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Ottoman architecture

Ottoman architecture is an architectural style or tradition that developed under the Ottoman Empire over a long period, undergoing some significant changes during its history. It first emerged in northwestern Anatolia in the late 13th century and developed from earlier Seljuk Turkish architecture, with influences from Byzantine and Iranian architecture along with other architectural traditions in the Middle East. Early Ottoman architecture experimented with multiple building types over the course of the 13th to 15th centuries, progressively evolving into the classical Ottoman style of the 16th and 17th centuries. This style was a mixture of native Turkish tradition and influences from the Hagia Sophia, resulting in monumental mosque buildings focused around a high central dome with a varying number of semi-domes. The most important architect of the classical period is Mimar Sinan, whose major works include the Şehzade Mosque, Süleymaniye Mosque, and Selimiye Mosque. The second half of the 16th century also saw the apogee of certain decorative arts, most notably in the use of Iznik tiles.
 * "Ottoman architecture developed as a unique, enduring architectural style combining the Mediterranean and Near and Middle Eastern traditions in parallel with the political structure of an Ottoman Empire situated at the point of intersection of Asia and Europe and of the Islamic and Christian worlds."
 * "The longevity of the Ottomans led to a comparatively clear and consistent stylistic development."
 * "The longevity of the Ottomans led to a comparatively clear and consistent stylistic development."
 * "The longevity of the Ottomans led to a comparatively clear and consistent stylistic development."
 * "The grand tradition of Ottoman architecture, established in the 16th century, differed markedly from that of the earlier Moors. It was derived from both the Byzantine Christian tradition, outlined above, and native Middle Eastern forms used by the Islamic Seljuk Turks, who preceded the Ottomans. The Byzantine tradition, particularly as embodied in Hagia Sophia, was perhaps the major source of inspiration."
 * "The mosques of the classical period are more elaborate than those of earlier times. They derive from a fusion of a native Turkish tradition with certain elements of the plan of Haghia Sophia, the former cathedral of Constantinople, converted into a mosque in 1453 by Mehmet the Conqueror."
 * "The grand tradition of Ottoman architecture, established in the 16th century, differed markedly from that of the earlier Moors. It was derived from both the Byzantine Christian tradition, outlined above, and native Middle Eastern forms used by the Islamic Seljuk Turks, who preceded the Ottomans. The Byzantine tradition, particularly as embodied in Hagia Sophia, was perhaps the major source of inspiration."
 * "The mosques of the classical period are more elaborate than those of earlier times. They derive from a fusion of a native Turkish tradition with certain elements of the plan of Haghia Sophia, the former cathedral of Constantinople, converted into a mosque in 1453 by Mehmet the Conqueror."
 * "The mosques of the classical period are more elaborate than those of earlier times. They derive from a fusion of a native Turkish tradition with certain elements of the plan of Haghia Sophia, the former cathedral of Constantinople, converted into a mosque in 1453 by Mehmet the Conqueror."

Beginning in the 18th century, Ottoman architecture was opened to external influences, particularly Baroque architecture in Western Europe. Changes appeared during the style of the Tulip Period, followed by the emergence of the Ottoman Baroque style in the 1740s. The Nuruosmaniye Mosque is one of the most important examples of this period. The architecture of the 19th century saw more influences imported from Western Europe, brought in by architects such as those from the Balyan family. Empire style and Neoclassical motifs were introduced and a trend towards eclecticism was evident in many types of buildings, such as the Dolmabaçe Palace. The last decades of the Ottoman Empire saw the development of a new architectural style called neo-Ottoman or Ottoman revivalism, also known as the First National Architectural Movement, by architects such as Mimar Kemaleddin and Vedat Tek.

Ottoman dynastic patronage was concentrated in the historic capitals of Bursa, Edirne, and Istanbul (Constantinople), as well as in several other important administrative centers such as Amasya and Manisa. It was in these centers that most important developments in Ottoman architecture occurred and that the most monumental Ottoman architecture can be found. Major religious monuments were typically architectural complexes, known as a külliye, that had multiple components providing different services or amenities. In addition to a mosque, these could include a madrasa, a hammam, an imaret, a sebil, a market, a caravanserai, a primary school, or others. Ottoman constructions were still abundant in Anatolia and in the Balkans (Rumelia), but in the more distant Middle Eastern and North African provinces older Islamic architectural styles continued to hold strong influence and were sometimes blended with Ottoman styles.

Before 1453
The first Ottomans were established in northwest Anatolia near the borders of the Byzantine Empire. Their position at this frontier encouraged influences from Byzantine architecture and other ancient remains, and there were examples of similar architectural experimentation by the other local dynasties of the region. One of the early Ottoman stylistic distinctions that emerged was a tradition of designing more complete façades in front of mosques, especially in the form of a portico with arches and columns. Another early distinction was the reliance on domes. The first Ottoman structures were built in Söğüt, the earliest Ottoman capital, and in nearby Bilecik, but they have not survived in their original form. They include a couple of small mosques and a mausoleum built in Ertuğrul's time (late 13th century). Bursa was captured in 1326 by the Ottoman leader Orhan. It served as the Ottoman capital until 1402, becoming a major center of patronage and construction. Orhan also captured İznik in 1331, turning it into another early center of Ottoman art. In this early period there were generally three types of mosques: the single-domed mosque, the T-plan mosque, and the multi-unit or multi-dome mosque.

The Hacı Özbek Mosque (1333) in İznik is the oldest Ottoman mosque with an inscription that documents its construction and it is the oldest example of the Ottoman single-domed mosque, consisting of a square chamber covered by a dome. Another early single-domed mosque is the Green Mosque in İznik (1378–1391), which is the first Ottoman mosque for which the name of the architect (Hacı bin Musa) is known. The main dome covers a square space and the transition between the round base of the dome and the square chamber below is achieved through a series of triangular carvings known as "Turkish triangles", a type of pendentive which was common in Anatolian Seljuk and early Ottoman architecture.

In 1334–1335, Orhan built a mosque in İznik that no longer stands but has been excavated by archeologists. It is significant as the earliest known example of a type of building called a zaviye (a cognate of Arabic zawiya), "T-plan" mosque, or "Bursa-type" mosque. This type of building is characterized by a central court, typically covered by a dome, with iwans (domed or vaulted halls that are open to the courtyard) on three sides, one of which is oriented towards the qibla (direction of prayer) and contains the mihrab (wall niche symbolizing the qibla). The front façade usually incorporated a portico along its entire width. The iwans on the side and the other various rooms attached to these buildings may have served to house Sufi students and traveling dervishes, since the Sufi brotherhoods were one of the main supporters of the early Ottomans. Variations of this floor plan were the most common type of major religious structure sponsored by the early Ottoman elites. The "Bursa-type" label comes from the fact that multiple examples of this kind were built in and around Bursa, including the Orhan Gazi Mosque (1339), the Hüdavendigar (Murad I) Mosque (1366–1385), the Yildirim Bayezid I Mosque (completed in 1395), and the Green Mosque built by Mehmed I (1412–1424). The Green Mosque is notable for its extensive tile decoration in the cuerda seca technique. It is the first instance of lavish tile decoration in Ottoman architecture. These mosques were all part of larger religious complexes (külliyes) that included other structures offering services such as madrasas (Islamic colleges), hammams (public bathhouses), and imarets (charitable kitchens).

The most unusual mosque of this period is the multi-domed congregational mosque known as the Grand Mosque of Bursa or Ulu Cami. The mosque was commissioned by Bayezid I after the Battle of Nicopolis in 1396 and finished in 1399–1400. It consists of a large hypostyle hall divided into twenty equal bays in a rectangular four-by-five grid, each covered by a dome supported by stone piers. After Bayezid I was defeated at the Battle of Ankara in 1402, the Ottoman capital was moved to Edirne in Thrace. The last major multi-dome mosque built by the Ottomans (with some exceptions), is the Old Mosque (Eski Cami) in Edirne, built between 1403 and 1414. In later periods, the multi-dome building type was adapted for use in non-religious buildings instead, such as bedestens (market halls).

The most important architectural development from the reign of Murad II ((r. 1421 – 1451)) is the Üç Şerefeli Mosque, built from 1437 to 1447. It has a very different design from earlier mosques, with a nearly square floor plan divided between a rectangular courtyard and a rectangular prayer hall. The courtyard has a central fountain and is surrounded by a portico of arches and domes, with a decorated central portal leading into the courtyard from the outside and another one leading from the courtyard into the prayer hall. The prayer hall is centered around a huge dome which covers most of the middle part of the hall, while the sides of the hall are covered by pairs of smaller domes. The central dome is larger than any other Ottoman dome built before this. The mosque has a total of four minarets, arranged around the four corners of the courtyard. Its southwestern minaret was the tallest Ottoman minaret built up to that time and features three balconies (from which the mosque's name derives). This new design was a culmination of previous architectural experimentation and foreshadowed the features of later Ottoman mosque architecture.

After 1453
After he conquered Constantinople (present-day Istanbul) in 1453, one of Sultan Mehmed II's first constructions in the city was a palace, known as the Old Palace (Eski Saray). In 1459, he began construction of a second palace known as the New Palace (Yeni Saray) and later as the Topkapı Palace ("Cannon-Gate Palace"). It was mostly laid out between 1459 and 1465, but it has since been repeatedly modified over subsequent centuries by different rulers and today it is an accumulation of different styles and periods. The palace consists of multiple courtyards, enclosures, and pavilions spread across a precinct delimited by an outer wall. Its seemingly irregular layout was a reflection of a clear hierarchical organization of functions and private residences, with the innermost areas reserved for the privacy of the sultan and his innermost circle.

Mehmed II's largest contribution to religious architecture was the Fatih Mosque complex in Istanbul, built from 1463 to 1470. It was part of a very large külliye which also included a tabhane (guesthouse for travelers), an imaret, a darüşşifa (hospital), a caravanserai (hostel for traveling merchants), a mektep (primary school), a library, a hammam, shops, a cemetery with the founder's mausoleum, and eight madrasas along with their annexes. The buildings largely ignored any existing topography and were arranged in a strongly symmetrical layout on a vast square terrace with the monumental mosque at its center. The original mosque was mostly destroyed by an earthquake in 1766. Its design has been reconstructed by scholars using historical sources. It likely reflected the combination of the Byzantine church tradition (especially the Hagia Sophia) with the Ottoman tradition that had evolved since the early imperial mosques of Bursa and Edirne. Drawing on the ideas established by the earlier Üç Şerefeli Mosque, it comprised a rectangular courtyard leading to a domed prayer hall. The latter was covered by a large central dome with a semi-dome behind it (on the qibla side), flanked by a row of three smaller domes on either side.

After Mehmed II, the reign of Bayezid II (1481–1512) is again marked by extensive architectural patronage, of which the two most outstanding and influential examples are the Bayezid II Complex in Edirne and the Bayezid II Mosque in Istanbul. The Bayezid II Mosque in Istanbul, built between 1500 and 1505, again features a courtyard leading to a square prayer hall. However, its prayer hall makes use of two semi-domes aligned with the main central dome, while the side aisles are each covered by four smaller domes. Compared to earlier mosques, this results in a much more sophisticated "cascade of domes" effect for the building's exterior profile. This design, with its deliberate arrangement of established Ottoman architectural elements into a strongly symmetrical plan, is another culmination of previous architectural exploration and represents the last step towards the classical Ottoman style.

Classical period (16th to 17th centuries)
The start of the classical period is strongly associated with the works of the imperial architect Mimar Sinan. During this period the bureaucracy of the Ottoman state, whose foundations were laid in Istanbul by Mehmet II, became increasingly elaborate and the profession of the architect became further institutionalized. The long reign of Suleiman the Magnificent is also recognized as the apogee of Ottoman political and cultural development, with extensive patronage in art and architecture by the sultan, his family, and his high-ranking officials. In this period Ottoman architecture, especially under the work and influence of Sinan, saw a new unification and harmonization of the various architectural elements and influences that Ottoman architecture had previously absorbed but which had not yet been harmonized into a collective whole. Ottoman architecture used a limited set of general forms – such as domes, semi-domes, and arcaded porticos – which were repeated in every structure and could be combined in a limited number of ways. The ingenuity of successful architects such as Sinan lay in the careful and calculated attempts to solve problems of space, proportion, and harmony. This period is also notable for the development of Iznik tile decoration in Ottoman monuments, with the artistic peak of this medium beginning in the second half of the 16th century.

The era of Sinan
The master architect of the classical period, Mimar Sinan, served as the chief court architect (mimarbaşi) for some 50 years from 1538 until his death in 1588. Sinan credited himself with the design of over 300 buildings, though another estimate of his works puts it at nearly 500. He is credited with designing buildings as far as Buda (present-day Budapest) and Mecca. He was probably not present to directly supervise projects far from the capital, so in these cases his designs were most likely executed by his assistants or by local architects.

Sinan's first major imperial commission was the Şehzade Mosque complex, which Suleiman dedicated to Şehzade Mehmed, his son who died in 1543. The complex was built between 1545 and 1548. The mosque has a rectangular floor plan divided into two equal squares, with one square occupied by the courtyard and the other occupied by the prayer hall. The prayer hall consists of a central dome surrounded by semi-domes on four sides, with smaller domes occupying the corners. Smaller semi-domes also fill the space between the corner domes and the main semi-domes. This design represents the culmination of the previous domed and semi-domed buildings in Ottoman architecture, bringing complete symmetry to the dome layout. Sinan's early innovations are also evident in the way he organized the structural supports of the dome. Instead of having the dome rest on thick walls all around it (as was previously common), he concentrated the load-bearing supports into a limited number of buttresses along the outer walls of the mosque and in four pillars inside the mosque itself at the corners of the dome. This allowed for the walls in between the buttresses to be thinner, which in turn allowed for more windows to bring in more light. Sinan also moved the outer walls inward, near the inner edge of the buttresses, so that the latter were less visible inside the mosque. On the outside, he added domed porticos along the lateral façades of the building which further obscured the buttresses and gave the exterior a greater sense of monumentality.

The basic design of the Şehzade Mosque, with its symmetrical dome and four semi-dome layout, proved popular with later architects and was repeated in classical Ottoman mosques after Sinan (e.g. the Sultan Ahmed I Mosque, the New Mosque at Eminönü, and the 18th-century reconstruction of the Fatih Mosque). Despite this legacy and the symmetry of its design, Sinan considered the Sehzade Mosque his "apprentice" work and was not satisfied with it. During the rest of his career he did not repeat its layout in any of his other works. He instead experimented with other designs that seemed to aim for a completely unified interior space and for ways to emphasize the visitor's perception of the main dome upon entering a mosque. One of the results of this logic was that any space that did not belong to the central domed space was reduced to a minimum, subordinate role, if not altogether absent.

In 1550, Sinan began construction for the Süleymaniye complex, a monumental religious and charitable complex dedicated to Suleiman. Construction finished in 1557. Following the example of the earlier Fatih complex, it consists of many buildings arranged around the main mosque in the center, on a planned site occupying the summit of a hill in Istanbul. The Süleymaniye Mosque complex is one of the most important symbols of Ottoman architecture and is often considered by scholars to be the most magnificent mosque in Istanbul. The mosque itself has a form similar to that of the earlier Bayezid II Mosque: a central dome preceded and followed by semi-domes, with smaller domes covering the sides. In particular, the building replicates the central dome layout of the Hagia Sophia and this may be interpreted as a desire by Suleiman to emulate the structure of the Hagia Sophia, demonstrating how this ancient monument continued to hold tremendous symbolic power in Ottoman culture. Nonetheless, Sinan employed innovations similar to those he used previously in the Şehzade Mosque: he concentrated the load-bearing supports into a limited number of columns and pillars, which allowed for more windows in the walls and minimized the physical separations within the interior of the prayer hall. The exterior façades of the mosque are characterized by ground-level porticos, wide arches in which sets of windows are framed, and domes and semi-domes that progressively culminate upwards – in a roughly pyramidal fashion – to the large central dome.

After designing the Süleymaniye complex, Sinan appears to have focused on experimenting with the single-domed space. In the 1550s and 1560s, he experimented with an "octagonal baldaquin" design for the main dome, in which the dome rests on an octagonal drum supported by a system of eight pillars or buttresses. An example of this is the Rüstem Pasha Mosque (1561) in Istanbul. This mosque is also famous for its wide array of Iznik tiles covering the walls of its exterior portico and its interior, unprecedented in Ottoman architecture, contrasting with the usually restrained decoration Sinan employed in other buildings.

Sinan's crowning masterpiece is the Selimiye Mosque in Edirne, which was begun in 1568 and completed in 1574 (or possibly 1575). Its prayer hall is notable for being completely dominated by a single massive dome, whose view is unimpeded by the structural elements seen in other large domed mosques before this. This design is the culmination of Sinan's spatial experiments, making use of the octagonal baldaquin as the most effective method of integrating the round dome with the rectangular hall below by minimizing the space occupied by the supporting elements of the dome. The dome is supported on eight massive pillars which are partly freestanding but closely integrated with the outer walls. Additional outer buttresses are concealed in the walls of the mosque, allowing the walls in between to be pierced with a large number of windows. Sinan's biographies praise the dome for its size and height, which is approximately the same diameter as the Hagia Sophia's main dome and slightly higher; the first time that this had been achieved in Ottoman architecture.

After Sinan
After Sinan, the classical style became less creative and more repetitive by comparison with earlier periods. Davud Agha succeeded Sinan as chief architect. Among his most notable works, all in Istanbul, are the Cerrahpaşa Mosque (1593), the Koca Sinan Pasha Complex on Divanyolu (1593), the Gazanfer Ağa Medrese complex (1596), and the Tomb of Murad III (completed in 1599). Some scholars argue that the Nışançı Mehmed Pasha Mosque (1584–1589), whose architect is unknown, should be attributed to him. Its design is considered highly accomplished and it may be one of the first Ottoman mosques to be fronted by a garden courtyard. Davud Agha was one of the few architects of this period to display great potential and to create designs that went beyond Sinan's designs, but unfortunately he died of the plague right before the end of the 16th century.

The Sultan Ahmed I Mosque was begun in 1609 and completed in 1617. It was designed by Sinan's apprentice, Mehmed Agha. The mosque's size, location, and decoration suggest it was intended to be a rival to the nearby Hagia Sophia. Its design essentially repeats that of the Şehzade Mosque. On the outside, Mehmed Agha opted to achieve a "softer" profile with the cascade of domes and the various curving elements, differing from the more dramatic juxtaposition of domes and vertical elements seen in earlier classical mosques by Sinan. It is also the only Ottoman mosque to have as many as six minarets. On the inside, the mosque's lower walls are lavishly decorated with thousands of predominantly blue Iznik tiles; along with the painted decoration on the rest of the walls, this has given the mosque its popular name, the Blue Mosque. After the Sultan Ahmed I Mosque, no further great imperial mosques dedicated to a sultan were built in Istanbul until the mid-18th century. Mosques continued to be built and dedicated to other dynastic family members, but the tradition of sultans building their own monumental mosques lapsed.

Some of the best examples of early 17th-century Ottoman architecture are the Revan Kiosk (1635) and Baghdad Kiosk (1639) in Topkapı Palace, built by Murad IV to commemorate his victories against the Safavids. Both are small pavilions raised on platforms overlooking the palace gardens. Both are harmoniously decorated on the inside and outside with predominantly blue and white tiles and richly-inlaid window shutters.

Tulip Period (early 18th century)
The historical period known as the Tulip Period or Tulip Era is considered to have begun in 1718, during Ahmed III's reign ((r. 1703 – 1730)), and lasted until the Patrona Halil revolts of 1730, when Ahmed III was overthrown. These years of peace inaugurated a new era of growing cross-cultural exchange between the Ottoman Empire and Western Europe. From the 18th century onward, European influences were thus introduced into Ottoman architecture as the Ottoman Empire itself became more open to outside influences. The period saw significant influence from the French Rococo style (part of the wider Baroque style) that emerged around this time under the reign of Louis XV. In addition to European influences, the decoration of the Tulip Period was also influenced by Safavid art and architecture to the east. Although the new architectural style that emerged at this time is generally associated with the Tulip Period, constructions from the first years of Ahmed III's reign, such as the so-called Fruit Room created in 1705 within Topkapı Palace, demonstrate that the new style was already in existence by then. One of the most important creations of the Tulip Period was the Sadâbâd Palace, a new summer palace designed and built by Damat Ibrahim Pasha in 1722–1723 for Ahmed III. It was located at Kâğıthane, a rural area on the outskirts of the city with small rivers that flow into the Golden Horn inlet. The palace grounds included a long marble-lined canal, the Cedval-i Sim, around which were gardens, pavilions, and palace apartments in a landscaped setting. This overall design probably emulated French pleasure palaces as a result reports about Paris and Versailles brought back by Ottoman ambassador Yirmisekiz Çelebi Mehmed Efendi. The regular inhabitants of Istanbul also used the surrounding area as a recreational ground for excursions and picnics. This was a new practice in Ottoman culture that brought the public within close proximity of the ruler's abode for the first time.

The culmination of the Tulip Period style is represented by a series of monumental stand-alone fountains that were mostly built between 1728 and 1732. Water took on an enlarged role in architecture and the urban landscape of Istanbul during the Tulip Period. In the first half of the 18th century, Istanbul's water supply infrastructure was renovated and expanded. In 1732, an important water distribution structure, the taksim, was first built on what is now Taksim Square. The new fountains were unprecedented in Ottoman architecture. Previously, fountains and sebils only existed as minor elements of larger charitable complexes or as shadirvans inside mosque courtyards. The maidan fountain, or a stand-alone fountain at the center of a city square, was introduced for the first time in this period. The first and most remarkable of these is the Ahmed III Fountain built in 1728 next to the Hagia Sophia and in front of the outer gate of Topkapı Palace.

The construction of stand-alone library structures was another new trend influenced by European ideas, as the Ottomans traditionally did not build libraries except as secondary elements attached to religious complexes. The earlier Köprülü Library, built in 1678 was the first of its kind, but other early examples date from the reign of Ahmed III during the Tulip Period.

One of the few major religious complexes built in this period and one of the last major monuments of the Tulip Period stage in Ottoman architecture is the Hekimoğlu Ali Pasha Mosque complex, completed in 1734–1735 and sponsored by the grand vizier of the same name. This mosque still reflects an overall classical form but the flexible placement of the various components of the complex around a garden enclosure is more reflective of the new changes in tastes. The interior of the mosque is decorated with tiles from the Tekfursaray kilns, which were of lesser quality than those of the earlier Iznik period. One group of tiles is painted with an illustration of the Great Mosque of Mecca, a decorative detail found in other examples from this era.

Baroque period (18th century to early 19th century)
During the 1740s a new Ottoman or Turkish "Baroque" style emerged in its full expression and rapidly replaced the style of the Tulip Period. This shift signaled the final end to the classical style. The political and cultural conditions which led to the Ottoman Baroque trace their origins in part to the Tulip Period, when the Ottoman ruling class opened itself to Western influence. After the Tulip Period, Ottoman architecture openly imitated European architecture, so that architectural and decorative trends in Europe were often mirrored in the Ottoman Empire at the same time or after a short delay. Changes were especially evident in the ornamentation and details of new buildings rather than in their overall forms, though new building types were eventually introduced from European influences as well. The term "Turkish Rococo", or simply "Rococo", is also used to describe the Ottoman Baroque, or parts of it, due to the similarities and influences from the French Rococo style in particular, but this terminology varies from author to author.

The first structures to exhibit the new Baroque style are several fountains and sebils built by elite patrons in Istanbul in 1741–1742. The most important monument heralding the new Ottoman Baroque style is the Nuruosmaniye Mosque complex, begun by Mahmud I in October 1748 and completed by his successor, Osman III (to whom it is dedicated), in December 1755. Doğan Kuban describes it as the "most important monumental construction after the Selimiye Mosque in Edirne", marking the integration of European culture into Ottoman architecture and the rejection of the classical Ottoman style. It also marked the first time since the Sultan Ahmed I Mosque (early 17th century) that an Ottoman sultan built his own imperial mosque complex in Istanbul, thus inaugurating the return of this tradition.

The Ayazma Mosque in Üsküdar was built between 1757–8 and 1760–1. It is essentially a smaller version of the Nuruosmaniye Mosque, signaling the importance of the latter as a new model to emulate. Although smaller, it is relatively tall for its proportions, enhancing its sense of height. This trend towards height was pursued in later mosques.

In Topkapı Palace, the Ottoman sultans and their family continued to build new rooms or remodel old ones throughout the 18th century, introducing Baroque and Rococo decoration in the process. Some examples include the Baths of the Harem section, probably renovated by Mahmud I around 1744, As in the preceding centuries, other palaces were built around Istanbul by the sultan and his family. Previously, the traditional Ottoman palace configuration consisted of different buildings or pavilions arranged in a group, as was the case at Topkapı Palace, the Edirne Palace, and others. However, at some time during the 18th century there was a transition to palaces consisting of a single block or single large building.

Beyond Istanbul, the greatest palaces were built by powerful local families, but they were often built in regional styles that did not follow the trends of the Ottoman capital. The Azm Palace in Damascus, for example, was built around 1750 in a largely Damascene style. In eastern Anatolia, near present-day Doğubayazıt, the Ishak Pasha Palace is an exceptional and flamboyant piece of architecture that mixes various local traditions including Seljuk Turkish, Armenian, and Georgian. It was begun in the 17th century and generally completed by 1784.

The Nusretiye Mosque, Mahmud II's imperial mosque, was built between 1822 and 1826 at Tophane. The mosque is the first major imperial work by Krikor Balyan. It is sometimes described as belonging to the Empire style, but is considered by Godfrey Goodwin and Doğan Kuban as one of the last Baroque mosques, while Ünver Rüstem describes the style as moving away from the Baroque and towards an Ottoman interpretation of Neoclassicism. Goodwin also describes it as the last in a line of imperial mosques that started with the Nuruosmaniye. Despite its relatively small size the mosque's tall proportions creates a sense of height, which may the culmination of a trend that began with the Ayazma Mosque.

19th-century and early 20th-century
During the reign of Mahmud II (r. 1808–1839) the Empire style, a Neoclassical style which originated in France under Napoleon, was introduced into Ottoman architecture. This marked a trend towards increasingly direct imitation of Western styles, particularly from France. The Tanzimat reforms that began in 1839 under Abdülmecid I sought to modernize the Ottoman Empire with Western-style reforms. In the architectural realm, this resulted in the dominance of European architects and Ottoman architects with European training. Among these, the Balyans, an Ottoman Armenian family, succeeded in dominating imperial architecture for much of the century. They were joined by European architects such as the Fossati brothers, William James Smith, and Alexandre Vallaury. After the early 19th century, Ottoman architecture was characterized by an eclectic architecture which mixed or borrowed from multiple styles. The Balyans, for example, commonly combined Neoclassical or Beaux-arts architecture with highly eclectic decoration. As more Europeans arrived in Istanbul, the neighbourhoods of Galata and Beyoğlu (or Pera) took on very European appearances.A number of mosques built in the 19th century reflect these trends, such as the Ortaköy Mosque and the Pertevniyal Valide Mosque in Istanbul. The Tanzimat reforms also granted Christians and Jews the right to freely build new centers of worship, which resulted in new constructions, renovations, and expansions of churches and synagogues. Most of these followed the same eclecticism that prevailed in the rest of Ottoman architecture of the 19th century.

Many palaces, residences, and leisure pavilions were built in the 19th century, most of them in the Bosphorus suburbs of Istanbul. The most significant is the Dolmabahçe Palace, constructed for Sultan Abdülmecit between 1843 and 1856. It replaced the Topkapı Palace as the official imperial residence of the sultan. The palace consists mainly of a single building with monumental proportions, which represented a radical rejection of traditional Ottoman palace design. The style of the palace is fundamentally Neoclassical but is characterized by a highly eclectic decoration that mixes Baroque motifs with other styles. Various new types of monuments were also introduced to Ottoman architecture during this era. For example, clock towers rose to prominence over the 19th century. The construction of railway stations was a feature of Ottoman modernisation reflecting the new infrastructure changes within the empire. The most famous example is the Sirkeci Railway Station, built in 1888–1890 as the terminus of the Orient Express. It was designed in an Orientalist style by German architect August Jasmund (also spelled "Jachmund"). In the Beyoğlu district of Istanbul, Parisian-style shopping arcades appeared in the 19th century. Some consisted of a small courtyard filled with shops and surrounded by buildings, while others were simply a passage or alley (pasaj in Turkish) lined with shops, sometimes covered by a glass roof. Other commercial building types that appeared in the late 19th century included hotels and banks.

A local interpretation of Orientalist fashion steadily arose in the late 19th century, initially used by European architects such as Vallaury. This trend combined "neo-Ottoman" motifs with other motifs from wider Islamic architecture. The eclecticism and European imports of the 19th century eventually led to the introduction of Art Nouveau, especially after the arrival of Raimondo D'Aronco in the late 19th century. D'Aronco came at the invitation of Sultan Abdülhamid II and served as chief court architect between 1896 and 1909. Istanbul became a new center of Art Nouveau and a local flavour of the style developed. The new style was most prevalent in the new apartment buildings being built in Istanbul at the time.

The final period of architecture in the Ottoman Empire, developed after 1900 and in particular put into effect after the Young Turks took power in 1908–1909, is what was then called the "National Architectural Renaissance" and which gave rise to the style since referred to as the First national architectural movement of Turkish architecture. The approach in this period was an Ottoman Revival style, a reaction to influences in the previous 200 years that had come to be considered "foreign", such as Baroque and Neoclassical architecture, and was intended to promote Ottoman patriotism and self-identity. This was an entirely new style of architecture, related to earlier Ottoman architecture in rather the same manner was other roughly contemporaneous revivalist architectures related to their stylistic inspirations. New government-run institutions that trained architects and engineers, established in the late 19th century and further centralized under the Young Turks, became instrumental in disseminating this "national style".

Tile decoration
Glazed tile decoration in the cuerda seca technique was used in other early Ottoman monuments, particularly in the Green Mosque and the associated Green Tomb in Bursa. The tiles of the Green Mosque complex generally have a deep green ground mixed with combinations of blue, white, and yellow forming arabesque motifs. A large portion of the tiles are cut into hexagonal and triangular shapes that were then fitted together to form murals. Some of the tiles are further enhanced with arabesque motifs applied in gilt gold glazing over these colours. The artistic style of these tiles – and of other Ottoman art – was influenced by an "International Timurid" taste that emerged from the intense artistic patronage of the Timurids, who controlled a large empire across the region. The same kind of tilework is found in the mihrab of the Murad II Mosque in Edirne, completed in 1435. However, this mosque also contains the first examples of a new technique and style of tiles with underglaze blue on a white background, with touches of turquoise. The motifs on these tiles include lotuses and camellia-like flowers on spiral stems. These chinoiserie-like motifs, along with the focus on blue and white colours, most likely reflect an influence from contemporary Chinese porcelain – although the evidence for Chinese porcelain reaching Edirne at this time is unclear. The evidence from this tilework in Bursa and Edirne indicates the existence of a group or a school of craftsmen, the "Masters of Tabriz", who worked for imperial workshops in the first half of the 15th century and were familiar with both cuerda seca and underglaze techniques. Another stage in Ottoman tiles is evident in the surviving tiles of the Fatih Mosque (1463–70) and in the Selim I Mosque (1520–22). In these mosques the windows are topped by lunettes filled with cuerda seca tiles with motifs in green, turquoise, cobalt blue, and yellow. Chinese motifs such as dragons and clouds also appear for the first time on similar tiles in Selim I's tomb, built behind his mosque in 1523. A more extravagant example of this type of tilework can be found inside the tomb of Şehzade Mehmed in the cemetery of the Şehzade Mosque (1548). In the late 15th century, in the 1470s or 1480s, the ceramic industry in the city of İznik was growing and began producing a new "blue-and-white" fritware which adapted and incorporated Chinese motifs in its decoration. The most extraordinary tile panels from this stage of Ottoman ceramic art are a series of panels on the exterior of Circumcision Pavilion (Sünnet Odası) in Topkapı Palace. At least some of these tiles are believed to date from the 1520s and feature large floral motifs in blue, white, and turquoise. Both the Topkapı tiles and the mosque tiles from this early-16th-century period are traditionally attributed to Iznik, but they may have been produced in Istanbul itself in ceramic workshops located at Tekfursaray. Even if they come from Tekfursaray, their style is related to the style of ceramics being made in Iznik around the same time. This includes the saz style: a motif in which a variety of flowers are attached to gracefully curving stems with serrated leaves, appearing in the 16th century. This continued to reflect earlier influences of the "International Timurid" style, but it also demonstrates the development of an increasingly distinct Ottoman artistic style at this time. The architect Mimar Sinan generally used tile decoration in a fairly restrained manner and seems to have preferred focusing on the architecture as a whole rather than on overwhelming decoration. An exception to this austerity is the extensive tilework in the Rüstem Pasha Mosque (1561–62), which also marks the beginning of the artistic peak of Iznik ceramic art from the 1560s onward. Blue colours predominate, but the important "tomato red" colour began to make an appearance. The repertoire of motifs includes tulips, hyacinths, carnations, roses, pomegranates, artichoke leaves, narcissus, and Chinese "cloud" motifs. In the early 17th century, some features of 16th-century Iznik art began to fade, such as the use of embossed tomato red. At the same time, some motifs became more rigidly geometric and stylized. The enormous Sultan Ahmed Mosque (or "Blue Mosque"), begun in 1609 and inaugurated in 1617, contains the richest collection of tilework of any Ottoman mosque. According to official Ottoman documents it contained as many as 20,000 tiles. The massive undertaking of decorating such a large building strained the tile industry in Iznik. While the craftsmen at Iznik were still capable of producing rich and colourful tiles throughout the 17th century, there was an overall decline in quality, caused in part by the devastation of the Celali revolts and by an overall decline in commissions.

Some of the production continued in the city of Kütahya instead of Iznik. Kütahya, unlike Iznik, had not become solely reliant on imperial commissions and was thus better able to weather the changes of this century. Many of its artisans were Armenians who continued to produce tiles for churches and other buildings. Tile manufacture declined still further in the second half of the 17th century. By this period, blue and turquoise colours increasingly predominated, and many commissioned works limited their patterns to single tiles instead of creating larger patterns across multiple tiles. Tile production in Iznik came to an end in the 18th century. Ahmet III and his grand vizier attempted to revive the tile industry by establishing a new workshop between 1719 and 1724 at Tekfursaray in Istanbul. Production continued here for a while but the tiles from this period are not comparable in quality to earlier Iznik tiles. Pottery production also continued and even increased at Kütahya, where new styles developed alongside imitations of older classical Ottoman designs. The colours of tiles in this period were mostly turquoise and dark cobalt blue, while a brownish-red, yellow, and a deep green also appearing. The background was often discoloured, colours often ran together slightly, and the patterns were again typically limited to single tiles. After the Patrona Halil rebellion in 1730, which deposed Ahmet III and executed his grand vizier, the Tekfursaray kilns were left without a patron and quickly ceased to function. The shortage of quality tiles in the 18th century also caused Iznik tiles from older buildings to be reused and moved to new ones on multiple occasions. Ultimately, tilework decoration in Ottoman architecture lost its significance during this century.

Painted decoration
Painted decoration was an essential part of the decoration of Ottoman buildings, covering interior walls, ceilings, and domes. However, very little original painted decoration has been preserved in Ottoman buildings, as they were frequently repainted during later restorations. Paint, as well as gold leaf, was applied on a variety of mediums including plaster, wood, leather or cloth, and stone. For plaster decoration, there were generally two types: kalemişi and malakâri. The first refers to paint being applied directly to plaster, while the second referred to applying paint onto relief decoration sculpted beforehand. The design of the ornamentation was often stenciled onto the plaster first, using paper pierced with pin holes in the shape of the motifs, over which coal dust was rubbed to leave outlines on the walls that were then painted. The painters, who came from many different ethnic and religious backgrounds, were either independent artists or artisans already employed by the imperial palace, hired specifically to decorate the building.

The motifs of painted decoration were typically similar to those used in other contemporary arts, such as manuscript illumination. Early examples indicate that Ottoman decoration developed a preference for floriate motifs. One such motif that was popular throughout the history of Ottoman art is the rumî style, whose existence predates the Ottomans and which consists of scrolling, spiraling, and/or intertwining stems with stylized leaves. Another floriate style that appeared in Ottoman decoration from the 15th century onward is hatayî, which consists in large part of peonies and leaves shown in varying stages of budding and blooming. This style had its origins further east in China or Turkestan and it appeared in Islamic art from the 13th century onward. One of the most important examples of early Ottoman painted decoration is the partially-preserved mural decoration inside the Murad II Mosque in Edirne, which still dates back to its construction circa 1436. The ornamentation inside the southeastern (qibla) iwan depicts natural landscapes with stylized flowers and trees that appear to reflect the same artistic styles used in book illustrations and miniatures, particularly those from the Timurid Empire further east. In the second quarter of the 16th century, the saz style (also mentioned above for tile decoration) was developed by Ottoman artist Şahkulu. It was derived from the hatayî style and added new motifs, most notably large serrated leaves. It was less formal and geometrically rigid, allowing these motifs to be combined and arranged in a wide variety of ways to fill any space.

The most monumental painted compositions were employed in and around the domes and semi-domes of Ottoman buildings. For much of the Ottoman era, domes were typically decorated with a circular medallion-like composition at the center of the dome that was filled with a calligraphic rendition of Qur'anic verses. The motif of the central medallion radiated outward to cover the rest of the dome, with the details filled by rumî, hatayî, or saz motifs. This type of dome decoration is well-known from the 16th century onward but it probably had appeared earlier in the 15th century as well.Painted decoration underwent a gradual shift in style that can be attributed to European influence. Among other trends, shading was introduced to what had previously been areas of flat colour. This was evident not only in new buildings but also in older buildings whose decoration was redone after this period. In some of the latter cases, the traditional designs were retained during restoration but they were updated to include shading. Around the same time (in the second half of the 17th century), a new style known as Edirnekārī began to appear. It primarily depicted flowers, a traditional Ottoman motif, but with an increased level of naturalism not previously seen in Ottoman art. The reign of Ahmet III ((r. 1703 – 1730)), which include the years of the Tulip Period (1718–1730), saw the popularization of a style derived from this, featuring plentiful depictions of flowers in vases and bowls of fruit, sometimes with shading. The most vivid example of this is the so-called Fruit Room, created by Ahmet III inside Topkapı Palace in 1705. This new style remained popular until the end of the century. The advent of the Ottoman Baroque architectural style in the 1740s also brought new motifs of European origin or influence. For example, traditional Ottoman medallion designs could now be replaced with European-style cartouches. By the end of the 18th century, European influence continued to grow and the new repertoire of motifs included garlands, ribbons, flower bouquets, and baskets of roses. Decoration could now be painted to appear three-dimensional, adding a new visual effect even when otherwise traditional motifs were used. The trompe-l'œil technique was also introduced, particularly during the reign of Abdülmecid I ((r. 1839 – 1861)). Examples from this period can be seen inside the Ortaköy Mosque (1850s) and in the Dolmabaçe Palace (1843–1856).

Stone carving
Compared to the Anatolian Seljuk architecture that came before it, Ottoman architecture treated stone carving as a less important decorative medium. In the early Ottoman period, an exception to this paucity of traditional stone carving is the Green Mosque in Bursa, which features skilled carving of marble surfaces into vegetal arabesque and calligraphic motifs. This was generally not repeated in subsequent Ottoman monuments, with the partial exception of mihrabs.

Nonetheless, high-quality stone carving was still used to enrich the details of buildings throughout the Ottoman period, particularly for entrance portals, minaret balconies, niches, column capitals, and moldings. One of the main decorative techniques in this medium was muqarnas (or "stalactite") carving, which is used in all of these aforementioned elements. Since the Seljuk era, muqarnas semi-vaults had been a typical feature of entrance portals and mihrabs, and this tradition continued in Ottoman mosques. In the early 18th century, around the Tulip Period, diverse new floral motifs were added to the decorative repertoire of buildings. These can be found in carved reliefs, employed most prolifically on the façades of fountains and sebils, which became common types of monuments commissioned during this century. The motifs include flowers, fruits, garlands, and rosettes, as well as designs developed from the hatayî style previously used for painted decoration. With the advent of the Ottoman Baroque in the 18th century, Ottoman stone carving borrowed motifs directly from the relief ornamentation in French Rococo architecture, including acanthus leaves, shells, baroque moldings, and mixtilinear arch forms. Although many novelties were introduced, one traditional feature that continued throughout this period were the calligraphic inscriptions placed in panels over gates, in friezes, and in other prominent locations.

Gardens
Ottoman gardens were relatively informal and tended to accommodate natural topography, unlike gardens in many other parts of the Islamic world – such as Iran or South Asia – where a more formal design was preferred with a symmetrical four-part division or other geometric layout. Gardens could be planted with large trees for shade, smaller citrus trees, and flowerbeds. Tulips were favored for flowers, even more so in the Tulip Period during the reign of Sultan Ahmet III (r. 1703–1730).

Palaces and leisure gardens
Exemplifying this Ottoman trend, the gardens in Topkapı Palace were laid out according to the existing topography and emphasized naturalism over geometry. Some were organized as formal gardens whereas others took the appearance of semi-natural parks, with some sections consisting of formal parterres that were then placed inside larger informal garden areas. Sultan Suleyman was a lover of gardens and employed some 2,500 gardeners to tend to roses, cypresses, and other flowering plants in the palace grounds. Ahmet III had a tulip garden planted in the Fourth Court of the palace, just outside the Circumcision Room.

One documented exception to the general trend of informal design was the Karabali Garden, laid out in the early 16th century in Kabataş (a district of Istanbul). It had four symmetrical quadrants divided by axial paths, making it an uncommon example of the chahar bagh-type garden in an Ottoman context.

Garden pavilions were a common feature of palaces and private gardens, designed to provide shelter for residents and visitors as they enjoyed views of the gardens. They are depicted in many Ottoman miniature paintings. They were often simple open kiosks with arches or columns supporting a sloped roof, but there were also more monumental tower-pavilions such as the Tower of Justice in Topkapı Palace or the Cihannüma in the Edirne Palace.

Ottoman sultans and elites built many other palaces, leisure kiosks, and estates, especially along the shores of the Bosphorus and the Sea of Marmara around Istanbul. An illustration of the Bosphorus from 1738–9 shows many walled gardens lining both of its shores. These waterside palaces often had one side overlooking the water and the other side overlooking gardens. The Topkapı-style tradition of a sprawling palace with multiple pavilions amidst gardens made a comeback in the late 19th century when Sultan Abdulhamid II (r. 1876–1909) moved his residence to the new Yıldız Palace, which is set inside a large park area on the slopes overlooking the Bosphorus.

Mosques and cemeteries
Large Ottoman küllliye complexes, which consisted of a mosque with other charitable and religious buildings around it, were often set inside an outer enclosure. The grounds and common spaces of these enclosures were planted with grass and trees, around which the various structures were organized.

Some Ottoman mosques in Istanbul also had trees planted inside their courtyards. At the Fatih Mosque, the courtyard once contained four cypress trees planted around a central fountain, a composition likely originating from the now-vanished atrium of the Hagia Sophia, which featured the same arrangement. A late 18th-century illustration of the Süleymaniye Mosque also indicates the presence of trees in its courtyard. According to Godfrey Goodwin, the first mosque to have a courtyard filled with a garden may be either the Mesih Mehmed Pasha Mosque or the Nışançı Mehmed Pasha Mosque, both built in the same neighborhood around 1585.

In Ottoman society, cemeteries and places of burial were usually gardens. Cypress trees were a common presence in this context as well. Many Ottoman mosques were accompanied by garden-cemeteries. At the Fatih and Süleymaniye mosques, these garden-cemeteries are set behind the qibla wall of the mosque and contain the mausoleum of the sultan who founded the mosque, along with other burials. The cemeteries were planted with trees and flowers but the graves themselves may have also been imagined as miniature gardens, since they contain small plots laid out for planting and some of the tombstones even have holes to anchor vines.

Architecture in the provinces
The main developments in Ottoman architecture generally took place in the capital cities (Bursa, Edirne, Istanbul) and other major administrative centers that were closely associated with the Ottoman dynasty, where imperial patronage was most concentrated. Beyond these imperial centers, Ottoman provincial governors and other local elites sponsored their own constructions, but the architectural style of these buildings varied depending on local context.

In Europe (Rumelia) and in western Anatolia, Ottoman constructions mostly imitated the trends of the capital, though there were still local variations and eccentricities. In the Balkans, the reign of Murad II ((r. 1421 – 1451) with brief interruption) saw many renovations of early Ottoman buildings and also the construction of multiple new mosques and civic or religious complexes. Nearly all the other important Ottoman monuments in the European provinces beyond Istanbul and Edirne date from the 16th and 17th centuries. Building activity was particularly intense in the 16th century, even surpassing that of Anatolia, but it declined over the course of the 17th century. Sarajevo, Mostar, Skopje, Plovdiv and Thessaloniki, were among the most important cities in the region and their Ottoman monuments often reflect a classical style. As in many other provincial areas of the empire, mosques in the Balkans generally consisted of the single-dome type with one minaret, though some were also built with sloped wooden roofs instead. In other regions which had been Islamized long before the Ottomans, local Islamic architectural traditions were not easily displaced and remained highly relevant in the construction of new buildings. In Egypt and the Syrian region, the Mamluk architectural style that existed before the Ottoman conquest of 1516–1517 was largely continued while incorporating elements and ideas of Ottoman architecture to varying degrees. The regions along the edges of Anatolia, Syria, and Mesopotamia (around southeastern Turkey today) also resisted assimilation to the culture of the Ottoman capital and continued to be strongly influenced by local styles. For example, Diyarbakir, Van, and Adana were important regional centers that retained or developed their own local architectural styles. Further afield in North Africa, particularly in Ottoman Algeria and Ottoman Tunisia, which were autonomous for much of the Ottoman era, the local western Islamic style was blended with Ottoman architecture in different ways. In Baghdad, Ottoman-era mosques were built almost entirely according to local traditions.

title: Ottoman architecture


text: User talk:70.241.76.239

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title: User talk:70.241.76.239


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Talk:Gamze Özçelik

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Talk:Lickitung

Untitled
Unfortunately, in episode #148 (Tricks of the trade) Jessie accidentally traded her Lickitung for a Wobbuffet
 * Unfortunately seems a little POV. Especially since Wobbuffet is such a popular character! Sonic Mew | talk to me 17:40, 30 September 2005 (UTC)

Just thought I'd ask why in Episode 49 she says she has lickitung when she got it in episode 55.. Weird Rob-20 Feb 2007

Name
I think the 'linga' part is more likely from the latin root for tongue.. I mean, I'm sure linga is tongue in some language.. not referring to the rings on its body.

title: Talk:Lickitung


text:
Thailand Open (ATP)

The Thailand Open was a professional tennis tournament played on indoor hard courts. It was part of the ATP World Tour 250 series of the ATP Tour. It was held annually in Bangkok, Thailand, in the third week of September, since 2003.

From 2005 to 2007, a WTA Tier III, the PTT Bangkok Open, was also held in the region before being discontinued.

Roger Federer is the only man to have won the singles competition more than once, in 2004 and 2005, while Andy Ram and Jonathan Erlich are the only doubles pair to have won the competition multiple times, in 2003 and 2006. In 2007, Sonchat Ratiwatana and Sanchai Ratiwatana became the first Thai champions of the event, winning in the final against Wimbledon doubles champion Michaël Llodra, and partner Nicolas Mahut. In November 2013 the ATP announced that the tournament would be relocated to Shenzhen, China.

title: Thailand Open (ATP)


text: Talk:CHMT-FM

title: Talk:CHMT-FM


text:
Apostolic Brethren

The Apostolic Brethren (sometimes referred to as Apostolici, Apostoli, or Apostolics ) were a Christian sect founded in northern Italy in the latter half of the 13th century by Gerard Segarelli, a native of Alzano in the territory of Parma. He was of low birth and without education, applied for membership in the Franciscan order at Parma, and was rejected. Ultimately he resolved to devote himself to the restoration of what he conceived to be the apostolic manner of life. Most of the spirit of the movement continued in the Dulcinian movement.

History
In roughly 1260, Segarelli assumed a costume patterned after representations which he had seen of the apostles, sold his house, scattered the price in the market-place, and went out to preach repentance as a mendicant brother. He found disciples, and the new order of penitents spread throughout Lombardy and beyond it. At first the Franciscans and other churchmen only scoffed at Segarelli's eccentric ways; but about 1280 the Bishop of Parma threw him into prison, then kept him awhile in his palace as a source of amusement, and in 1286 banished him from the diocese. All new mendicant orders without papal sanction having been prohibited by the Second Council of Lyon in 1274, Pope Honorius IV issued a severe reprobation of the Apostolic Brethren in 1286, and Nicholas IV renewed it in 1290.

A time of persecution followed. At Parma in 1294 four members of the sect were burned, and Segarelli was condemned to perpetual imprisonment. Six years later he was made to confess a relapse into heresies which he had abjured, and was burned in Parma on July 18, 1300. A man of greater gifts now took the lead of the sect. This was Dolcino, the son of a priest in the diocese of Novara, and a member of the order since 1291, an eloquent, enthusiastic utterer of apocalyptic prophecies.

As the head of the group, who were in daily expectation of seeing the judgment of God on the Church, he maintained in the mountainous districts of Novara and Vercelli a guerilla warfare campaign against the crusaders who had been summoned to put him down. Cold and hunger were still more dangerous enemies; and finally the remnant of his forces were captured by the bishop of Vercelli: about 150 persons in all, including Dolcino himself and his "spiritual sister," Margareta, both of whom, refusing to recant, were burned at the stake on June 1, 1307.

This was really the end of the sect's history. Later, in the middle of the century, traces of their activity are found, especially in northern Italy, Spain, and France, but these were only isolated survivals.

Ideals
The ideal which the Apostolic Brethren strove to realize was a life of perfect sanctity, in complete poverty, with no fixed domicile, no care for the morrow, and no vows. It was a protest against the invasion of the Church by the spirit of worldliness, as well as against the manner in which the other orders kept their vows, particularly that of poverty. In itself the project might have seemed harmless enough, not differing greatly from the way in which other founders had begun. When the order was prohibited, however, the refusal to submit to ecclesiastical authority stamped its members as heretics.

Persecution embittered their opposition; the Church, in their eyes, had fallen completely away from apostolic holiness, and become Babylon the Great, the persecutor of the saints. Their apocalyptic utterances and expectations are a link with the Joachimites; in fact, parallels to their teaching, mostly founded on literal interpretations of Scripture texts, may be found in many non-church bodies. They forbade the taking of oaths, apparently permitting perjury in case of need, and rejected capital punishment; their close intercourse with their "apostolic sisters" gave rise to serious accusations against their morals, though they themselves boasted of their purity, and considered the conquest of temptation so close at hand as especially meritorious.

Theories
The Apostolics did not have a fully developed theory, Segarelli being uneducated. They based their belief on the Acts of the Apostles (2:44-45): "All who believed were together, and had all things in common. They sold their possessions and goods, and distributed them to all, according as anyone had need." They lived a simple life of fasting and prayer; often they worked to earn enough to eat, otherwise living off charity, preaching, and always invoking penitence.

Their maxim was Poenitentiam agite (make penitence) soon misspelled as Penitençagite! and cited in present days by The Name of the Rose, a novel by Umberto Eco.

title: Apostolic Brethren


text:
Gary Teale

Gary Stewart Teale (born 21 July 1978) is a Scottish professional football player and coach.

Teale started his career in Scotland in 1995 with Clydebank and Ayr United. He moved to England in 2001 when he signed for Wigan Athletic and played an important part in the Wigan side that rose from the third tier (Division Two) to second (Division One) for the first time in the club's history and then went one step further to reach the top flight. Whilst at Wigan he started in the 2006 Football League Cup final. He then left for Championship side Derby County where he achieved promotion to the Premier League for the second time, although Teale was not a member of the matchday 16 for the 2007 Football League Championship play-off final. During his time at Derby, he spent time on loan with Plymouth Argyle and Barnsley.

After three years and over 100 appearances for the club, Teale left Derby in June 2010 to sign for Sheffield Wednesday. Teale then moved to St Mirren in 2011, and he helped them win the Scottish League Cup in 2013. He became St Mirren manager in 2014, but left this position after the club were relegated in May 2015. Teale represented Scotland at international level, winning 13 caps for his country between 2006 and 2009.

Early career
Born in Glasgow, Scotland, Teale began his career at Clydebank. As a youth player he spent time training with Davie Cooper, who Teale felt had a major influence on his development and career. In 1995, he made his debut at the age of 16 in a Scottish League Cup match against Motherwell. During his first season at the club, he made most of his appearances as a substitute, and scored his first goal for the club towards the end of the season in a 2–1 win against St Mirren. In the summer of 1996, Clydebank were forced to take several cost-cutting measures, leaving Teale as one of only two players on full-time contracts at the club. He became a first team regular at the start of the 1996–97 season, and his impressive performances earned him a call up to the Scotland under-21s. Later in the season, he was given trials at Tottenham Hotspur and Newcastle United, but a move failed to materialise. He finished the season with six goals as the club were relegated to the Second Division. In October 1997, Teale was involved a car crash, later admitting that he was "lucky to be alive". The incident left him with a broken collarbone, and did not feature in the team until the end of the following month. He struggled to maintain his place in the first team during the 1997–98 season, starting in only 13 of 27 league appearances, and at one point was dropped from the team by manager Ian McCall "in the hope it would give him a kick up the backside." Clydebank finished the season as runners-up in the league, regaining promotion to the First Division.

In October 1998, due to Clydebank's growing financial difficulties, Teale was sold to Ayr United for a fee of £70,000, a signing described by McCall as "a Christmas bargain in October." Although there was interest from several English clubs, Teale opted to remain in Scotland as he felt he was not yet ready to leave his home country. He made his debut in a 2–0 win against St Mirren, and scored his first goal for the club on his home debut two weeks later in a 4–2 win against Falkirk. He played a pivotal role in a 3–0 Scottish Cup victory at home to local rivals Kilmarnock in 1999, winning a late penalty which was converted by Andy Walker, a goal that has gone down in history due to the humiliating manner in which Gordon Marshall the Kilmarnock goalkeeper was beaten.

Wigan Athletic
In 2001, Teale signed for Wigan Athletic for an initial fee of £275,000, which rose to £400,000 due to subsequent additional payments. He made his debut a day later against Oldham Athletic and scored his first goal for the club on 19 February 2002 in a 3–1 win against Notts County. He picked up a Second Division winners medal for the 2002–03 season.

In the 2004–05 season Wigan were promoted into the Premiership for the first time in their history, after which Teale signed a new two-year contract with the club. He also helped Wigan reach their first ever major cup final when they finished runners-up to Manchester United in 2006. Teale was the only player to feature in every match during the cup run, and played the full 90 minutes of the final itself. He eventually left Wigan after six years at the club to join Derby County for £600,000 on 11 January 2007.

Derby County

Teale was brought to Derby by Billy Davies to sustain Derby's push towards the Premiership and made his debut in a 1–0 win over Sheffield Wednesday on 13 January 2007, scoring his first goal with the opener in a 2–2 draw with Hull City on 10 February 2007. Despite this, he failed to hold a regular place in the Derby first team towards the end of the season and failed to make the squad for Derby's 1–0 win over W.B.A in the 2007 playoff final which earned Derby promotion.

Teale found himself in and out of the starting line up as Derby struggled to adapt to the top flight and despite playing a part in 22 games, primarily as substitute, over the 2007–08 season, he was loaned out to Championship side Plymouth Argyle by new Derby boss Paul Jewell until the end of the 2007–08 season because he needed to 'regain some confidence' Teale's loan spell at Plymouth impressed Argyle boss Paul Sturrock enough for him to want to sign the player on a permanent basis, though he was reluctant to meet Derby's £500,000 asking price. Teale was also believed to be interesting Leeds United in the 2008–09 pre-season, who would offer £400,000.

The 2008–09 season started in similar fashion as he was loaned out to Barnsley on a month's emergency loan deal, where he played three games. Upon his return to Derby Teale again sporadically appeared. However, with the resignation of Jewell and the appointment of Nigel Clough, Teale began to get a run in Derby's first eleven earning many accolades, with his form improving to the extent that it prevented a loan move to Motherwell in the January 2009. He got his second goal for the club, and his first career goal for two years on 7 February 2009 with the opener in a 3–0 victory at Plymouth Argyle. Such was the upsurgence in his form, he became something of a cult hero amongst the Derby support, earning himself the nickname Tealinho. Teale opened his goalscoring account for the 2009–10 season with an 87th-minute winner against Peterborough United and made his 100th appearance for the club as a second-half substitute in a 1–0 win over Nottingham Forest on 30 January 2010.

On 5 May 2010 it was announced that Teale would leave Pride Park after three and a half years when his contract expired. He left Derby on 30 June 2010 with 104 appearances and five goals.

Sheffield Wednesday
On 2 July 2010, Teale signed a two-year contract at Sheffield Wednesday and was given the number 21 shirt. He scored his first goal for Sheffield Wednesday against Southport in the FA Cup on 7 November 2010. Three days later he bagged his second goal as Wednesday beat Hartlepool in the Football League Trophy. Teale left Hillsborough by mutual consent on 1 July 2011, and signed a two-year deal with St Mirren.

St Mirren
After Teale left Hillsborough by mutual consent on 1 July 2011, and signed a two-year deal with St Mirren. Teale scored his first goal for Saints in a 2–0 victory in a friendly match against Dumbarton on 12 July 2011. After just 4 minutes David Barron played a ball over the Dumbarton defence, and Teale lobbed the Dumbarton goalkeeper.

Teale was part of the side that won the 2012–13 Scottish League Cup. St Mirren defeated Heart of Midlothian 3–2 in the 2013 Scottish League Cup Final at Hampden Park. Teale will be remembered for his great run down the right wing, and cross field pass that allowed Esmaël Gonçalves to score Saints equalising goal after 37 minutes. On 16 April 2013, it was announced that Teale had signed a new one-year deal with St Mirren, that will keep him at the club until the summer of 2014.

After limited appearances during season 2013–14, it was not known if Teale would be offered a new contract. On 13 May 2014 Teale signed a new two-year deal with the club, taking on a player-coach role to assist newly appointed St Mirren manager Tommy Craig. He was appointed caretaker manager after Craig was sacked in December 2014. In January 2015, Teale was appointed St Mirren manager on a contract until the end of the 2014–15 season. Teale was relieved of his managerial duties after the final game of the season, as St Mirren appointed Ian Murray as their new manager on 22 May 2015. On 1 June 2015, Teale left St Mirren by mutual consent, after failing to secure the manager's job on a permanent basis.

International career
Teale made his debut for Scotland under-21s against Latvia in 1996.

Teale's performances for Wigan earned him a call-up to the Scotland national football team for the first time in 2004, but was forced to withdraw from the squad due to injury. He won his first cap in a 3–1 defeat to Switzerland on 1 March 2006.

He has intermittently played for his country since, including some crucial appearances in Scotland's Euro 2008 qualifying campaign.

In 2008, he was called up to George Burley's first Scotland squad alongside fellow on loan Plymouth player Russell Anderson.

Career honours
Clydebank
 * Scottish Football League Second Division promotion: 1997–98

Wigan Athletic
 * Football League Second Division: 2002–03
 * Football League Championship second-place promotion: 2004–05
 * Football League Cup runner-up: 2005–06

Derby County
 * Football League Championship play-offs: 2007

St Mirren
 * Scottish League Cup: 2012–13

Scotland
 * Kirin Cup: 2006

Managerial statistics

 * Includes statistics as caretaker manager.

title: Gary Teale


text:
FLYi

FLYi, Inc., previously known as Atlantic Coast Airlines Holdings, Inc., was a Delaware airline holding company based in the Dulles area of unincorporated Loudoun County, Virginia. Prior to filing for Chapter 11 Bankruptcy, the company operated Independence Air.

History
Atlantic Coast Airlines Holdings, Inc. was a commuter airline formed in 1989. Atlantic Coast Airlines operated as United Express and Delta Connection. Upon termination of their codeshare agreements, in 2004 the company changed its name to FLYi, Inc, representing the airline's new name, Independence Air.

On November 7, 2005, FLYi, Inc. and its subsidiaries filed for Chapter 11 bankruptcy protection in the US Bankruptcy Court for the District of Delaware. This press release declares that they expected to attract new investors within sixty days of the filing.

Due to Flyi not finding an investor as expected, Flyi ceased operations on January 5, 2006 at 7:00 p.m. UTC-5. The airline's operating certificate was purchased by Northwest Airlines and operated Compass Airlines. The company had traded on the Pink Sheets under the symbol FLYIQ, but the stock has since ceased trading there.

title: FLYi


text:
Deeds registration

Deeds registration is a land management system whereby all important instruments which relate to the common law title to parcels of land are registered on a government-maintained register, to facilitate the transfer of title. The system had been used in some common law jurisdictions and continues to be used in some jurisdictions, including most of the United States.

It is being replaced by Torrens systems in many jurisdictions. Australia, Ireland as well as most Canadian provinces have converted from deeds registries to Torrens titles. Some Canadian provinces have never operated a deeds registry and have always used Torrens titles. Other Canadian provinces which have converted from a deeds registry to Torrens titles have operated both systems in conjunction until the Torrens system gradually superseded the deeds registry system, as was the case in Nova Scotia and New Brunswick during the 2000s. In the Canadian province of Ontario, electronic registration led to Ontario's version of Torrens title covering almost all land, but the past deeds registration still governs some issues. Hong Kong and the Canadian provinces of Quebec, Newfoundland and Labrador and Prince Edward Island are the only provinces left which still operate a deeds registration system.

In contrast to the Torrens system in which basically the one who registered in a land registry as owner of a piece or parcel of land has an indefeasible title of the land, deeds registration system is merely a registration of all important instruments related to that land. In order to establish one's title to the land, a person (or usually their purchaser's attorney) will ascertain, for example:
 * all the title documents have been properly executed,
 * "a chain of title" is established, i.e. the proper ownerships from the granting of the land from the government to the current owner,
 * there are no encumbrances on the land that probably will harm the title of the land.

Duty to give and show good title
Since, in contrast to the Torrens system, the registry is merely a record of all instruments related to the land, the "owner" as shown on the land registry record (or common known as "land search record" in Hong Kong) does not necessarily mean that he has a "good title", which means a title that is not defeasible or potentially defeasible.

In a sale and purchase of land, a vendor is required to show a "good title" to the purchaser. Since the land search record is not conclusive, it leads to problems when a vendor has to prove his title, in particular when the land is old or involves multiple encumbrances. This may lead to litigation if the parties cannot agree on whether a good title is shown.

Relief from harsh system
In Hong Kong, the vendor is generally only required to prove his title up to 15 years prior to the date of the sale and purchase. Further, various legislative measures relieve the vendor's duty. For example, the vendor can rely on assumption that a recital of an instrument referring to matters prior to 15-year-old is true.

In Ireland a vendor has to produce "a good root of title" (usually a conveyance for value but some other instruments qualifies). A purchaser cannot insist that the root of title to be more than 40 years old; the practice being only to insist on a minimal 20-year period. There is a presumption that the recitals in a conveyance for valuable consideration are true if that conveyance is at least 20 years old.

Changing to title registration
Many jurisdictions have switched or are switching from a deeds registration system to a system of title registration. For example, Hong Kong, one of the last common law jurisdictions to maintain a deed registration system, passed the Land Titles Ordinance in 2004, which will see Hong Kong shift to the Torrens system. The law will be gradually implemented over a period of twelve years. However, there is no timetable for the commencement of the Ordinance as at 2016.

title: Deeds registration


text:
File:Matm.jpg

Summary
This image was found at http://www.figmentfly.com/madnessandtheminotaur/index.html

Licensing
This image, Matm.jpg, is being linked here; though the picture is subject to copyright I (figmentfly) feel it is covered by the U.S. fair use laws because the image is being used to illustrate the packaging of the game in question.

title: File:Matm.jpg


text: User talk:207.64.85.1

title: User talk:207.64.85.1


text:
Talk:Kelvin probe force microscope

Alison Chaiken 17:42, 30 September 2005 (UTC): I have only used Veeco's KPFM instrument so it's possible that other vendors have KPFM that work differently. The text of the article is a bit misleading if it is an attempt to describe how Veeco's system works. The specific text I find worrisome is this:

As the tip (work function: ψtip) contacts the sample (work function: ψsample) electrically, a potential difference (Δψ / q) between the tip and the sample is produced.

In fact, Veeco's method is completely non-contact. This text suggests that contact electrification is taking place, which is not true. In fact, KPFM as implemented by Veeco uses their "lift mode" where the tip flies at a constant height above the surface. I have used 60 nm as the lift height in my measurements, which pretty much guarantees that there's no contact.

Great, please revise the text to make it more accurate. I'm sure most of us have never used KVPMs before, so you probably know better than we do. Anyways, it's a little fishy how the article currently says "electrical contact"; that might mean simply that the tip is close enough to the surface to interact with it, not that it is close enough to the surface to be in mechanical contact.--Conwiktion 01:52, 9 October 2005 (UTC)

The link: M. Nonnenmacher, M. P. O'Boyle, and H. K. Wickramasinghe (1991). "Kelvin probe force microscopy" ... does not work —Preceding unsigned comment added by 192.53.103.200 (talk) 07:17, 3 May 2010 (UTC)

External links modified
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Proposed merge with Scanning Kelvin Probe
Page created by a COI-afflicted editor, intended to promote BioLogic in subtle manners. At any case, the difference between SKP and SKPFM is quite less and most of the literature uses the two terms, interchangeably. A reader is far better served to understand the two topics at the same page per WP:NOPAGE. ∯ WBG converse 14:09, 20 June 2019 (UTC)
 * ✅ Klbrain (talk) 20:19, 11 August 2020 (UTC)
 * I agree the original SKP page looked very much like an ad for BioLogic, but the technique is somewhat distinct from KPFM (and I think there are other manufacturers who produce instruments closer to SKP than KPFM). When I read the KPFM page today, I was very confused about which technique it was describing.  Perhaps it could be useful to review this merge or maybe break up the current page into more clear sections for "Contact Mode KPFM", "Non-Contact Mode KPFM" and "Scanning Kelvin Probe" (or maybe Non-Resonant KPFM, but that could be a little misleading?).  Not sure if its possible to undo a merge (or if its a good idea)? Ilent2 (talk) 12:11, 5 November 2023 (UTC)

title: Talk:Kelvin probe force microscope


text:
Wikipedia:Articles for deletion/Worldscape

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination).  No further edits should be made to this page.

The result of the debate was DELETE. -Splash talk 22:44, 7 October 2005 (UTC)

Worldscape
nn. 202.156.6.62 17:42, 30 September 2005 (UTC)
 * Delete, non-notable fan site. -- Kjkolb 02:25, 3 October 2005 (UTC)
 * Delete as per Kjkolb. --BorgQueen 07:46, 7 October 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
Wikipedia:Articles for deletion/Classroom expectations and procedures

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination).  No further edits should be made to this page.

The result of the debate was DELETE. -Splash talk 23:24, 6 October 2005 (UTC)

Classroom expectations and procedures
This sort of thing should be speediable. Anyway, doesn't belong in an encyclopedia. DJ Clayworth 17:42, 30 September 2005 (UTC)
 * It's appears to be a teacher using Wikipedia as a free web host for publishing xyr own rules, written in the first person, for classroom behaviour. Wikipedia is not a free web host. It's an encyclopaedia, and this is not an encyclopaedia article.  Delete. Uncle G 18:24, 30 September 2005 (UTC)
 * Delete per Uncle G Sonic Mew | talk to me 20:05, 30 September 2005 (UTC)
 * Delete per Uncle G. Also, what's up with that red link at the bottom? Was the teacher really going to create another page there? We better look out for that. --Jacquelyn Marie 22:23, 30 September 2005 (UTC)
 * delete, page created by someone who didn't realize what wikipedia was for. Kappa 23:04, 30 September 2005 (UTC)
 * Delete. Wikipedia is not a web host. --Carnildo 23:14, 30 September 2005 (UTC)
 * Delete per all previous noms. Wikipedia is not an instruction manual. --Metropolitan90 01:25, 1 October 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
User talk:Anastasius zwerg

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you have any questions, check out Where to ask a question or ask me on my talk page. Again, welcome! [[Sam Korn ]] 17:44, 30 September 2005 (UTC)
 * The five pillars of Wikipedia
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Fusor
Sorry, it was long before the current ref-madness started, and I rarely wrote down the stuff I used back then. I do recall it being a combination of about a dozen web articles, some of them in turn basically copied from books. Sorry! Maury 20:11, 17 August 2006 (UTC)

Electro-osmosis
I've cleaned the article up and provided a slight expansion -- if you could expand it based upon the german article, then it'd help J O  R D A N [ talk ] 13:42, 30 March 2007 (UTC)
 * Hi Jordan, the problem is that I do not consider myself really an expert in the field. I have tried to convert the German article from a very poor state (on the dubious business pretending to achieve drying of walls by electroosmosis) to something that roughly describes the chemistry or physics - but I hoped that it would be easier to find an expert on this in the far larger English-language community! By the way, there is also quite some information about the effect in the article electroosmotic flow. Cheers, --Anastasius zwerg 18:07, 3 April 2007 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Anastasius zwerg. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Anastasius zwerg~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 21:53, 19 March 2015 (UTC)

title: User talk:Anastasius zwerg


text:
User talk:Windsagio

Welcome to Wikipedia!
Hello, welcome to Wikipedia!

If you feel a change is needed, feel free to make it yourself! Wikipedia is a wiki, so anyone (yourself included) can edit any article by following the  link. Wikipedia convention is to be bold and not be afraid of making mistakes. If you're not sure how editing works, have a look at How to edit a page, or try out the Sandbox to test your editing skills.

You might like some of these links and tips:
 * Some general guidance.
 * Tutorial and the Manual of Style.
 * Find out how to revert, move and merge pages.
 * Sign your posts on talk pages using four tildes (~~~~).
 * Ask questions at the Village pump or Help desk.
 * Use the Show preview button
 * Provide an Edit summary
 * Add the correct image copyright tag to any images you upload
 * Take a look at Consensus of standards
 * Create a User page
 * If you like, you can add yourself to the New user log and a regional notice board

If, for some reason, you are unable to fix a problem yourself, feel free to ask someone else to do it. Wikipedia has a vibrant community of contributors who have a wide range of skills and specialties, and many of them would be glad to help. As well as the wiki community pages there are IRC Channels, where you are more than welcome to ask for assistance.

If you have any questions, feel free to ask me on my talk page. Thanks and happy editing, --JoanneB 17:43, 30 September 2005 (UTC)

Battle of Fort Pillow
I added a reference from US Grants memoirs about Fort Pillow, I was a bit surprised that no mention of it was in there (having just read the book(s)). Is there a particular reason its NOT in there? If so, you might want to revert the page. Either way, I'm curious to hear about it.Windsagio (talk) 03:44, 2 May 2009 (UTC)

 * I don't see why you think Grant's view is notable. He wasn't there and he had been general in chief for only a month, so he hardly had any involvement at all. Hal Jespersen (talk) 15:06, 2 May 2009 (UTC)

title: User talk:Windsagio


text:
Federal Correctional Institution, Seagoville

The Federal Correctional Institution, Seagoville (FCI Seagoville) is a low-security United States federal prison for male inmates in Seagoville, Texas in the Dallas-Fort Worth metropolitan area. It is operated by the Federal Bureau of Prisons, a division of the United States Department of Justice. The facility includes a detention center for male offenders and an adjacent satellite prison camp that houses minimum security-male offenders.

FCI Seagoville is located 11 mi southeast of Downtown Dallas.

History
The Federal Reformatory for Women in Seagoville opened on October 10, 1940. After the attack on Pearl Harbor, the government converted the center into a Federal Detention Station, monitored by the Immigration and Naturalization Service, that housed people of Japanese, German and Italian descent who were classified as "enemy aliens," including women deported from Latin America into U.S. custody Many of the Latin American internees had been classified officially as "voluntary internees" because they had chosen to leave their home countries after their husbands had been deported to the U.S., however, their choice was in many cases motivated by the difficulties of supporting themselves and their families alone. Internees at Seagoville published a German language newsletter called the Sägedorfer Fliegende Blätter. Beginning in June 1943, the State Department arranged for the deportation of many of the internees to Japan and Germany, which helped decrease the population as authorities prepared to transfer the remaining detainees to Crystal City, Texas. Seagoville held a total of some 650-700 people, and was closed in June 1945.

After World War II ended, on June 25, 1945 the prison became a facility for minimum security male offenders. In 1969, the facility's mission changed to that of housing young male offenders sentenced under the Youth Corrections Act. At the time the maximum age of the prisoners was 27.

In 1979, the facility's mission changed into that of a Federal Prison Camp. In 1981, a perimeter fence was installed and the facility became a Federal Correctional Institution. The adjacent Federal Detention Center opened in 1996. FDC Seagoville celebrated its 60th anniversary on October 10, 2000.

Facility
The prison facility is located on an 830 acre tract. Built for $1.8 million, it occupies a portion of the acreage. In World War II single detainees occupied dormitories while couples resided in "Victory Huts", prefabricated one room buildings with measurements of 18 sqft each.

Notable incidents
On November 8, 2012, 27-year-old John Hall, an inmate at FCI Seagoville, pleaded guilty to violating the Matthew Shepard and James Byrd Jr. Hate Crimes Prevention Act for assaulting a fellow inmate whom he believed to be gay. Hall admitted that on December 20, 2011, he repeatedly punched and kicked the victim, whom the Department of Justice did not identify, while calling the victim homosexual slurs. The victim sustained multiple lacerations to his face and fractured teeth as a result of Hall's unprovoked attack. On March 14, 2013, Hall was sentenced to an additional 71 months in prison for the attack, which is to be served consecutively.

COVID-19 outbreak
On August 8, 2020, CNN reported that 1,300 of the 1,750 prisoners (75% of the inmates) have tested positive for COVID-19. Twenty-eight of the 300 staff members had tested positive as well. , three inmates have died. "It came through here so fast that it's out of control," said inmate Bobby Williams, who contracted the virus in June. "We're packed like sardines."


text:
Can of Worms (interchange)

The Can of Worms is the local name for the intersection of Interstate 490 (I-490), I-590, New York State Route 590 (NY 590), NY 96 (East Avenue), and University Avenue on the east side of Rochester, New York, in the United States. The junction was built during the 1950s and 1960s as part of the Rochester Outer Loop's construction, and rebuilt in the late 1980s to eliminate weaving caused by the interchange's original design. Although the reconstruction eliminated many of the issues, the Can of Worms name stuck and is still used locally.

Description
The Can of Worms is a modified double semi-directional T interchange that connects the east–west I-490 to I-590 south and NY 590 north. NY 590 and I-590 approach I-490 at points roughly 2000 ft apart, resulting in the unorthodox design of the junction. Other movements at the junction connect NY 96 to I-490 eastbound by way of a ramp immediately south of the main junction and link I-490 westbound to NY 96 by way of the adjacent exit 20, which utilizes University Avenue. The Can of Worms is exit 21 on I-490 and exit 5 on I-590 and NY 590.

The interchange is bounded on all sides by commercial and residential developments in the town of Brighton to the east and the city of Rochester to the west. Additionally, the CSX Transportation-owned Rochester Subdivision railroad line traverses the northern half of the interchange, passing over NY 590 and the onramp linking I-490 westbound to NY 590 northbound and under the flyover that connects NY 590 south to I-490. NY 96, meanwhile, goes through the center of the junction, crossing over I-590 but passing under I-490.

History
I-490, then known as the Eastern Expressway, was built across eastern Monroe County in the late 1950s. At the same time, the Sea Breeze Expressway was constructed southward from Irondequoit to meet the Eastern Expressway in Rochester. The Sea Breeze Expressway and I-490 were connected c. 1961 by way of a directional T interchange. Another directional T interchange was built c. 1965 on the western edge of the first to connect I-490 to a new freeway leading to Brighton (now I-590). Local legend relates that on viewing the plans for the combined interchanges, an engineer named Stanley Kozak was heard to exclaim "It's like a can of worms!". The term came into common use, probably via local media, and eventually was marked on local streetmaps.

Due to the close proximity of the two junctions, traffic proceeding east–west on I-490 was required to merge across traffic coming off of NY 47 (later redesignated as I-590 and NY 590) in a reduced 40 mph speed zone in order to continue on the same highway. In an effort to resolve this issue, the intersection was rebuilt from 1988 to 1991 in a project costing $100 million. The new design eliminated weaving on I-490 and created a dedicated roadway for traffic traveling onto I-590 from NY 590 and vice versa.

In the years since the reconstruction, the Can of Worms name has remained in local parlance, typically as a descriptor for the modern junction during traffic reports. The name is also invoked when other traffic issues in the area are discussed in the local media—such as a lane re-striping on NY 590 in Irondequoit that generated a significant amount of controversy in 2010—a reference to the problems that once plagued the 490/590 interchange.

title: Can of Worms (interchange)