europe
Hi, I've seen that you have edited the Article on Geographical Centre of Europe to which I have added some material in July (as unlogge user). Now, returning to it I have realised that there are two articles: Geographic Centre of Europe and Geographical centre of Europe - both containig almost the same data - with minor differences. The second one has also the possibility of being redirected from Geographic centre of Europe.

The difference causing the existence of two seems to me to lie in the capital or lowercase "c" in "centre". I don't know how do it but one of them should be removed - and have the information transferred from the other. (Now, I couldn't synchronize them, as I am quite a greenhorn to Wikipedia). noychoH 19:10, 27 September 2005 (UTC)

 * They are the same article. One is redirecting to the other. — Timwi 19:38, 27 September 2005 (UTC)

Edit summary
Hi Timwi. Could you explain the meaning of this edit summary? I was slightly surprised when it appeared on my watchlist... Cheers, [[Sam Korn ]] 18:28, 4 October 2005 (UTC)
 * Yep, gave me a strange look, too. I'd guess it's either a test whether long edit summaries, without spaces to break them in multiple lines, are bad (yes they are) or a general comment about about the article (I'd agree). --Pjacobi 19:42, 4 October 2005 (UTC)

 * Heh. Oops. I hadn't thought of the line-wrapping problems caused by such edit summaries. I'm very sorry. I'll put spaces in next time. — The point in the summary is that this is at least the 47 millionth time I'm seeing led misspelt as lead. Maybe I need therapy or something. — Timwi 19:50, 4 October 2005 (UTC)

re: stop using align=right
Note that the dog-breed info table has used that format for at least 2 years, so only a few of the most recent use a different format. I was hoping that someone would get around to finishing the dogbreedinfo template that I started mucking with so that we wouldn't have to keep tweaking every one of the hundreds of dog-breed articles every time someone had a change like this. But I don't have time to figure it out (and one volunteer apparently doesn't either), so it sits. (And then there's a question of finding someone to make a bot to try to change most of the pages automatically...) I wonder whether it's really worth your time to go through all the articles in List of dog breeds to fix that one thing in the tables, which doesn't really seem to affect anything in the display as far as I can tell. (Oh, in case you want to take a look at the rudimentary template & some discussions about it--hint hint-- template discussion and links to template & sample /further template discussion .) Elf | Talk 20:24, 6 October 2005 (UTC)

MediaWiki_talk:Uploadtext
I noticed your alternative version of the upload text, on this page, (from back in 2004), and I really like it. I've made various annoucements trying to drum up enough support to get it implemented. Let me know if you have any new thoughts on that. (And thanks for the, I use it often for adding timestamps.) JesseW, the juggling janitor 20:45, 7 October 2005 (UTC)

 * I don't understand. The "alternative version" that I proposed in 2004 was implemented back then (as far as I can remember). It has gone through further changes since. — Timwi 15:15, 8 October 2005 (UTC)
 * Oh. Er.  Odd I didn't realize that.  Looks like I made a fool of myself, somewhat, then.  I liked it because it was short and simple(unlike the current unreadable one); I didn't realize it had been accepted and applied back in 2004.  Hm.  Well, I guess I'll just have to hack the current one down to that size again.  Thanks anyway! JesseW, the juggling janitor 02:15, 10 October 2005 (UTC)
 * I quite agree. People keep trying to put information in they think is important ("Watch out for copyright!" - "Use a copyright tag!" - "Use a descriptive name!" - "Remember there's also Commons!") and it ends up being a mess of them. The same was true back then. I guess this just shows that if you try to cut it down too much, people will just keep adding things chaotically again. – Timwi 08:52, 10 October 2005 (UTC)

Stop abusing your admin rights
Stop abusing your admin rights by simply deleting stuff without any notice nor discussion. Please stop also merging stuff without notice or asking anywhere, especially if there allready were discussions. Tobias Conradi (Talk) 17:07, 17 October 2005 (UTC)

 * A less aggressive attitude on your part may be more helpful in approaching the issue. You have neither linked to any of my "deleting" or "merging", nor any of the pre-existing "discussions", so I am entirely in the dark as to what you are talknig about. I also don't think I have deleted or protected any significant pages, so your accusation of "abusing admin rights" is entirely without foundation. Your credibility suffers accordingly. – Timwi 17:40, 17 October 2005 (UTC)

 * How does my credibility suffer if you did it? You said yourself "I do not think I did not [comment from oct 18: the not is typo by Tobias] delete any significant pages". This shows your attitude. You simply deleted something, something that you call insignificant (your deletion summary was "pointless"), and then a non-admin cannot revert. If you do not know what deletion I talk about, I wonder whether you do this frequently? Please just put a note next time, and maybe talk to the creator, ok? Tobias Conradi (Talk) 20:19, 17 October 2005 (UTC)

 * Inserting a "not" that I didn't write makes it sound so much more like what you want it to sound like, doesn't it? Your credibility is now gone. – What really happened is that I forgot about the one template I deleted. Clearly, you found an admin to do the undeletion for you, so stop being angry. I still think the template is pointless and insignificant, but now you can discuss your view (hopefully in a civilised manner) at Templates for deletion. – Timwi 20:31, 17 October 2005 (UTC)
 * Sorry for the double "not" this was an error. I was just about to correct his. My credibility is gone by a typo? Wao. And you are an admin? No I did not found an admin for undeletion. I tried to remember what it contained before you abused your admin-rights. Why do you call me uncivilized, if you abused your rights and asked you to stop? I put a RfC about your abuse and your replies to my question to stop these abuses. Tobias Conradi (Talk) 02:26, 18 October 2005 (UTC)

Copyright
From your user-page I assume you need help, because you do not understand the concept of copyright. Sometimes it takes lot of energy to create something. If so there may be individuals that only create certain things if they can get some stuff back (spend hours on a work, but how to feed your children?). Not respecting copyrights may reduce incentives to create certain things. Thus, without any copyright at all the possibility exists that we are ALL worse off with copyright. Thus, by a policy of not respecting other people's rights you may be guilty of reducing the overall value of life. Glad to have helped you. (Note: I will not put your page on my watchlist, so replies may go unnoticed.) Tobias Conradi (Talk) 17:18, 17 October 2005 (UTC)

 * I never stated that I disrespect the rights granted to people by copyright law. I'm sorry you misunderstood it that way. I'm also perfectly aware of why people generally believe copyright law is desirable, I don't need you to tell me that. – Timwi 17:44, 17 October 2005 (UTC)

 * From your words I don't understand copyright. I don't get the entire concept of "intellectual property". Are we a species trying to help each other improve each other's lives or not? If copyrights or patents prevent someone's work or discovery from improving someone else's life, then how did the work or discovery serve humanity? I guess it didn't. it is not clear that you know why copyright might be desirable. If you put up such statements I could not other, but guess you need help. Tobias Conradi (Talk) 20:23, 17 October 2005 (UTC)

 * What alternative wording do you suggest that is less prone to misunderstanding? When I stay "I don't understand", of course I don't literally mean that I don't understand what copyright means; it means that I strongly disagree with the entire concept and that I find it clear that the world would be better off without it. – Timwi 20:34, 17 October 2005 (UTC)

 * Difficult question. Maybe something like: Even if there are cases where copyright might improve the quality of life for all of us, I think very often (or overwhelmingly) it is the opposite. I would like to tell you a story: friend of mine has large 78rpm collection of tango music. Lots of very rare records, maybe some stuff nobody else has. It would be nice to have this on CD and give it to the world. But it is lot of work. If he could protect the stuff with DRM he could cash in on it. But now he waits. Maybe there is fire in his house, maybe some other accident and the stuff is lost forever.
 * On the other hand copyright can be hinder some nice things on the first sight. E.g. what I do not like with so called "free"-WP, is a lot of the commons-wp-gpl stuff. Lots of fotos, but large part of them requires attribution. This stops me from using the fotos. I hope more people release fotos into PD. It's not that much work to shoot a foto. Attribution can really be a problem if you want to run a website and put some city-fotos there. For me copyright has two sides. But if there are humans that want to protect there fotos - well there are others that simply like to help. You and me we give our contributions in PD - and we are not alone. And even for us it might pay off - or at least for the society it does so.
 * maybe tell a story and try tp make your wording less polemic. - best regards from Berlin Tobias Conradi (Talk) 02:47, 18 October 2005 (UTC)

 * Both of your cases argue against copyright. The tango music is probably copyrighted, which stops your friend from redistributing it. If copyright didn't exist, some of his friends could easily copy some of his stuff. Via a series of small steps, the entire collection would eventually be available to the masses in electronic form. – Timwi 15:36, 18 October 2005 (UTC)
 * Wrong. In the above story I did not mention any copyright problems with the music itself. Instead the story mentioned that it is a lot of work to put the music on CD, it's not just some friends coming around and copying it. He has maybe 50.000 recordings. There is hightech equipment with laser reading - so that the 78rpm are not touched. Today I got to know this costs 10.000 USD. He also has costs of storing, well they are in his flat, but he only rents bigger flat because of the collection. Furthermore it would be better of in another place with climate suited for storing records could be used. Who would pay this? Daily food is not for free, someone has to produce it and deserves some kind of payment. So it is for storing, reproducing etc. And for tango bands that play nowadays. How can they afford recording a new CD, if they cannot sell it for more than the price of blank CD? Next time when I have to paint the walls in my flat would you like to come and work for free? Tobias Conradi (Talk) 18:23, 19 October 2005 (UTC)

RfC
I have helped User:Tobias Conradi properly format his RfC and copied your comment from the TOC page to the response section of the subpage. Please visit Requests for comment/Timwi and endorse where appropriate; my plagiarism only goes so far. — Lomn | Talk / RfC 21:24, 19 October 2005 (UTC)

I responded. I think the thing is settled soon. There are really much more important issues around! Best regards Tobias Conradi (Talk) 16:27, 20 October 2005 (UTC)

alea iacta est
geworfen or gefallen: I suppose from the point of view of the dice this is a purely academic distinction ;-). T.a.k. 21:12, 21 October 2005 (UTC)

RFC against you.
Seeing that nobody else certified it in 48 hours (in fact, no one had edited it in over 48 hours), I've deleted the RFC against you. Ral 315   WS  00:02, 23 October 2005 (UTC)
 * Thanks :-) — Timwi 00:31, 23 October 2005 (UTC)

Belated Birthday
--User:Jenmoa 15:30, 24 October 2005 (UTC)

 * Oy! Why, thanks! :-) ... But my WikiBirthday is June 10! :-) — Timwi 22:01, 24 October 2005 (UTC)

RE: Contribution Count
The main reason why I have many user talk edits, is that I am a) part of the welcoming committee and b) part of the counter vandalism unit, which both mean that I have to leave a lot of messages on user talk pages. In my personal opinion, all edits made on Wikipedia should be counted when talking about edit counts because they are all contributing to something or other on Wikipedia. People shouldn't really care about edit counts anyway - editcountitis is fatal. Fir e  Fo  x  13:41, 27 October 2005 (UTC)

title: User talk:Timwi/Archive/Jun 05 - Oct 05


text:
Malvi language

Malvi or Malwi (माळवी भाषा) is an Indo-Aryan language spoken in the Malwa region of India. It is a dialect of Rajasthani language.

The dialects of Malvi are as follows:

 * Malvi
 * Ujjaini (Ujjain, Dhar, Indore, Dewas, Shajapur, Sehore, Agar Malwa districts)
 * Rajawadi (Ratlam, Mandsaur, Neemuch districts)
 * Umathwadi (Rajgarh district)
 * Sondhwadi (Jhalawar district)
 * Bhoyari/Pawari (Betul, Chhindwara, Padhurna, Wardha Districts)

About 75% of the Malvi population can converse in Hindi, which is the official language of the Madhya Pradesh state, and literacy rate in a second language such as Hindi is about 40%. There are many unpublished materials in this language.

title: Malvi language


text:
User:Bristle KRS

A poor poll-starter, not as good as ernestolynch.

title: User:Bristle KRS


text:
Category talk:Rugby league competitions

The whole competitions sector needs reorganising. At present there is a 'British' cat and an 'International' cat (one that mixes club and country competitions together). At present there is no cat for Australian / Australasian competitions or for any future articles on French / Kiwi competitions.

I've put this cat together because I like the way the corresponding Rugby union competitions category works i.e. everything together under one category and because even if we do not decide that this is the best solution for the RL articles I think we should have some more cats for Australia / New Zealand / France etc and they should be subcats of this cat.

Thoughts please.GordyB 12:51, 1 Jun 2005 (UTC)

 * The way it is now seems fine to me. Obviosuly we will need to subdivide a bit more if articles on other comps in other countries come along. Grinner 13:35, Jun 15, 2005 (UTC)

 * I had a bit of a rethink since I posted the above and as you can see created an Australasian cat. I think unlike the corresponding union cat there are too many articles on past tournaments to simply merge them into one cat.GordyB 20:06, 16 Jun 2005 (UTC)

title: Category talk:Rugby league competitions


text: User talk:162.39.17.131

title: User talk:162.39.17.131


text:
User:Jawr256/Sandbox

Contents
$$\sum_{n=1}^\|20 u_n$$ grr
 * Doctor Who episode plot synopsis - currently Carnival of Monsters
 * My user navigation table (done)

title: User:Jawr256/Sandbox


text:
Basilica of Saint Francis of Assisi

The Basilica of Saint Francis of Assisi (Basilica di San Francesco d'Assisi; Basilica Sancti Francisci Assisiensis) is the mother church of the Roman Catholic Order of Friars Minor Conventual in Assisi, a town in the Umbria region in central Italy, where Saint Francis was born and died. It is a papal minor basilica and one of the most important places of Christian pilgrimage in Italy. With its accompanying friary, Sacro Convento, the basilica is a distinctive landmark to those approaching Assisi. It has been a UNESCO World Heritage Site since 2000.

The basilica, which was begun in 1228, is built into the side of a hill and comprises two churches (known as the Upper Church and the Lower Church) and a crypt, where the remains of the saint are interred. The interior of the Upper Church is an important early example of the Gothic style in Italy. The Upper and Lower Churches are decorated with frescoes by numerous late medieval painters from the Roman and Tuscan schools, and include works by Cimabue, Giotto, Simone Martini, Pietro Lorenzetti, and possibly Pietro Cavallini. The range and quality of the works give the basilica a unique importance in demonstrating the outstanding development of Italian art of this period, especially if compared with the rest of Christian Europe.

History
The Franciscan friary (Sacro Convento) and the Lower and Upper Basilicas (Basilica inferiore e superiore) of Francis of Assisi were begun in honor of this local saint, immediately after his canonization in 1228. Simone di Pucciarello donated the land for the church, a hill at the west side of Assisi, known as "Hill of Hell" (Colle d'Inferno) where previously criminals were put to death. Today, this hill is called "Hill of Paradise".

On 16 July 1228, Francis was canonized by Pope Gregory IX in Assisi, and he laid the foundation stone of the new church the following day, although construction may already have been begun. The construction having been begun at his order, the Pope declared the church to be the property of the papacy. The church was designed by Maestro Jacopo Tedesco, who was in those days the most famous architect. The construction was supervised by Brother Elias of Cortona, one of the first followers of Saint Francis and the former Vicar General of the Order under Saint Francis. The Lower Basilica was finished in 1230. On Pentecost 25 May 1230, the remains of Saint Francis were brought in a solemn procession to the Lower Basilica from its temporary burial place in the church of San Giorgio (St. George), now the Basilica of Saint Clare of Assisi. The burial place was concealed for fear that St Francis' remains might be stolen and dispersed. The construction of the Upper Basilica was begun after 1239 and was completed in 1253. Both churches were consecrated by Pope Innocent IV in 1253.

Pope Nicholas IV, a former Minister-General of the Order of Franciscans, raised the church to the status of Papal Church in 1288. The Piazza del Loge, the square leading to the church, is surrounded by colonnades constructed in 1474. They housed the numerous pilgrims flocking to this church. In 1818, the remains of Saint Francis were rediscovered beneath the floor of the Lower Basilica. In the reign of Pope Pius VII the crypt was built so that the faithful might visit the burial place of the saint.

On 27 October 1986 and January 2002, Pope John Paul II gathered in Assisi with more than 120 representatives of different religions and Christian denominations for a World Day of Prayer for Peace.

Earthquake of 1997
On the morning of September 26, 1997, two earthquakes hit the region around Assisi in rapid succession, registering 5.7 and 6.0 magnitude respectively. There was widespread devastation and many ancient buildings were destroyed or damaged. While a group of specialists and friars were inspecting the damage to the Basilica of Saint Francis, an aftershock shook the building, causing the collapse of the vault. Two Franciscan friars who were among the group and two of the specialists were killed. Much of the cycle of frescoes of the life of Saint Francis by Giotto in the Upper Church of the Basilica were slightly damaged whereas those of the sections of the vault which collapsed were almost entirely destroyed. The church was closed for two years for restoration. The collapse was captured on tape.

Architecture
The church was designed by Maestro Jacopo Tedesco on two levels, each of which is consecrated as a church. They are known as the "Basilica superiore" (The Upper Basilica), generally called "The Upper Church" and the "Basilica inferiore" (The Lower Basilica), generally called "The Lower Church". The Lower Church was structurally a large crypt supporting the upper one. In the 19th century a lower crypt was constructed beneath the basilica. Architecturally, the exterior of the basilica appears united with the Friary of St. Francis, since the lofty arcades of the latter support and buttress the church in its apparently precarious position on the hillside.

The architecture is a synthesis of the Romanesque and Gothic styles, and established many of the typical characteristics of Italian Gothic architecture. As originally built, both upper and lower churches had a simple cruciform plan with an aisle-less nave of four square bays, a square crossing, a transept that projected by half a bay on each side, and an apse, the lower being semicircular and the upper polygonal. To the left of the church stands a free-standing bell tower of Romanesque design.

The Lower Church was built entirely in the Romanesque style, having low semi-circular ribbed cross-vaults over the nave and barrel vaults over the transept arms. However, the space has been greatly extended with a number of lateral and transept chapels added between 1350 and 1400. The main entrance to the nave is through an ornate Gothic doorway built between 1280 and 1300, and later enclosed with a simple Renaissance style porch of 1487 by Francesco di Bartolomeo da Pietrasanta (d. 1494). Set in the tympanum of the Gothic doorway is an ornate rose window which has been called "the eye of the most beautiful church in the world"

The Upper Church has a façade of white-washed brick divided into two horizontal zones of about equal height, and with a simple gable of height equal to the lower zones. There is a single large doorway in the Gothic style, divided by a column and with a rose window set in the tympanum above the two cusped arches. Above the door, in the second zone is a large and ornate rose window in which most of the decorative details are Romanesque in style. Surrounding it are carved the symbols of the Four Evangelists, combining with the window to create a square composition. Above it in the gable is an ocular window. To the left of the façade and visible from both the forecourts of the Upper Church and the Lower Church is the Benediction Loggia in the Baroque style which was built in 1754, when the church was raised to the status of basilica.

Internally, the Upper Church maintains Brother Elias' original simple aisleless cruciform plan. Like the Lower Church, there is a nave of four bays with ribbed cross-vaulting. Unlike that of the Lower Church, it is only the diagonal ribs which are of semi-circular form. The transverse ribs are pointed in the Gothic manner, and thus rise to the full height of the wider diagonal ribs. Each group of ribs springs from a group of clustered columns. Externally the columns and vault are supported by stout buttresses of semi-circular plan. Unlike the Lower Church, the transepts also have ribbed vaulting.

There are tall Gothic windows with Geometric tracery in each bay of the nave and in the polygonal apse of the chancel. The windows of the apse are believed to have been created by German craftsmen active around Assisi at the end of the 13th century. The windows on the left hand side of the nave were made by a French workshop (1270), while those on the right hand side are attributed to the workshop of Maestro di San Francesco. These stained glass windows are among the best examples of 13th-century Italian glasswork.

As is characteristic of Italian church architecture, the main decorative feature, and the main medium used for conveying the Church's message is fresco, rather than stained glass. The earliest frescoes are some of those in the Lower Church. The work proceeded with a number of different projects and appears to have involved numerous artists, some of whom are as renowned as Cimabue and Giotto, but many of whom are no longer known by name.

Upper Basilica
This bright and spacious basilica consists of a single four-bay nave with cross-vaulted ceiling bordered with patterns of crosses and leaves, a transept and a polygonal apse. The four ribbed vaults are decorated alternately with golden stars on a blue background and paintings. The second vault is decorated with roundels with busts of Christ facing Saint Francis and the Virgin facing Saint John the Baptist. The entrance vault gives us the Four Latin Doctors of the Church: St Gregory facing St. Jerome and Saint Ambrose facing St. Augustine. These are ascribed to the Isaac Master.

The choir has 102 wooden stalls with carvings and marquetry by Domenico Indovini (1501). In their centre, on a raised platform, stands the papal cathedra.

The west end of the transept and the apse have been decorated with many frescoes by Cimabue and his workshop (starting in c. 1280). The magnificent Crucifixion, with Saint Francis on his knees at the foot of the Cross, stresses again the veneration of the Passion of Christ by Saint Francis. The frescoes of Cimabue soon suffered from damp and decay. Due to the use of lead oxide in his colours and to the fact that the colours were applied when the plaster was no longer fresh, they have deteriorated and have been reduced to photographic negatives.

Prior to him there had been some decorations in the upper right hand section of the transept by an (anonymous) Northern Master, probably an English artist (1267–1270). He realized the two lunettes and the roundels on the west wall with paintings of the Angel and the Apostles. Another (anonymous) master, the Roman Master, painted the Isaiah and the David and the remainder of the wall under the eastern lunette.

The upper part on both sides of the nave, badly damaged by the earthquake of 1997, was decorated in two rows with in total 32 scenes from the Old Testament (starting with Creation of the World and ending with Joseph forgives his brothers) and the New Testament (from the Annunciation to The Women at the Tomb), while the upper register of the entrance wall is covered with two frescoes Pentecost and Ascension of Jesus. Since it took about six months to paint one bay of the nave, different Roman and Tuscan masters, followers of Cimabue, have performed this series of scenes such as Giacomo, Jacopo Torriti and Pietro Cavallini.

The two frescoes of the life of Isaac (Isaac blesses Jacob and Esau in front of Isaac) in the middle register of the third bay, are traditionally ascribed to the young Giotto (1290–1295) (previously wrongly ascribed to Cimabue by Vasari). But even this has been controversial. Many critics esteem these the work of the anonymous Isaac Master and his workshop. Deducing from stylistic details, attesting to his Roman background, some think that the Isaac Master may have been Pietro Cavallini or a follower. Pietro Cavallini had painted around 1290 a similar fresco Isaac blessing Jacob in the convent of the church Santa Cecilia in Trastevere in Rome. The position of the resting Isaac looks like the same position of the Virgin in Cavallini's mosaic Birth of the Virgin in the apse of the church Santa Maria in Trastevere in Rome. The Isaac Master is considered one of the first practitioners of the true fresco (buon fresco) technique, which revolutionized mural painting for the subsequent centuries.

But the most important decorations are the series of 28 frescoes ascribed to the young Giotto along the lower part of the nave. Each bay contains three frescoes above the dado on each side of the nave, two frescoes in the east galleries beside the entrance, and two more on the entrance wall. Giotto used the Legenda Maior, the biography of Saint Francis by Saint Bonaventure (1266) to reconstruct the major events in the life of Saint Francis. The prototype for this cycle may have been the (now lost) Saint Francis cycle by Pietro Cavallini in the church San Francesco a Ripa in Rome. The paintings are as vivid as if Giotto had been a witness to these events. According to Vasari, they were executed in the period between 1296 and 1304.

However the authorship of Giotto is disputed, due to the ambiguous attributions given in early descriptions of this work. Many Italian critics continue to support the authorship of Giotto and his workshop. But because of small differences in style with the frescoes of Isaac, it is thought that several or even all of these frescoes were painted by at least three separate painters, using the original concept of Giotto : the Master of Legend of Saint Francis (the principal painter and probable supervisor of the cycle), the Master of the Obsequies of Saint Francis and the Cecilia Master.

The first span of the ceiling is decorated with frescoes of the "Four Doctors of the Church“ ( Jerome, Augustine, Gregory and Ambrose), attributed either to a young Giotto or to one of his followers. The third span presents four heart-shaped medallions of the Christ, Mary, John the Baptist and Francis, painted by Jacopo Torriti.

The cuspidate façade of the upper basilica has a portal in Gothic style with twin doors and a beautiful rose window.

There is a sculpture, Tau, by Guido Dettoni della Grazia, that is on permanent exhibition.

Lower Basilica
Brother Elias had designed the lower basilica as an enormous crypt with ribbed vaults. He had acquired his experience by building huge sepulchres out of hard rock in Syria.

The doors are surmounted by a large rose window, flanked by two smaller ones, called "the eye of the most beautiful church in the world" The decorations on the left wooden door were executed by Ugolinuccio da Gubbio (c. 1550) and those on the right door by an anonymous Umbrian artist (1573). They portray stories from the lives of Saint Francis, Saint Clare, Saint Louis and Saint Anthony. On the left wall of the porch stands the bust of Pope Benedict XIV who granted this church the title of Patriarchal Basilica and Cappella Papale. Pope Benedict XVI's theological act in 2006 of renouncing the title of "Patriarch of the West" has had the consequence of the basilica changing its name to that of the Papal Basilica of St. Francis.

Entering the lower basilica, one sees at the other side of the vestibule the chapel of Saint Catherine of Alexandria, erected about 1270. It was enlarged by Gattapone da Gubbio and decorated at the expense of Cardinal Egidio Albornoz, papal legate in charge of the Papal States (from 1350 to 1367). He was initially buried here but his body was later transferred to Toledo, Spain. The frescoes with the eight episodes from the life of Saint Catherine were painted in 1368–1369 by 'Andreas pictor de Bononia'. This painter, called Andrea, is most probably Andrea de' Bartoli (c. 1349–1369), the court artist of Albornoz (and not Andrea da Bologna, as usually, but wrongly, attributed). The saints in this chapel were painted by Pace di Bartolo d'Assisi (1344–1368). The stained glass windows are the work of Giovanni di Bonino of Assisi (mid-14th century).

On the left side of the entrance is the small Chapel of St. Sebastian with a canvas by Giorgetti and episodes of the life of the saint on the walls painted c. 1646 by G. Martelli (Irene taking care of St. Sebastian; St. Sebastian before Domitian). The left wall of this chapel is decorated by some paintings by Ottaviano Nelli (15th century) and a painting of Saint Christopher (Umbrian School, 14th century).

On the right side of the entrance there are two monuments by anonymous artists: in the first span, the mausoleum of Giovanni de' Cerchi, surmounted by an early 14th-century porphyry vase (a gift of a queen of Cyprus) and the mausoleum of John of Brienne, king of Jerusalem and emperor-regent of Constantinople. Above this last burial monument stands a statue of the Blessed Virgin and on its left the figure of a crowned woman seated on a lion, made by Cosmatesco (1290).

The badly deteriorating frescoes on the walls and the vaults of the third section of this entrance are the work of Cesare Sermei and G. Martelli (1645). The chapel on the right side of the third section is dedicated to St. Anthony the Abbot. The niches in the wall contain the burial monuments of the Governor of Spoleto (by then part of the Papal States) Blasco Fernandez and his son Garcia, both assassinated in 1367 (anonymous local artist, 14th century).

The lower basilica consists of a central nave with several side chapels with semi-circular arches. The nave is decorated with the oldest frescoes in the church by an unknown artist, called Maestro di San Francesco. They feature five scenes from the Passion of Christ on the right side, while on the left side equally five scenes from the Life of St. Francis. By this juxtaposition, the Franciscans wanted to contribute to the idea of their founder as a second Christ.

They are connected by a low blue-painted ceiling decorated with golden stars. Most images on the lower walls have decayed to leave almost no trace, except on the right wall fragments of Virgin and Child with an Angel by Cimabue.

These frescoes, executed in tempera on dry plaster, were completed about 1260–1263. They are considered by many as the best examples of Tuscan wall paintings prior to Cimabue. As the popularity of this church increased, side chapels for noble families were added between 1270 and 1350, destroying the frescoes on the opened walls.

The first chapel on the left is the San Martino Chapel, dedicated to Saint Martin of Tours. It was built by the Franciscan Cardinal Gentile Portino da Montefiore and was decorated between 1317 and 1319 with ten frescoes depicting the saint's life by Simone Martini. This dedication most likely referred to the Cardinal's position as Cardinal-Priest of the Basilica of St. Martin "ai Monti" in Rome, and was intended to be his burial place. It was probably incomplete at the time of Montefiore's death (October 1312), thus he was interred in the neighboring Chapel of St. Louis. Martini also painted a triptych depicting the Madonna and Child with Two Hungarian Royal Saints with a row of five attendant saints in the St. Elizabeth Chapel (southern arm of the transept). These are among the greatest Martini's works and the finest examples of 14th-century painting. Over time, however, his use of lead paint has led to the darkening of several sections of these works. The other chapel on the left is dedicated to St. Peter of Alcantara.

The chapels on the right are dedicated to Saints:
 * Louis of Toulouse and Stephen I of Hungary, with frescoes by Dono Doni (1575) and stained glass, attributed to Simone Martini.
 * Anthony of Padua, with frescoes by Cesare Sermei (1610).
 * Mary Magdalene. This chapel, built by Teobaldo Pontano (the Bishop of Assisi from 1296 to 1329), contains some of the best works of the workshop of Giotto and maybe by the Master himself (about 1320). (It was wrongly attributed by Vasari to Puccio Capanna.) On the lateral walls are scenes from the Life of Mary Magdalene (above the portrait of Teobaldo Pontano), while in the vault there are roundels with busts of Christ, the Virgin, Mary Magdalene and Lazarus.

The nave ends in a richly decorated semicircular apse, preceded with a transept with barrel vaulting.

The frescoes in the right transept depict the childhood of Christ, partly by Giotto and his workshop and the Nativity by the anonymous Maestro di San Nicola. The lowest level shows three frescoes representing St. Francis posthumously intervening in favour of two children. These frescoes by Giotto were revolutionary in their time, showing real people with emotions, set in a realistic landscape.

On the transept wall Cimabue painted an image of Our Lady enthroned and Saint Francis (1280). This is probably the nearest likeness existing, showing the actual appearance of Saint Francis. This static painting in Gothic style is in stark contrast with the lively frescoes of Giotto.

This Chapel of Saint Nicholas of Bari, at the northern end of the transept, was commissioned by the papal legate Cardinal Napoleone Orsini and it contains the tomb of the cardinal's brother, Giovanni Orsini, who died between 1292 and 1294. The funerary monument is set in a niche above the altar, with the recumbent effigy of a young man placed inside a mortuary chamber and flanked by two angels. The reliefs were carved by an Umbrian sculptor, probably of local origin. Between the tomb and the stained glass window appears a frescoed triptych attributed to Giotto's school, representing the Madonna and Child with Saint Francis and Nicholas. The cycle decorating the walls of the chapel, completed by 1307, comprises twelve scenes painted on the ceiling and on the walls illustrating the life and miracles of St Nicholas A scene of the chapel's dedication is painted above the arch of the entrance on the southern wall: the Redeemer receives the homage of Giovanni Orsini, presented by St. Nicholas, and of Napoleone Orsini, presented by Saint Francis. The stained glass windows show Cardinal Napoleone presented to Christ in the summit and his brother presented to Saint Nicholas in the zone below. At the southern end of the transept cardinal Orsini commissioned another chapel, dedicated to St John the Baptist, which was probably originally built for the tomb of Napoleone Orsini himself, but the cardinal was never buried there and the tomb remained empty. The parallel architectural arrangement of both Orsini chapels suggests that they were conceived together. However, the decorations of the chapel dedicated to Saint John the Baptist were never finished. Pietro Lorenzetti (or his workshop) executed a frescoed triptych with a Madonna and Child with Saints John the Baptist and Francis. The left transept was decorated by the Sienese painter Pietro Lorenzetti and his workshop between 1315 and 1330 (attributed by Vasari to Pietro Lorenzetti and also (wrongly) to Giotto and Puccio Capanna). This cycle of tempera frescoes are his masterworks. They depict six scenes from the Passion of Christ. The fresco of Deposition of the Cross is especially emotional. There were about 330 work-stages needed to complete this cycle. Beneath the monumental "Crucifixion" scene, Pietro Lorenzetti has executed a fresco of the Madonna and Child, accompanied by Saints John the Evangelist and Saint Francis (the so-called Madonna dei Tramonti). The fresco is accompanied by a frescoed niche containing the liturgical implements and a fictive bench.

The juxtaposition of the Childhood and the Passion frescoes emphasizes the parallel between the passion of Christ and the compassion of St. Francis.

The papal altar in the apse was made out of one block of stone from Como in 1230. Around the altar are a series of ornamented Gothic arches, supported by columns in different styles. The fine Gothic walnut choir stalls were completed in 1471 by Apollonio Petrocchi da Ripatransone, with the help of Tommaso di Antonio Fiorentino and Andrea da Montefalco.

Once featuring frescoes depicting an allegory of the Crucifixion by Stefano Fiorentino (destroyed in 1622), the walls of the apse are now covered with a "Last Judgment" by Cesare Sermei di Orvieto (1609–1668).

The paintings in the lunettes of the vaults (1315–20) depict the Triumph of St Francis and three allegories of Obedience, Poverty and Chastity by the so-called Maestro delle Vele (Master of the Assisi vaults), a pupil of Giotto (about 1330).

The stained glass windows in this lower basilica are attributed to Giovanni di Bonino and his workshop.

Crypt
Halfway down the nave one can descend into the crypt via a double stairway. This burial place of Saint Francis was found in 1818. His remains had been hidden by Brother Elias to prevent the spread of his relics in medieval Europe, a story told by Jon M. Sweeney in The Enthusiast. By order of Pope Pius VII a crypt was built under the lower basilica. It was designed by Pasquale Belli with precious marble in neo-classical style. But it was redesigned in bare stone in neo-Romanesque style by Ugo Tarchi between 1925 and 1932.

The ancient stone coffin with iron ties is enshrined in an open space above the altar. In 1934 his most faithful brothers were entombed in the corners of the wall around the altar: Brother Rufino, Brother Angelo, Brother Masseo and Brother Leo.

At the entrance of the crypt, an urn with the remains of Jacopa dei Settesoli was added to the crypt. This woman of Roman nobility, affectionately referred to as "Brother Jacoba", was the most faithful friend and benefactress of Saint Francis. She was at his side in the Porziuncola at the hour of his death.

Friary of Saint Francis
Next to the basilica stands the friary Sacro Convento with its imposing walls with 53 Romanesque arches and powerful buttresses supporting the whole complex. It towers over the valley below, giving the impression of a fortress. It was built with pink and white stone from Mount Subasio. It was already inhabited by the friars in 1230. But construction took a long time, with as result different styles intermingling : Romanesque with Gothic style. A major part was built under the reign of Pope Sixtus IV, a Franciscan, between 1474 and 1476.

The friary now houses a vast library (with medieval codices and incunables), a museum with works of art donated by pilgrims through the centuries and also the 57 works of art (mainly of Florentine and Sienese schools) of the Perkins collection.

The belfry, in Romanesque style, was finished in 1239.

Other burials

 * Giovanna of Italy
 * John of Brienne

title: Basilica of Saint Francis of Assisi