title: Mustafa ibn Ali al-Muwaqqit

texts:
<mask>-Muwaqqit (died 1571, the epithet al-Muwaqqit means "the timekeeper"), also known as <mask> and Koca Saatçi, was an Ottoman astronomer and author of geography from the sixteenth century. Because of his works on the science of timekeeping and practical astronomy,  he is considered "the founder of the Ottoman tradition" of those fields. He was one of the pioneers of astronomy literature in Ottoman Turkish—instead of Arabic which was more common in the Islamic world—following Muhammad al-Qunawi. Since his youth he served as the muwaqqit (religious timekeeper) attached to the Mosque of Selim I in Istanbul, in which capacity he produced most of his writing. In 1560 or later he was appointed to the office of müneccimbaşı, the highest post for astronomers of the Empire. Early life
Muslih al-<mask>-Qustantini al-Rumi was born in Istanbul, the capital of the Ottoman Empire, in the early sixteenth century. Among his teachers were the astronomer Mirim Çelebi (1475–1525), as well Muhammad al-Qunawi (d. ) a muwaqqit (religious timekeeper) in the tradition of Shams al-Din al-Khalili and Ibn al-Shatir, and Ottoman astronomer who began the attempt to write about his field in Ottoman Turkish rather than Arabic.Career

<mask> <mask> was appointed as the muwaqqit of the Mosque of Selim I in Istanbul, when he was young. He produced most of his works during this tenure. Instead of Arabic, the customary scientific language of the Islamic World at the time, he wrote mostly in Ottoman Turkish. This decision was made in order to popularise the field of astronomy in the Ottoman state, to make it accessible to more students, and to facilitate the mention of non-Arabic place names. Many of his works were dedicated for Sultan Suleiman the Magnificent and his grand viziers, possibly aimed to be used by the state bureaucracy; this application was facilitated by the use of Turkish. According to the historian of science İhsan Fazlıoğlu, the relatively high number of extant copies of his works was an indication of the success of his attempt to reach a wider audience by using Turkish. His works were reproduced up to the middle of the nineteenth century and were used as textbooks in madrasa and muvakkithanes (offices of the muwaqqits).Fazlıoğlu characterised his works by their "high level of geometry, trigonometry (especially spherical trigonometry), and numerical analysis", and their style of writing that is easy to understand and apply. Among his earliest works was a book of mathematical geography titled I'lam al-'ibad fi a'lam al-bilad ("Notices on the Distances of Cities of the World"), written in Ottoman Turkish. It includes a list of 100 major cities from Morocco to China, and the coordinates, distance from Istanbul, the qibla (direction that indicates Mecca) of each city. It was written in 1525 and was dedicated to Suleiman the Magnificent. His subsequent work on geography, Tuhfat az-zaman wa-kharidat al-awan (also in Ottoman Turkish), discusses the discipline of geography and its roots, the celestial objects, the Earth, its geographical features, and its division into seven climes. It was built on works by earlier scholars, including astronomers Jaghmini, Qadizade al-Rumi, and Zakariya al-Qazwini, as well as the zoologist Al-Damiri. Many of his other works were about astronomical instruments.Among these, Faraḥ Fazā was dedicated to the grand vizier Pargalı Ibrahim Pasha and describes the horizontal quadrant (al-rub' al-afaqi), which according to <mask> was his own invention. Another work, Kifayat al-qanu' fi al-'amal bi'r-rub' al-maqtu was written in Arabic and was a commentary on the works of an earlier muwaqqit Sibt al-Maridini. His other works, Kifayat al-waqt, also known as Risala fi al-muqantarat (1529), was written in Turkish and describes an instrument called the astrolabic quadrant, as well as other themes in geometry, trigonometry, and astronomy. Today 120 copies of this work are extant in various libraries. His Tashil al-miqat (1529) discusses the science of timekeeping and the sine quadrant (al-rub' al-mujayyab). This work appeared to have been continuously updated, and today it is found in 100 extant copies of five distinct versions. He describes another instrument, al-mujayyab al-afaqi in the work Risalah-i jayb-i afaqi (1529, Turkish) and describes its use for the coordinates of Istanbul in the work Hall da'irat mu'addil al-nahar (1531, Turkish) which was commissioned by the grand vizier Ayas Mehmed Pasha.His longest work was Risalat al-asturlab al-Selimi ("Selim's Treatise on the Astrolabe"), which was written in 1544, also in Turkish, and discusses the construction of the astrolabe, its mathematical properties, and its uses, based on Zij-i Sultani published by the astronomer Ulugh Beg in 1438 or 1439. In or after 1560, he was appointed müneccimbaşı (or munajjim-bashi, "head astrologer"), the highest office for astronomers in the Ottoman Empire, hence his other name "Müneccimbaşı <mask>". He replaced <mask> Umar and held the post until his death in 1571. He was the primary reference in the Ottoman Empire on the science of timekeeping, and according to the Turkish explorer Evliya Çelebi his works were cited in Western Europe. Other than the title al-muwaqqit and müneccimbaşı, based on his offices, he was also known by the honorific Koca Saatçi ("the great timekeeper"). After <mask>'s death, Sultan Selim II appointed the prominent scholar Taqi ad-Din Muhammad <mask>'ruf—who just returned to Istanbul in 1570 after his service in the Egypt Eyalet—as his successor. Legacy
<mask> <mask> was one of the most important Ottoman astronomers of the sixteenth century.Because of his works on the theory and applications of the science of timekeeping and practical astronomy, Fazlıoğlu writes that he is considered to be "the founder of the Ottoman tradition" of those fields. He was one of the earliest authors of astronomy in Turkish, a tradition started by Muhammad al-Qunawi. References

Bibliography

Astronomers of the Ottoman Empire
People from Istanbul
16th-century births
1571 deaths
16th-century people of the Ottoman Empire
16th-century scientists
16th-century writers

masks:
Mustafa ibn Ali al
Müneccimbaşı Mustafa Çelebi
Din Mustafa ibn Ali al
Mustafa ibn
Ali
Mustafa
Mustafa Çelebi
Yusuf ibn
Mustafa
ibn Ma
Mustafa ibn
Ali


title: Shulü Ping

type: original

texts:
<mask> (; 19 October 879 – 1 August 953), nickname Yueliduo (月里朵), formally Empress Yingtian () also known as Empress Di (地皇后) during the reign of her husband Emperor Taizu of Liao (Yelü Abaoji), posthumous name initially Empress Zhenlie (貞烈皇后, "the virtuous and achieving empress") then Empress Chunqin (淳欽皇后, "the pure and honoured empress") was an empress of the Khitan-led Liao dynasty of China. After Emperor Taizu's death in 926, she served as empress dowager until her  death in 953. She was directly involved in two imperial successions and is credited with changing expectations of widows in Khitan society. Background
<mask> was born in 879. Her great-great-grandfather Shulü Nuosi (述律糯思) was said to be of Huigu extraction. Her father was named Shulü Pogu (述律婆姑), who also had the name of Yuewan (月碗), served under the Khitan Yaonian (遙輦) clan. Her mother was said to be a daughter of "King Yundejia" (勻德恝王) — apparently the grandfather of her eventual husband Yelü Abaoji, Yelü Yundeshi (耶律勻德實) — which would make her and Yelü Abaoji cousins.Eventually, she married Yelü Abaoji as his wife, but it is not known when that occurred. She bore Yelü Abaoji three sons — Yelü Bei, Yelü Deguang, and Yelü Lihu. During Emperor Taizu's reign
In 916, Yelü Abaoji, having consolidated the power over the Khitan tribes into his hands, declared himself emperor of a new Liao dynasty, and created  Shulü <mask> empress. As empress, she was described as brave, resolute, and full of strategies, often participating in Emperor Taizu's military decisions. There was one time when Emperor Taizu were attacking the Dangxiang through the desert. He left Empress Shulü in charge of the headquarters. Hearing that he was away, two Shiwei tribes, the Huangtou (黃頭) and the Choubo (臭泊), decided to raid the Khitan headquarters.She heard of their plans, however, and put her army on an ambush posture, crushing them upon their arrival. Her reputation among the nomadic people thereafter became prominent. It was said that she refused to bow to her mother and her mother-in-law, but rather received their bows, stating, "I only bow to Heaven, not to people." As, at that time, the Shatuo prince of Jin, Li Cunxu, was locked in a war against archrival Later Liang, he sought an alliance with the Khitan, and he honoured Emperor Taizu as an uncle and Empress Shulü as an aunt. In 921, the general Lu Wenjin, who had defected from Jin to Khitan, urged Emperor Taizu to attack Jin. About the same time, two coups occurred within the domains of Jin allies Zhao and Yiwu Circuit (義武, headquartered in modern Baoding, Hebei) — as Zhao's prince Wang Rong was assassinated and his adoptive son Zhang Wenli seized control of the domain, and Yiwu's military governor Wang Chuzhi was overthrown by his adoptive son Wang Du. Zhang sought aid from Khitan.Wang Chuzhi's biological son Wang Yu (王郁) fled to Khitan, also encouraging Emperor Taizu to aid Zhang and use the chance to take control of both domains. Emperor Taizu agreed, and launched his army south. Empress Shulü opposed the operation. The Khitan army was subsequently defeated by the Jin army, and forced to withdraw. In 926, Emperor Taizu launched a major attack on Balhae, conquering it. He converted it to a kingdom named Dongdan, creating his and Empress Shulü's oldest son Yelü Bei its king, with the title of "Imperial King Ren" (人皇王, Ren Huangwang) — while their second son Yelü Deguang was, at the same time, given the title of "General Crown Prince". It was said that this campaign was conducted with Empress Shulü's strategies.Soon after conquering Balhae, Emperor Taizu died. Empress Shulü, at that time with Yelü Bei at Dongan, apparently to destroy potential dissent, gathered the wives of many generals and officials that she considered difficult to control, and stated to them, "I am now a widow. You should be like I am." Then, she gathered their husbands and, weeping, asked them, "Do you miss the deceased Emperor?" They responded, "The deceased Emperor has shown us much grace. Of course we miss him." She responded, "If you miss him, then go see him."She then slaughtered them. She then, leaving Emperor Taizu's younger brother Yelü Anduan (耶律安端) temporarily in charge at Dongdan, returned to the Khitan capital Linhuang (臨潢, in modern Chifeng, Inner Mongolia) with Yelü Bei, escorting Emperor Taizu's casket. Once then returned to Linhuang, she wanted to divert the succession away from Yelü Bei, as she had favored Yelü Deguang. However, formally, she called an assembly of the chieftains, along with Yelü Bei and Yelü Deguang, and stated to them, "I love both of my sons, and I do not know which one to make emperor. You can decide which one you wish to support by holding his rein." The chieftains, knowing that she favoured Yelü Deguang, rushed to him and held to his rein. She thereafter declared him emperor (as Emperor Taizong).Yelü Bei, angry over this turn of events, took several hundred soldiers and wanted to flee to Later Tang (Jin's successor state), but was intercepted by Khitan border guards. Empress Shulü did not punish him, but sent him to Dongdan. During Emperor Taizong's reign
Emperor Taizong honored Empress Shulü as empress dowager, and it was said that she made the key decisions for the state. She also had him marry her niece (Xiao Wen) as empress. (The reason why Empress Xiao, and other members of her clan, were from this point referred to with the surname of Xiao rather than Shulü, was that Emperor Taizu had the several clans that produced consorts for his line change their names to Xiao.) It was said that Emperor Taizong was filially pious, such that if she were unable to eat due to an illness, he would not eat either. She commissioned the ethnic Han official Han Yanhui as a chancellor.She also allowed the Later Tang emissary Yao Kun (姚坤), whom Emperor Taizu had detained, to return to Later Tang, and sent an emissary herself to Later Tang to report Emperor Taizu's death. Meanwhile, Empress Dowager Shulü continued to carry out killings of those she considered difficult to control. She would often tell such killing targets, "Deliver a message to the deceased Emperor for me!" After they arrived at Emperor Taizu's tomb, she would execute them. After several hundreds were killed in this way, she sent one Zhao Siwen (趙思溫) to do so. Zhao refused. She stated to him, "You were a close attendant of the deceased Emperor.Why do you refuse to go?" He responded, "No one was closer than you, Empress. If you go, I, your subject, will go next." Apparently impressed, she responded, "It is not that I am not willing to follow the deceased Emperor below ground. It is that the heir, my son, is young and weak. The state needs a leader, and therefore I cannot go." However, she cut off one of her hands and ordered that it be buried at Emperor Taizu's tomb.After this event, Zhao was spared. (Another account had it that she wanted to die as well at Emperor Taizu's death, but was dissuaded by her relatives, so she then came up with the solution of cutting off one of her hands.) In 936, the Later Tang general Shi Jingtang, with military assistance from Emperor Taizong, overthrew then-Later Tang emperor Li Congke and established a new state of Later Jin, subservient to the Liao. When one of the Later Tang generals that Emperor Taizong captured, Zhao Dejun the military governor of Lulong Circuit (盧龍, headquartered in modern Beijing), was delivered to Empress Dowager Shulü, she pointed out Zhao's hypocrisy in claiming to want to defend the Later Tang emperor while actually engaging in negotiations with Emperor Taizong to have his support for the throne instead. When Zhao offered his properties at Lulong's capital You Prefecture (幽州) to her, she pointed out that Shi, as part of his agreement with Emperor Taizong to cede 16 prefectures to Khitan, had already been ceded to her, and therefore was no longer Zhao's, causing Zhao to be distressed and subsequently dying in Khitan captivity. Shi Jingtang honoured Emperor Taizong and Empress Dowager Shulü faithfully and often offered them gifts, and in fact referred to himself as "Son Emperor" and Emperor Taizong as "Father Emperor." However, after Shi Jingtang's death and succession by his nephew Shi Chonggui, Shi Chonggui took a confrontational stance against the Liao, refusing to submit to Emperor Taizong as a subject, only referring to himself as "grandson."He also had Liao merchants arrested, and their assets seized. As a result, war erupted between the states. Empress Dowager Shulü was not in favor of waging war against Later Jin. As a result, Emperor Taizong entered into some peace negotiations with Shi Conggui in 945 that, however, were ultimately fruitless. In 946, Shi Chonggui commissioned the Later Jin general Du Wei with an army to attack Liao, with the intent to recapture the territory Shi Jingtang previously ceded to Liao. Emperor Taizong, however, was able to have Du's army surrounded, and Du surrendered. He then attacked south toward Later Jin's capital Kaifeng.With the capital defenceless because the army had been given to Du, Shi Chonggui surrendered, ending Later Jin. Emperor Taizong initially claimed to be the emperor for the former Later Jin territory as well. To congratulate him for this great victory, Empress Dowager Shulü sent wine, delicacies, and fruits from Khitan lands to Kaifeng. Whenever he drank the wine that she sent, he stood up and stated, "This was bestowed by the Empress Dowager. I do not dare to drink it sitting down." Soon, however, faced with many rebellions against Liao rule in the former Later Jin lands, Emperor Taizong decided to return north to Liao proper. However, he became ill on the way and died near Heng Prefecture (恆州, in modern Shijiazhuang, Hebei).Upon receiving his casket, Empress Dowager Shulü did not weep. Instead, she, apparently sensing that her power would be challenged, stated, "When all of the tribes are peaceful, I will then bury you." During Emperor Shizong's and Emperor Muzong's reigns
In fact, Empress Dowager Shulü's will would soon be challenged. She had intended that Emperor Taizong be succeeded by Yelü Lihu. However, the Khitan chieftains, remembering how she had slaughtered many upon Emperor Taizu's death, decided to support Yelü Bei's son Yelü Ruan the Prince of Yongkang instead, and Yelü Ruan declared himself emperor at Heng Prefecture (as Emperor Shizong). He continued north, heading toward Linhuang. Empress Dowager Shulü sent troops under her to resist Emperor Shizong's progress.Yelü Lihu, in command of these troops, was however defeated by Emperor Shizong's forward commanders Yelü Anduan and Yelü Liuge (耶律留哥), and she then negotiated a peace agreement accepting Emperor Shizong as emperor. Emperor Shizong then put her under house arrest at Emperor Taizu's tomb at Zu Prefecture (祖州, in modern Chifeng). She died there in 953, during the reign of Emperor Muzong, a son of Emperor Taizong's. Both Shizong and Muzong resented her for supporting Lihu, so neither lifted her house arrest, nor honored her as grand empress dowager. She was buried with Emperor Taizu. Important contributions
While Empress Shulü dominated the court in the first succession, she also made other contributions to Khitan culture. Most importantly regards the expectations of widows.In traditional Khitan society, women were expected to sacrifice themselves. Obviously, she did not do that, providing an example for other women, at least within the elite strata, of Khitan society. Differences from Han counterparts
Ethnic Han empress dowagers of the era were expected to wield their influence behind the scenes. However, Khitan women held a far higher status than their Han counterparts in the tenth century. Empress Shulü openly wielded her influence in the court of her husband as well as that of her son as empress dowager. Notes

Work Referenced

 History of Liao, vol. 71.Zizhi Tongjian, vols. 269, 271, 275, 280, 281, 284, 286, 287. |-

879 births
953 deaths
Liao dynasty empresses
10th-century women rulers
Chinese amputees
9th-century Khitan women
10th-century Khitan women
Xiao clan

masks:
Shuü Ping
Shuü Ping
Ping


title: Masaccio

texts:
<mask> (, , ; December 21, 1401 – summer 1428), born Tommaso di Ser Giovanni di Simone, was a Florentine artist who is regarded as the first great Italian painter of the Quattrocento period of the Italian Renaissance. According to Vasari, <mask> was the best painter of his generation because of his skill at imitating nature, recreating lifelike figures and movements as well as a convincing sense of three-dimensionality. He employed nudes and foreshortenings in his figures. This had seldom been done before him. The name <mask> is a humorous version of Maso (short for Tommaso), meaning "clumsy" or "messy" Tom. The name may have been created to distinguish him from his principal collaborator, also called Maso, who came to be known as Masolino ("little/delicate Tom"). Despite his brief career, he had a profound influence on other artists and is considered to have started the Early Italian Renaissance in painting with his works in the mid- and late-1420s.He was one of the first to use linear perspective in his painting, employing techniques such as vanishing point in art for the first time. He moved away from the International Gothic style and elaborate ornamentation of artists like Gentile da Fabriano to a more naturalistic mode that employed perspective and chiaroscuro for greater realism. <mask> died at the age of twenty-six and little is known about the exact circumstances of his death. Upon hearing of <mask>’s death, Filippo Brunelleschi said: "We have suffered a great loss." Early life
<mask> was born to Giovanni di Simone Cassai and Jacopa di Martinozzo in Castel San Giovanni di Altura, now San Giovanni Valdarno (today part of the province of Arezzo, Tuscany). His father was a notary and his mother the daughter of an innkeeper of Barberino di Mugello, a town a few miles north of Florence. His family name, Cassai, comes from the trade of his paternal grandfather Simone and granduncle Lorenzo, who were carpenters/cabinet makers (casse, hence cassai).<mask>'s father died in 1406, when he was only five; later that same year a brother was born, named Giovanni (1406–1486) after his father. He also was to become a painter, with the nickname of lo Scheggia meaning "the splinter." In 1412 Monna Jacopa married an elderly apothecary, Tedesco di maestro Feo, who already had several daughters, one of whom grew up to marry the only other documented painter from Castel San Giovanni, Mariotto di Cristofano (1393–1457). There is no evidence for Masaccio's artistic education,  however Renaissance painters traditionally began an apprenticeship with an established master around the age of 12. Masaccio would likely have had to move to Florence to receive his training, but he was not documented in the city until he joined the painters guild (the Arte de' Medici e Speziali) as an independent master on January 7, 1422, signing as "Masus S. Johannis Simonis pictor populi S. Nicholae de Florentia." First works
The first works attributed to Masaccio are the San Giovenale Triptych (1422), now in the Masaccio Museum of Sacred Art in Cascia di Reggello near Florence, and the Virgin and Child with Saint Anne (Sant'Anna Metterza) (c. 1424) at the Uffizi. The San Giovenale altarpiece was discovered in 1961 in the church of San Giovenale at Cascia di Reggello, very close to <mask>'s hometown.It depicts the Virgin and Child with angels in the central panel, Sts. Bartholomew and Blaise on the left panel, and Sts. Juvenal (i.e. San Giovenale) and Anthony Abbot in the right panel. The painting has lost much of its original framing, and its surface is badly abraded. Nevertheless, <mask>'s concern to suggest three-dimensionality through volumetric figures and foreshortened forms is apparent, and stands as a revival of Giotto's approach, rather than a continuation of contemporary trends. The second work was perhaps <mask>'s first collaboration with the older and already-renowned artist, Masolino da Panicale (1383/4–c.1436). The circumstances of the two artists' collaboration are unclear; since Masolino was considerably older, it seems likely that he brought <mask> under his wing, but the division of hands in the Virgin and Child with Saint Anne is so marked that it is hard to see the older artist as the controlling figure in this commission. Masolino is believed to have painted the figure of St. Anne and the angels that hold the cloth of honor behind her, while Masaccio painted the more important Virgin and Child on their throne. Masolino's figures are delicate, graceful and somewhat flat, while <mask>'s are solid and hefty. Maturity
In Florence, Masaccio could study the works of Giotto and become friends with Brunelleschi and Donatello. According to Vasari, at their prompting in 1423 Masaccio travelled to Rome with Masolino: from that point he was freed of all Gothic and Byzantine influence, as seen in his altarpiece for the Carmelite Church in Pisa. The traces of influences from ancient Roman and Greek art that are present in some of Masaccio's works presumably originated from this trip: they should also have been present in a lost Sagra, (today known through some drawings, including one by Michelangelo), a fresco commissioned for the consecration ceremony of the church of Santa Maria del Carmine in Florence (April 19, 1422).It was destroyed when the church's cloister was rebuilt at the end of the 16th century. Brancacci Chapel

In 1424, the "duo preciso e noto" ("well and known duo") of <mask> and Masolino was commissioned by the powerful and wealthy Felice Brancacci to execute a cycle of frescoes for the Brancacci Chapel in the church of Santa Maria del Carmine in Florence. With the two artists probably working simultaneously, the painting began around 1425, but for unknown reasons the chapel was left unfinished, and was completed by Filippino Lippi in the 1480s. The iconography of the fresco decoration is somewhat unusual; while the majority of the frescoes represent the life of St. Peter, two scenes, on either side of the threshold of the chapel space, depict the temptation and expulsion of Adam and Eve. As a whole, the frescoes recount the life of St Peter as if it were the story of salvation. The style of Masaccio's scenes shows the influence of Giotto especially. Figures are large, heavy, and solid; emotions are expressed through faces and gestures; and there is a strong impression of naturalism throughout the paintings.Unlike Giotto, however, <mask> uses linear and atmospheric perspective, directional light, and chiaroscuro, which is the representation of form through light and color without outlines. As a result, his frescoes are even more convincingly lifelike than those of his trecento predecessor. Works of the chapel

The Expulsion from the Garden of Eden, depicts a distressed Adam and Eve, chased from the garden by a threatening angel. Adam covers his entire face to express his shame, while Eve covers her breasts and groin. The fresco had a huge influence on Michelangelo and his work. Another major work is The Tribute Money in which Jesus and the Apostles are depicted as neo-classical archetypes. Scholars have often noted that the shadows of the figures all fall away from the chapel window, as if the figures are lit by it; this is an added stroke of verisimilitude and further tribute to Masaccio's innovative genius.In the Resurrection of the Son of Theophilus, he painted a pavement in perspective, framed by large buildings to obtain a three-dimensional space in which the figures are placed proportionate to their surroundings. In this he was a pioneer in applying the newly discovered rules of perspective. In September 1425 Masolino left the work and went to Hungary. It is not known if this was because of money quarrels with Felice or an artistic divergence with Masaccio. It has also been supposed that Masolino planned this trip from the very beginning, and needed a close collaborator who could continue the work after his departure. But <mask> left the frescoes unfinished in 1426 in order to respond to other commissions, probably coming from the same patron. However, it has also been suggested that the declining finances of Felice Brancacci were insufficient to pay for any further work, so the painter sought work elsewhere.<mask> returned in 1427 to work again in the Carmine, beginning the Resurrection of the Son of Theophilus, but apparently left it, too, unfinished, although it has been suggested that the painting was severely damaged later in the century because it had contained portraits of the Brancacci family, at that time excoriated as enemies of the Medici. This painting was either restored or completed more than fifty years later by Filippino Lippi. Some of the scenes completed by <mask> and Masolino were lost in a fire in 1771; we know about them only through Vasari's biography. The surviving parts were extensively blackened by smoke. In the twentieth century, the removal of marble slabs covering two areas of the paintings revealed the original appearance of the work. Pisa Altarpiece
On February 19, 1426, <mask> was commissioned by Giuliano di Colino degli Scarsi da San Giusto, for the sum of 80 florins, to paint a major altarpiece, the Pisa Altarpiece, for his chapel in the church of Santa Maria del Carmine in Pisa. The work was dismantled and dispersed in the 18th century, and only eleven of about twenty original panels have been rediscovered in various collections around the world.The central panel of the altarpiece (The Madonna and Child) is now in the National Gallery, London. Although it is very damaged, the work features a sculptural and human Madonna as well as a convincing perspectival depiction of her throne. <mask> probably worked on it entirely in Pisa, shuttling back and forth to Florence, where he was still working on the Brancacci Chapel. In these years, Donatello was also working in Pisa at a monument for Cardinal Rinaldo Brancacci, to be sent to Naples. It is suggested that <mask>'s first ventures in plasticity and perspective were based on Donatello's sculpture, before he could study Brunelleschi's more scientific approach to perspective. Holy Trinity
Around 1427 Masaccio won a prestigious commission to produce a Holy Trinity for the Dominican church of Santa Maria Novella in Florence. No contemporary documents record the patron of the fresco, but recently references to ownership of a tomb at the foot of the fresco have been found in the records of the Berti family of the Santa Maria Novella Quarter of Florence; this working-class family expressed a long-standing devotion to the Trinity, and may well have commissioned Masaccio's painting.Probably it is the male patron who is represented to the left of the Virgin in the painting, while his wife is right of St. John the Evangelist. The fresco, considered by many to be Masaccio's masterwork, is the earliest surviving painting to use systematic linear perspective, possibly devised by Masaccio with the assistance of Brunelleschi. According to the reconstruction Masaccio started by producing a rough drawing of the composition and perspective lines on the wall. The drawing was covered with fresh plaster for making the fresco. To ensure the precise transfer of the perspective lines from the sketch to the plaster, Masaccio inserted a nail in at the vanishing point under the base of the cross and attached strings to it, which he pressed in (or carved into) the plaster. The marks of the preparatory works are still visible. The sacred figures and the donors are represented above an image of a skeleton lying on a sarcophagus.An inscription seemingly carved into the wall above the skeleton reads:  "Io fui gia quel che voi siete e quel ch'io sono voi anco sarete" (I once was what now you are and what I am, you shall yet be). This skeleton is at once a reference to Adam, whose sin brought humans to death and a reminder to viewers that their time on earth is transitory. It is only through faith in the Trinity, the fresco suggests, that one overcomes this death. The Holy Spirit is seen in the form of a dove, above Jesus. The combination of trinity, death and decay "can be interpreted as a transposition of the Golgotha chapel"  in the Church of the Holy Sepulchre in Jerusalem. Other paintings
Masaccio produced two other works, a Nativity and an Annunciation, now lost, before leaving for Rome, where his companion Masolino was frescoing a chapel with scenes from the life of St. Catherine in the Basilica di San Clemente. It has never been confirmed that Masaccio collaborated on that work, even though it is possible that he contributed to Masolino's polyptych for the altar of Santa Maria Maggiore with his panel portraying St. Jerome and St. John the Baptist, now in the National Gallery of London.<mask> died at the end of 1428. According to a legend, he was poisoned by a jealous rival painter. Only four frescoes undoubtedly from Masaccio's hand still exist today, although many other works have been at least partially attributed to him. Others are believed to have been destroyed. Legacy
Masaccio profoundly influenced the art of painting and is considered to have begun the Early Italian Renaissance in painting. According to Vasari, all "most celebrated" Florentine "sculptors and painters" studied his frescoes extensively in order to "learn the precepts and rules for painting well." He transformed the direction of Italian painting, moving it away from the idealizations of Gothic art, and, for the first time, presenting it as part of a more profound, natural, and humanist world.Moreover, Masaccio influenced a great many artists both while he was alive and posthumously. His influence is particularly notable in the works of Florentine minor masters, such as Andrea di Giusto, Giovanni dal Ponte, and others who attempted to replicate his glowing, lifelike forms. 408, 409)" in The John G. Johnson Collection: A History and Selected Works, a Philadelphia Museum of Art free digital publication. Italian Renaissance painters
Painters from Florence
Quattrocento painters
1401 births
1428 deaths
Painters from Tuscany
People from the Province of Arezzo
Italian male painters
15th-century people of the Republic of Florence
15th-century Italian painters

masks: Masaccio Masaccio Masaccio Masaccio Masaccio Masaccio Masaccio Masaccio Masaccio Masaccio Masaccio Masaccio Masaccio Masaccio Masaccio Masaccio Masaccio Masaccio Masaccio Masaccio Masaccio


title: Bradford Gilbert

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<mask> (March 24, 1853–September 1, 1911) was a nationally active American architect based in New York City. He is known for designing the Tower Building in 1889, the first steel-framed building anywhere and the first skyscraper in New York City. This technique was soon copied across the United States. He also designed Atlanta's Cotton States and International Exposition of 1895, the Flatiron Building in Atlanta, and many railroad stations. Background
<mask> was born in Watertown, New York, the son of civil engineer and banker <mask> and his wife Marie Antoinette (née Bacon). His uncle was Jasper W<mask>, a justice with the New York Supreme Court. He attended Siglar's School in Newburg and the Sedgwick Institute in Great Barrington, Massachusetts.Later, he had private tutors at home in Irvington, New York to get ready to attend Yale University, rather than his father's alma mater Norwich University. However, <mask> decided to forgo college as he was very anxious to learn architecture. He became a student with the architectural firm J. Cleveland Cady in New York City for five years, beginning in 1872. In 1876, <mask> was hired as an architect for the New York, Lake Earie and Western Railroad, under engineer Octave Chanute. Through his work with the railroad in the Northern and Northwestern states, <mask> earned a reputation for originality. Although his  body of work is diverse, he preferred Romanesque style and consistently featured, "sinuous, interlaced patterns, virtuoso brickwork and deep red color effects." By 1890, <mask> opened a firm in his name in at 1 Broadway in New York City, initially specializing in railroad and public buildings.He said, "It certainly costs no more, often not such much, to design a building that is architecturally correct, of good, quiet contour, the whole effect gained by constructional outlines, in place of the fancy 'ginger-bread' work to often adopted; and with the interior arrangements designed to meet every requirement." Throughout his career, <mask> also designed apartment buildings, churches, clubs, exhibition buildings, hospitals, hotels, houses, and office buildings. <mask> did not just design buildings, he also managed the projects and visited the construction sites; this was documented in newspapers articles announcing his arrival in town to check on progress of the projects. This attention to detail may have paid off as many of his other projects steamed from his railroad connections, including designing residences for William H. Baldwin, Jr. who was president of the Long Island Railroad, Alfred Skitt who was president of the New York City Interborough Railway Company, Arthur M. Dodge whose father built the Macon and Brunswick Railroad, Benjamin A. Kimball who was president of the Concord and Montreal Railroad Company, and William Greene Raoul president of the Atlantic and Birmingham Railway, the Central Railroad and Banking Company of Georgia, the Mexican National Railroad Company, and the Southwestern Railroad. Projects

Railroad stations

As an architect with the New York, Lake Erie & Western Railroad, <mask> designed many railroad stations and related buildings. Through his private practice, his railroad clients included the Atlantic Coast Line Railroad; Boston & Maine Railroad; Central Railroad of New Jersey; Concord and Montreal Railroad; the Delaware, Lackawanna & Western Railroad; Flint & Pere Marquette Railroad; Georgia Railroad Company; Grand Rapids and Indiana Railroad; Illinois Central Railroad; Intercolonial Railroad (Canada); Michigan Central Railroad; Missouri-Kansas-Texas Railroad; New York, New Haven and Hartford Railroad; Norfolk and Virginia Beach Railroad; Northern Pacific Railway; Old Colony Railroad; Philadelphia & Reading Company and others. In 1901, he designed the Ottawa Central Railway Station.He also designed stations, offices and terminals for the National Railroad of Mexico. <mask> designed the Illinois Central Terminus at 12th Street in Chicago—it was constructed in nine months for the 1893 for the World's Columbian Exposition. The location and use of the building created certain challenges given the brief that all fair buildings have impact and beauty; <mask>'s solution was to increase the size of the station and give it strong Romanesque details, as "the first impression gained of the building by the general public would be regarding its general contour and 'massing' as well as the outline skylines." In other words, it need to be impressive at a distance. His design included a ten story office building, with lobby and offices connected via a pneumatic tube service. The first three stories were built from dark speckled granite, with buff brick for the upper levels. The roof was dark glazed Spanish tiles, along with a coppery dome.<mask> was also instructed to make the building fireproof. He achieved this in part by using the building's adjacent tower as a series of fire-proof vaults. The 15-story tower was also a functional clock tower. The cost of this project was over a million dollars, including the passenger station, waiting rooms, restaurant, office building, and a train shed that covered eight tracks. The waiting room was the largest in the world, at 100 x 150 feet, and 100 feet high. This elaborate structure remained in use until it was demolished in 1974. <mask> was also the architect for the 1898 remodel of New York City's Grand Central Terminal—a project started in 1892 where "no expense is to be spared in making the building attractive"  The actual cost was around $175,000.<mask> designed the ten-story building in the Romanesque style. The front of the building had ornamental bronze panels and bay windows on the second story. The lower level was granite, with limestone from Indiana on top. Inside, there were tiled floors and deeply paneled ceilings, as well as pneumatic tubes to connect the lobby to the offices. This building was replaced by the current Grand Central Station in 1913. Whether designing a large railroad station for New York City or a small station for a Mexican village, <mask> believe the structure should be comfortable, functional, and aesthetically pleasing so as to be an asset to its community. In Engineering Magazine, <mask> wrote, "No excuse should exempt a railroad company from being amenable to 'local pride.'"He also criticized designing public buildings in Queen Anne or other overly decorative styles as being both expensive to construct and to maintain. World's Columbian Exposition
In 1893, <mask> designed an exhibition building for the for the World's Columbian Exposition in Chicago for his clients the New York Central and Hudson River Railroad along with The Wagner Palace Car Co. The building contained wings on either side for railroad engines; inside was an exhibit showing photographs and sketches of <mask>'s work on railroad station architecture. The Exposition's Board of Directors gave <mask> a gold medal "for a new type of American architecture." In 1895, the exhibit illustrations were published by Railway Gazette as a book, Sketch Portfolio of Railroad Stations and Kindred Structures. <mask> noted that railroad buildings had been overlooked in the past, but were an excellent place to "to illustrate the modern architecture." Mason Stables
Edmund Coffin Jr., a prominent real estate investor and lawyer in New York City, hired <mask> to design the Mason Stables.This project took three years to construct and was divided into two phases, 1881-1882 and 1883-1894. When completed, the Mason Stables were one of the largest livery stables in New York City. The five-story stables included 158 stalls and room for more than 300 carriages. Primarily Romanesque Revival in style, the building was decorated with some Celtic-style ornaments, repeating patterns in variegated orange-yellow and orange-red brick, and rows of repeating slender windows. One modern writer says, "The stables were nearly abstract, a field of dreams in orange, red and yellow masonry." The New York City Landmarks Preservation Commission says, "Color and texture, rather than ornament, were skillfully used to give the structure its simple, yet monumental character." Another unique aspect of the Mason Stables was its layout, as the stables wrapped around other buildings, resulting in three entrances—76th Street, 77th Street, and Amsterdam.Two of the entrances featured step-gables, a characteristic of Dutch Renaissance Revival style that <mask> used with other public buildings in New York City. In 1912, the stables were remodeled into a carpark and were renamed the Dakota Stables (not to be confused with a 19th-century facility with that name), and the Pyramid Garage in the 1950s. Over the years, the building lost many of its period details and it was demolished in 2011. Tower Building

John Noble Sterns, a supporter of the Cremorne Mission where <mask> was a trustee, hired <mask> in 1888 to design an eleven-story office building in New York City. For such a tall building, traditional construction methods required very thick walls that would have dominated the lot that was just 21 feet 6 inches wide. Calling upon his railroad background, <mask> thought of turning a railroad bridge on end, with iron girders to support the floors and external walls. This innovation of  "skeleton construction” with “steel-framed curtain walls” allowed him to construct a skyscraper without having thick load-bearing walls.Another benefit of this construction technique was that it was fire proof. To work around local building ordinances, <mask> had to first construct a foundation that was four stories or seventy feet tall, essentially the height of the adjacent buildings. This foundation was constructed of iron and Little Falls stone. Next, came ten stories constructed in Philadelphia and Tiffany brick, with an octagonal roof covered in Spanish tiles. The brickwork was colorful, and there were Celtic ornamentation similar to that of Mason Stables. Opening in 1889, the Tower Building is considered New York City's first skyscraper and the first curtain-wall building in the world. It was initially greeted with great skepticism, with members of the public predicting it would blow over.Some engineers declared it "unsafe and impracticable." To assure the public of its safety, <mask> moved his offices to its top floor—and remained there until he stopped practicing. He also scaled the building in the middle of an 1889 hurricane to prove that the building was not vibrating with a plumb line. In 1889, Engineering News called it "a most skillful solution of an exceedingly difficult problem." Kobble's New York and Environs wrote, "The Tower Building, of No. 50 Broadway, with its fifteen stories, is a remarkable example of a clever utilization of a narrow plot of ground." The Tower Building cost $250,000 to build.This was quite a bargain given that as it was expected to earn $210,000 a year in rent, after taxes and upkeep. A building with traditional construction on the same lot would have only netted $30,000 a year in rent, due to the height limit of ten stories and thick walls reducing square footage. Because <mask> had devised a way to double income from property, The Philadelphia Inquirer noted that "the old Knickerbockers who own real estate on Broadway and other gilt-edge thoroughfares in the lower part of New York have a new god in the person of <mask>. <mask>." The building was razed in 1914 to make way for a taller structure. Fire Engine Company No. 258, Hook and Ladder Company No.115
During his career, <mask> designed just one firehouse—for Engine Company No. 1 and Hook & Ladder Company No. 1 in Long Island City. Established in 1891, this company was, as its numbering suggests, the first professional firefighters in Queens. However, the first base of operation for this ladder company was a modest wood-frame shed. The department merged with that of New York City in 1898, and its name changed to Fire Engine Company No. 258 and Ladder Company No.115 in 1904.Constructed between 1902 and 1904, <mask>'s granite building with 4 1/2 stories not only improved the working condition of the firefighters, but also reflects the importance of this paid crew who fought fires at the Standard Oil refinery, row-frames, schools, tenements and factories such as the Pratt & Lambert varnish factory. New York City's Historic Districts Council says, "This building was one of the more ambitious firehouse projects undertaken by the department due to its size and level of architectural detail." Even the selection of the renowned <mask>, rather than the city's usual firehouse architects, was a statement. Calling on the origins of New York as New Netherland, <mask>'s designed the firehouse in Dutch Renaissance Revival style, with oversized limestone trim to offset the darker granite background. <mask> had also used Dutch Renaissance Revival for other buildings in New York City, including the 1888 YMCA building and the Samuel R. Smith Infirmary and Hospital in Staten Island. The fire house's site cost $20,000; the building was $60,000. The firehouse is still in use and is listed as a NYC Individual Landmark.Southern Projects
In 1888, <mask> designed the Virginia Beach Hotel, with its attached Terminal Station, for the Norfolk and Virginia Beach Railroad in Virginia Beach, Virginia. Later called the Princess Anne Hotel, this marked the beginnings of the beach resort, as well as Norfolk Southern Railroad. In 1895, <mask> designed the Mary F. Ballentine Home for the Aged at 927 Park Ave. in Norfolk, Virginia, for Thomas R. Ballentine. This facility was named after Ballentine's late wife as it was originally her idea. The Ballentine Home was intended to provide a non-institutional, home-like environment for elderly local women, "more specifically gentle folk of irreproachable family." Ballentine endowed the home when he died and it remained in <mask>'s building until new

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title: Bradford Gilbert

texts:
 construction at a different location in 1952. W.G.Raoul House
In 1891, wealthy railroad executive William Greene Raoul hired <mask> to design his residence on Peachtree Street in Atlanta, Georgia. The house and its estate included a wine cellar, a cottage for servants, a stable, and the first tennis court in Atlanta. This house was home to the Raoul family through 1914. During the 1940s, the Red Cross acquired the property and used the house as a blood donation and bandage rolling center; around 1950 the Red Cross built a modern building on the property, directly in the front of the Raoul house. The house was also surrounded by the Cabana Motor Hotel and the Biltmore Hotel, losing its original context on a street of mansions. The Raoul House was placed on the National Register of Historic Places in the 1980s, but burned in 1991 while it was leased to a night club. Cotton States and International Exposition

In 1895, <mask> was the supervising architect for the Cotton States and International Exposition in Atlanta.For this world's fair event, he designed many structures, including the Administration Building with Main Entrance and Exits, the Agricultural Building, the Auditorium, the Chime Tower and Band Stand, the Electricity Building, the Fire Building, the Machinery Hall, the Manufacturers & Liberal Arts Building, the Minerals and Forestry Building, the Negro Building, the Semi-Circular Entrance and Exit Gateway, the Transportation Building, and the United States Government Building. There was a logic to his designs; for example, the Minerals and Forestry Building was constructed of natural Southern woods. At his suggestion, <mask> designs were in the Romanesque style as this resulted in cost-effective temporary structures with simple outline. Romanesque style was also a good way for Atlanta "to be seen as au courant with America's commercial trends." In addition to designing for the Exposition, he also created vendor buildings for the Southern Railway Company and the Atlantic Coast Line Railroad. The Atlanta Constitution wrote, "The design for the Administration Building and Gateway is one of the handsomest of the entire Exhibition. The design…is a composite design of old baronial castles…these castlelatted turrets, those embattled ramparts, those ancient moats, the old swinging drawbridge, will prove a source of keen enjoyment and profit."<mask> received a gold medal from the Exposition Directors for "the designing and building all of the fifteen principal structures within the limit of time and appropriation." Albemarle Park & Manor Inn

After a family vacation in 1896, William Greene Raoul decided to make Asheville, North Carolina his family's summer home. Getting away from the heat of a Georgia summer may have been one goal, but his son Thomas contracted tuberculosis in 1897, and the mountain air of Asheville was believed to be a cure. Raoul and his son hired <mask> to design Albemarle Park, a park-like resort development on 32-acres just outside of Asheville. <mask> began with a small hotel called Manor Inn, five cottages (Clover, Columbus, Hollyhock, Marigold, and Milfoil), and the Lodge (or Gatehouse) where the Raouls lived at first. To suit the mountain setting, <mask> created a "resort with an English inn atmosphere," with grounds designed by landscape architect Samuel Parsons, Jr. This translated to a hybrid of Tudor Revival, Colonial Revival, Dutch Colonial Revival, and Shingle architectural styles, with exteriors that featured shingles, roughcast plaster, and timber framing.Built between 1898 and 1920, Albemarle Park would eventually consist of 42 structures—some designed by other architects—becoming one of America's first planned residential parks. Albemarle Park is now a National Register Historic District. The National Register says, "The Manor and Cottages compose a picturesque small historic district, evocative of Asheville's dramatic turn-of-the-century resort town boom era." English-American Building

In 1897, <mask> designed the English-American Building for Atlanta's English-American Loan and Trust Company—whose president was Rufus Bullock, a former Georgia governor. Located at the junction of Broad and Peachtree Streets, this triangular-shaped building with eleven stories was the second skyscraper in Atlanta. Its style was Neo-Classical and Neo-Renaissance, but the shape was modern. Within a year, the building's tenants included National Cash Register Co., Otis Bros. Co. (elevators), Rand McNally Co., Mutual Life Insurance Co., Southern Bell and many others along with its owners and the Knights of the Ku Klux Klan.Known as the Flatiron Building since 1916 because of it shape, this is the oldest remaining steel-framed skyscraper in Atlanta and one of the few non-railroad buildings by <mask> that survive today. Dr. Elizabeth Lyon says, "The building plays an important role in its urban setting by establishing a sense of dignity and scale and helping to create a visually interesting sequence of spaces and styles in the central business area of the city." South Carolina Inter-State and West Indian Exposition

<mask> was the supervising architect for the South Carolina Inter-State and West Indian Exposition in 1901. Remarkably, he was responsible for all aspects of this Charleston world's fair event, from the buildings to the 250 acre grounds to its infrastructure, including roads, water, sewage and electricity. <mask> designed 20 large buildings, including the 320 foot long Cotton Palace with and its 75 foot tall dome, and the Administration Building, Agriculture Palace, Art Palace, Auditorium, and the Sunken Garden & Conning Tower Sculpture. The main buildings, with their domes, arcades, finials, and brackets, were all painted in off-white, giving the Exposition its name the Ivory City—a play on the White City of the World's Columbian Exposition of 1893

<mask>'s instructions for this fair were to create a "Southern motif" which seems noticeably lacking in the Italian and Spanish-Revival style he used. However, <mask> gave the exposition a more romantic look than the Atlanta exposition, while also modernizing it with the Mediterranean-style that was, during the 1890s and early 20th-century, in fashion for commercial and residential buildings Rather than Southern plantation architecture, it  seems that <mask> was influenced by the fair's goal of reminding commercial interests of the once lucrative trade route between the West Indies and the port of Charleston.Thus, architect Bruce Harvey concludes "The architecture at Charleston's exposition both reflected and promoted this conscious hope for the future." The architectural critic Montgomery Schuyler wrote, "At Chicago they called the style Columbian; at Buffalo they called it Pan-American…in Charleston—the Spanish Renaissance of the Sixteenth Century." <mask>'s layout which divided the fair into sections suggests that he studied that of the widely successful Columbian Exposition. His idea was to split the grounds into areas for the natural and artificial, connect by a "narrow neck" that included the Administration Building. Like Frederick Law Olmsted in Chicago, <mask> used the natural setting—in this case, live oaks and magnolias along the Ashley River—to give structure to his Natural Section that included the Art, Machinery, Negro, various states, Transportation, and Women's Buildings. <mask> wrote that the Natural section "will form a natural park of endless beauty of vista and landscape effect naturalistic [sic. ]…a winding path of 100 feet in width will be carried underneath the overspreading live oaks along the edge of the embankment."The artificial or Art Section was formal with buildings that were architecturally similar: the Palaces of Agriculture, Commerce, and Cotton. <mask> sited this section over the former Washington Race Course, a flat area that was already treeless, allowing him to create "complex geometrical design" for the Court of Palaces which was surround with a sunken garden and connected by a colonnade. After the exposition, the majority of its temporary buildings were razed; the bandstand is the only structure from the event that survives. Personal
In 1872, <mask> married Cora Rathbone, daughter of the late Captain John Rathbone, in Brooklyn, New York. He was 19 and she was seventeen or eighteen years older. From its beginning, this was an unhappy marriage. <mask> was an elder with the University Presbyterian Church in New York City, and later an elder with the Westminster Presbyterian Church.He was a member of the American Institute of Architects—New York Chapter, the Architectural League of New York, the National Arts Club, the National Sculpture Society, the Quill Club, the Riding Club, and the Transportation Club, as well as the Chicago Club in Illinois. <mask> was a supporter and trustee of the McAuley Water Street Mission (now the New York City Rescue Mission) which was founded in 1887 by missionaries Jerry McAuley and his wife Maria, to give shelter and food to the poor. McAuley and his wife were Christian converts who were previously an alcoholic convict and an alcoholic prostitute, respectively. After her husband's death in 1884, Maria McAuley (née Fahy) became the Matron of the Cremorne Mission which <mask> was a trustee. In 1885, <mask> was secretary of a committee that was raising funds for a public drinking fountain in memory of McAuley. In 1908, <mask> built and outfitted the tugboat Jerry McAuley for use as a floating mission. <mask> separated from his wife in January 1887.In June 1887, he filed for an annulment in Jersey City, New Jersey, on the basis that he was underaged at the time of his marriage, with his wife being seventeen years his senior. On October 13, 1887, <mask> served her husband with divorce papers during the intermission of a prayer meeting at Cremorne Mission. Her claim was on the basis of infidelity, to be heard in the superior court at White Plains. At the same time, she served Maria McAuley with a $50,000 lawsuit for alienation of affections, with allegations that "were numerous and specific." Cora claimed she had been driven from her home, that her husband was abusive, and he "had been paying attention to Mrs. McAuley…nearly to McAuley's death. On October 16, 1887 at the Mission, <mask> made a public announcement saying, "If it did not affect this mission and the noble Christian woman who conducts it, I would remain silent. I suppose you have all read in today's papers…a story reflecting upon Mrs. McAuley and myself.I pronounce it totally false. All those who know me will take my word, and all those who do not know me will see by the result that what I say is true." Standing by <mask> were banker A.S Hatch, real estate agent Sidney Whittemore, Franklin W. Coe, and other ladies and gentlemen associated with McAuley Mission. Hatch also spoke, saying "The very fact that I am on this platform tonight is sufficient for the purpose without saying a word; but I may add that my faith in Mrs. McAuley and Mr. <mask> has not been shaken one jot by what has appeared in print, and I continue to have unwavering confidence in both." McAuley "emphatically denied" the allegations. Later, <mask> said his wife was influenced by would-be blackmailers. In a few years, <mask> obtained a divorce, and Cora withdrew the lawsuit against Maria.Five years later, McAuley's health declined and it was believed she would die. She resigned from her position at Cremorne Mission and moved to Cranford, New Jersey. <mask> discontinued his association with the Mission when McAuley left. On May 12, 1892 in Cranford, <mask> married McAuley "when her health was poor and took care of her." The newspaper announcement said they had courted for five years. He was 38 and she was 55. The <mask>s lived at 225 Park Place, Brooklyn, New York, and a summer home in the Catskills.They adopted their niece Blossom, the daughter of Maria's sister. Around 1887, <mask> acquired nearly 1000 acres in Roscoe, New York. There, he constructed his summer retreat, Beaverkill Lodge, named for the nearby river. This frame structure was clad in shingles and featured leaded Swiss-style sash windows, gas lighting, running water, and a turret Maria, who was an Irish immigrant, said the Catskill scenery reminded her of Ireland. She named the surrounding hamlet Craig-e-Clair which translates as "beautiful mountainside." The <mask>s sold the property in 1903. In 1907, Beaverkill Lodge was acquired by Ralph Wurts-Dundas who built Dundas Castle or Craig-e-Clair which apparently encapsulated Beaverkill Lodge, based on documentary photos.There is evidence that <mask> and Maria were close, with her joining him on various business trips. While designing the 1895 Cobblestone Church in Schenectady, New York, <mask> donated $800 to build its clock tower in honor of Maria. He incorporated a clock he acquired from the New York Central Railroad. <mask>, who was notoriously against ornamentation, also added Celtic designs to several buildings around the time of his marriage to Maria, including the Mason Stables and the Tower Building. On September 1, 1911 at age 58, <mask> died at his summer house in Accord, New York. According to one source, his last architectural design was for a new Cremorne Mission. Selected works
Many of the surviving buildings by <mask> are on the National Register of Historic Places (NRHP).References

External links

 Bradford Lee Gilbert history site
 Fire Engine Company No.258, Hook & Ladder Company No. 115, Landmark Designation Report
 Mason Stable Building, later Dakota Stable and Pyramid Garage, Landmark Designation Report
 Sketch Portfolio of Railroad Stations and Kindred Structures by <mask> (1895). Google Books. 1853 births
1911 deaths
19th-century American architects
Erie Railroad
People from Watertown, New York
Architects from New York (state)
Railway architects
20th-century American architects
Skyscraper

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title: Sugar Minott

texts:
Lincoln Barrington "<mask>" <mask> (25 May 1956 – 10 July 2010) was a Jamaican reggae singer, producer and sound-system operator. Biography
After working as a selector on the Sound of Silence Keystone sound system, and then his own Gathering of Youth system, he began his singing career as part of The African Brothers in 1969, along with Tony Tuff and Derrick Howard. The group released several singles in the first half of the 1970s on labels such as Micron and their own Ital label, and were an early example of the Rastafari movement's influence on the Jamaican music scene, taking a clear lead from The Abyssinians. After recording "Mysterious Nature" for producer Rupie Edwards, the group recorded 1974's "No Cup No Broke" for Studio One, breaking up shortly after. <mask> then teamed up with the producer Clement "Coxsone" Dodd, as studio apprentice at Dodd's Studio One, working as a singer, guitarist and percussionist, and soon began recording his own singles. <mask> developed a talent for writing new songs to fit over existing rhythms (which at the time was common when singers performed live, but rare in the studio), often proving more popular than the original songs, pioneering an approach that would be central to the emerging dancehall style. After a number of moderately successful hits for Studio One, such as "Vanity", "Hang On Natty", "Mr. DC", and "Jah Jah Children", his debut LP Live Loving made his name and increased his popularity, and is regarded as pioneering the dancehall style that would dominate the early 1980s.It was followed in 1979 with a second album, Showcase, which included his singles that had been omitted from the first album. The Bittersweet album followed, and then the third album of 1979, Ghetto-ology, which saw a return to roots reggae. Roots Lovers (1980) saw a move towards lovers rock, which was a UK hit. He became a bigger star in the UK than in Jamaica, his self-produced "Hard Time Pressure" being a major UK reggae hit in 1980, leading <mask> to relocate to the UK, where he became a focus for UK reggae. Singles such as "Run Come", "Not for Sale", "African Girl", "Lovers Rock", "In a Dis Ya Time", "Africa" and "Make It with You" (with Carroll Thompson) were hits in the years that followed. "Good Thing Going" (a cover of a song originally recorded by Michael Jackson in 1971) was picked up for distribution by RCA and reached Number 4 in the UK Singles Chart in March 1981, leading to an album of the same name. The Herbman Hustling album saw a return to dancehall and roots reggae.He released an album of recordings from Channel One Studios, With Lots Of Extra in 1983, collecting several hits from his time working with Winston Holness. Returning to Jamaica, his Youth Promotion sound system performed regularly in Kingston's Maxfield Park, featuring Jah Stitch and newcomers who had been nurtured by his organization such as Ranking Joe, Captain Sinbad, and Ranking Dread. His Black Roots label featured his productions of these artists plus others such as Barry Brown, Tenor Saw, Little John, Tony Tuff, Barrington Levy, Horace Andy, and one of his discoveries from England, Trevor Hartley. <mask> also produced early works by Nitty Gritty, Junior Reid, Yami Bolo, Colourman, Daddy Freddy and Garnett Silk. In 1980s he was working with producers in Jamaica including, Mikey Dread, George Phang, Sly & Robbie, Philip "Fatis" Burrell, Channel One, Prince Jammy, and Donovan Germain, as well as recording for United States-based Lloyd "Bullwackie" Barnes (the Wicked A Go feel It album from 1984). His biggest hits included "Herbman Hustling", "No Vacancy", "Jamming in the Street", "Rub A Dub Sound", "Buy Off The Bar", "Rydim", and "Devil's Pickney". He linked up with Sly & Robbie for 1984's "Rub a Dub Sound Style" single, which is regarded as a prototype for the ragga style that developed in the mid-1980s.<mask> continued to record on his Black Roots label, Youth Promotion Label and for Major and Independent labels. His albums receive increasingly exciting reviews. He released over 60 albums and hundreds of singles. <mask> is one of the artists who appeared on the (2006) record, Radiodread, released by the Easy Star label, he provided the guest vocals on the song "Exit Music (For a Film)". <mask>'s desire for independence led him to leave Studio One in 1978 and form his own Black Roots Records label and Youth Promotion organization, the latter with the aim of helping young singers from the same ghetto background as himself. <mask> also ran the Youthman Promotion sound-system, giving young performers their first public exposure. Youthman Promotion has new selectors working alongside the veterans of Major Stitch, Ragga Steve and Drifter, Daddy Ants, Mr Shorty and Jimmy Knuckles.The selectors most recently added to the sound are DiGeneral Starry B in 2007, alongside Poochiny and Jr War, who were added in 2012. Ragga Steve has taken full control of the sound with <mask> in the UK. Death
<mask> died on 10 July 2010 at the University Hospital of the West Indies in St. Andrew Parish, Jamaica, after being admitted earlier that day. The cause of death remains undisclosed. He had been affected by a heart condition since early 2009, and cancelled several performances in May 2010 due to chest pains. In May 2012, a charity concert was held at his former home commemorating his birthday, with <mask>'s children (who include daughter Tamar, aka Pashon) joined by Bounty Killer, Sizzla, Beenie Man, Junior Reid, Ken Boothe and John Holt. Proceeds went to the Youthman Promotions Music Centre and other causes helping local poor people.Discography
Live Loving (1977, Studio One) Roots Archives states 1977, Discogs says release year is unknown
Showcase (1978, Studio One, probably a smaller edition in Jamaica by Studio One already 1977,); reissued in US as Showcase (1992, Heartbeat) with different mixing; reissued as Jah Jah Children 2012
Black Roots (1979, Black Roots Records & Gorgon Records in Jamaica; 1979 by Mango for US and 1980 by Island Records for UK and (Germany) with other, shorter names on the 10 songs). The LP-album Black Roots, released for the Jamaican market on Black Roots Records, Gorgon Records and Thunder Bolt is dated 1978, so the album is recorded before the year 1979. Daddy Freddy) (1994, Music of Life)
International (1996, RAS)
Musical Murder (1997, VP)
Good Thing Going (1998, VP)
Easy Squeeze (1999, World)
Simply the Best (2000), World
From the Heart (2000), Blackwacks
Leave Out a Babylon (2005), Discograph
In A Lovers Roots Style (2008), Pinnacle
Tribute to Studio One (2009), Tad's
New Day (2009), Stop Look Listen

Split albums
Rockers Award Winners (1985, Greensleeves) (<mask> Minott & Leroy Smart)
Double Dose (1987, Blue Mountain) (<mask>ott & Gregory Isaacs)
Showdown Volume 2 (Channel One) (<mask>ott & Frankie Paul)

Compilations
With Lots of Extra (1983, Hitbound)
Best of Vol 1 (1988, Black Roots)
Collectors Collection Vol 1 (1996, Black Roots)
RAS Portrait (1997, RAS)
Sugar Minott's Hidden Treasures (1999, Easy Star)
Hard Time Pressure: Reggae Anthology (2011, VP Records)

With the African Brothers

References

External links
Roots Archive discography
Interview by Ray Hurford

1956 births
2010 deaths
Musicians from Kingston, Jamaica
Jamaican reggae singers
Jamaican male singers
Island Records artists
Easy Star Records artists
VP Records artists
Heartbeat Records artists

masks:
Sugar
Minott
Minott
Minott
Minott
Minott
Sugar Minott
Minott
Minott
Minott
Earl Minott
Minott
Minott
Sugar
Sugar Min
Sugar Min


title: Carlos "Patato" Valdes

texts:
<mask> (November 4, 1926 – December 4, 2007), better known as Patato, was a Cuban conga player. In 1954, he emigrated from La Habana to New York City where he continued his prolific career as a sideman for several jazz and Latin music ensembles, and occasionally as a bandleader. He contributed to the development of the tunable conga drum which revolutionized the use of the instrument in the US. His experimental descarga albums recorded for Latin Percussion are considered the counterpart to the commercial salsa boom of the 1970s. Tito Puente once called him "the greatest conguero alive today". Nicknames
Like most Cuban musicians, <mask> had several nicknames throughout his artistic career. Early on he was known as "El Toro" (The Bull) as a young dancer and boxer.In school he was known as "Patato" (Potato) due to his short stature; more disrespectfully he was known as "Remache" and "Tampón de bañera" around his neighbourhood. While playing alongside Armando Peraza in Havana's Zombie Club, he was known as "El Zombie", "Zombito" or "Pequeño Zombie" (Little Zombie). Due to his dancing style he was known as "Pingüino" (Penguin). Nonetheless, "Patato" was the name that stuck and he carried this pseudonym to the US, where he was often miscredited as "Potato Valdez". Life

Early life and career
<mask> Galán was born in the neighbourhood of Los Sitios in La Habana on November 4, 1926. His father, <mask> Brito, was a tres player who was part of the seminal coro de clave Los Apaches, and author of the son "Maldita timidez" recorded by Sexteto Habanero. The rest of his family included many other musicians and santeros; his cousin was the singer Francisco Fellove aka "El Gran Fellove".<mask> soon followed his father footsteps, learning to play the tres and a wide variety of percussion instruments, including the marímbula, the botija, the shekere, the tambourine, the cajón and the double bass. He became a member of the comparsa Las sultanas in which he played the congas (tumbadoras). He became a master of the instrument at a young age, playing alongside other greats such as Mongo Santamaría, Cándido Camero, Julito Collazo and Armando Peraza. The latter was his neighbour and partner in the Conjunto Kubavana led by Alberto Ruiz. He was only 18 years old when he joined this band in 1944. He left the group in 1947 to join the well-known Sonora Matancera, where he stayed for a year. From 1949 to 1954 he played for the Conjunto Casino, one of the most popular bands in La Habana at the time.In 1952, they toured New York City, where fellow drummer Cándido Camero decided to stay. Patato would make the same decision two years later. Exile
Attracted by New York's thriving jazz scene, Patato left Cuba indefinitely on October 5, 1954. His first full-length recording as a sideman was the notorious LP Afro-Cuban by Kenny Dorham. He went on to perform live alongside Mongo Santamaría and Tito Puente in Harlem. He then joined several ensembles, including those led by Willie Bobo, Machito and Charlie Palmieri. He recorded with jazz drummers Art Blakey, Art Taylor and Max Roach.By the early 1960s, Patato was amongst the most sought-after conga drummers in New York. His association with flautist and bandleader Herbie Mann would last over fifteen years. In 1959, the United States Department of State funded a trip for bandleader Herbie Mann to visit Africa, after they heard his version of "African Suite." The grueling 14-week tour took place between 12/31/1959 to 4/5/1960 featuring Mann (bandleader, flute and saxophone), Johnny Rae (vibraphone and arrangements), Don Payne (bass), Doc Cheatham (trumpet), Jimmy Knepper (trombone), <mask> "Patato" Valdés (congas) and José Mangual (bongos). They toured Sierra Leone, Liberia, Nigeria, Mozambique, Rhodesia, Tanganyika, Kenya, Ethiopia, Sudan, Morocco and Tunisia. Patato accompanied Dizzy Gillespie and Quincy Jones on extended tours throughout Europe. He acted in and composed the title song of The Bill Cosby Show.In 1977 he took part in the recording of Cachao's comeback albums. In 1991, he contributed to the movie soundtrack for The Mambo Kings Play Songs of Love. Patato was the leader of his own band, Afrojazzia, which toured Europe in the spring of 1994. In 1995 he recorded the album "Ritmo y candela" with fellow percussionists Changuito and Orestes Vilató. Similarly, together with Giovanni Hidalgo and Candido Camero he released an album in 2000 entitled The Conga Kings. That year he appeared in the documentary Calle 54. In 2001, Patato was inducted into the International Latin Music Hall of Fame.Death
A lifetime smoker, Patato had emphysema and died of respiratory failure in Cleveland, Ohio on December 4, 2007. Style and craft
For over 60 years <mask> "Patato" Valdés demonstrated how a musician could combine technical skill with superb showmanship. His conga playing demonstrated the fusion of melody and rhythm. It also reflected his keen understanding of rhythm as a biological constant that is rooted, quite literally, in the human heartbeat. During his performances, Patato even mastered the art of playing his congas while dancing on top of them, to the delight of the audience. Valdés dazzled audiences well into his seventies with his rumba moves. He is also the man who gave Brigitte Bardot a mambo lesson in the film And God Created Woman.Valdés also expressed his understanding of melody through bass and tres. During the late 1940s he helped develop the first tunable congas, as earlier models were tuned by the unwieldy method of heating them with a sterno can. His interest in design, as well as his friendship with LP Founder Martin Cohen, led to the development of the LP Patato Model Congas, one of the top-selling conga drums of all time. Personal life
Valdés was the father of <mask>, better known as Chick Hernández, a sports anchor/reporter for Comcast SportsNet/NBC sports. (Audio Fidelity, 1963)

With Dizzy Gillespie
The Ebullient Mr. Gillespie (Verve, 1959)
Have Trumpet, Will Excite! (Verve, 1959)
Portrait of Jenny (Perception, 1970)
With Benny Golson
Remembering Clifford (Milestone, 1998)
With Johnny Griffin & Matthew Gee
Soul Groove (Atlantic, 1963)

With Quincy Jones
Quincy Plays for Pussycats (Mercury, 1959-65 [1965])

With the Latin Percussion Jazz Ensemble
Just Like Magic (Latin Percussion Ventures, 1979)
Live at Montreux (Latin Percussion Ventures, 1980)

With Johnny Lytle
Swingin' at the Gate (Pacific Jazz, 1967)

With Machito
Kenya (Roulette, 1958)

With Herbie Mann
Flautista! (Verve, 1959)
Herbie Mann's African Suite (United Artists, 1959)
Right Now (Atlantic, 1962)
Brazil, Bossa Nova & Blues (UA Jazz, 1962)
Herbie Mann Live at Newport (Atlantic, 1963)
My Kinda Groove (Atlantic, 1965)
Herbie Mann Plays The Roar of the Greasepaint – The Smell of the Crowd (Atlantic, 1965)
Monday Night at the Village Gate (Atlantic, 1965 [1966])
Latin Mann (Columbia, 1965)
Standing Ovation at Newport (Atlantic, 1965)
Today!(Soul Jazz, 1997)
The Rough Guide to Salsa (World Music Network, 1997)
Diggin' the Crates for Afro-Cuban Funk (Empire Musicwerks, 2001)

References

External links

Cantrell, David & Sánchez Coll, Israel. El legado de Carlos Patato Valdés, Herencia Latina. <mask> "Patato" Valdez, Donald's Encyclopedia of Popular Music. <mask>Patato" Valdés, AllMusic. <mask> "Patato" Valdés, Discogs. <mask> "Patato" Valdés, Rate Your Music. 1926 births
2007 deaths
American entertainers of Cuban descent
Conga players
Cuban emigrants to the United States
Cuban percussionists
Jazz percussionists
Deaths from respiratory failure
Chesky Records artists

masks:
Carlos Valdés Galán
Carlos Valdés
Carlos Valdés
Carlos Valdés
Carlos
Carlos
Carlos
Carlos Hernández
Carlos
Carlos "
Carlos
Carlos


title: Peter Christopherson

texts:
<mask> (also known as Sleazy, 27 February 1955 – 25 November 2010) was an English musician, video director, commercial artist, designer and photographer, and former member of British design agency Hipgnosis. He also founded the Industrial Records band Throbbing Gristle (TG). After the disbandment of Throbbing Gristle, he participated in the formation of Psychic TV along with Genesis P-Orridge and Geoff Rushton—Rushton later changed his name to John Balance. After his short time in Psychic TV, <mask> formed Coil with Balance, which lasted for just under 23 years, until Balance died of a fall in the Weston-super-Mare home he shared with <mask>. <mask> participated in the reunification of Throbbing Gristle and, after his relocation to Thailand in 2005, composed an album for his solo endeavour The Threshold HouseBoys Choir. <mask> died in his sleep on 25 November 2010. Early life
<mask> was born on 27 February 1955 in Leeds, Yorkshire, England.His father, Derman <mask>, was a professor of engineering who became master of Magdalene College, Cambridge prior to receiving a knighthood. Following school, <mask> studied computer programming, theatre design and video at the State University of New York at Buffalo (SUNY Buffalo) in New York, United States (US). Music
<mask> was a founding member of Throbbing Gristle, who are credited with creating the industrial music genre before disbanding in 1981. Throbbing Gristle members Chris Carter and Cosey Fanni Tutti formed their own group, while <mask> and the band's other member P-Orridge formed Psychic TV with Balance and other musicians. Balance met <mask> as a Throbbing Gristle fan and the two became intimate partners. <mask> worked on the first two Psychic TV albums, Force the Hand of Chance and Dreams Less Sweet, joined by Balance on the latter. The two performed live several times with Psychic TV prior to forming their own project Coil.Coil consisted of <mask> and Balance, while Steven E. Thrower occasionally played bass guitar and drums. Balance was the lyricist and also played Chapman Stick and some keyboards. Over two decades, Coil released myriad recordings, in addition to contributing to the work of other artists. They recorded parts of the album The New Backwards at Nothing Studios in New Orleans, owned by musician Trent Reznor at the time. In the liner notes of the 2008 CD release, <mask> wrote: "Thanks to everyone there, especially Trent Reznor who made it all possible." Despite <mask>'s long and extensive history as a musical artist, he only released two tracks under the name "<mask>". The first, "In My Head A Crystal Sphere of Heavy Fluid", appeared on the compilation Foxtrot, a benefit album for Balance's rehabilitation from alcohol dependence, while the second, "All Possible Numbers", appeared eleven years later on Autumn Blood (Constructions) released on Fourth Dimension Records.In 2005, following the death of Balance, <mask> relocated from England to Bangkok, Thailand and founded the solo project The Threshold HouseBoys Choir. He also released the final Coil CDs—The Remote Viewer, Black Antlers, ...And The Ambulance Died in His Arms and The New Backwards—on the band's own Threshold House label. In addition to the CD releases, <mask> also released a 16-DVD box set following his relocation, entitled Colour Sound Oblivion, that was produced in a wooden box, in which a fifteen-page booklet, the program for Balance's funeral ceremony and a large collection of 6-inch × 4-inch postcards (mainly tour photographs) were also included. Throbbing Gristle also reformed for a few concerts in 2005 and announced a new album called Part Two. The group announced several additional concerts in 2007 for the promotion of the album. In 2007 <mask> released the debut album of The Threshold HouseBoys Choir. The album, Form Grows Rampant, consists of five "parts" or songs, and includes a DVD of the album set to video footage of Thai rituals in Krabi, Thailand.One tour promoter who organized a Threshold HouseBoys Choir concert described it as "easily the most shocking thing I have ever experienced". In 2008 <mask> and Ivan Pavlov (aka CoH) started a new project called Soisong. The band officially premiered in Tokyo on 9 March 2008 and later performed several shows in Europe, having self-released their debut EP. As part of the tour, Soisong performed a live soundtrack to Derek Jarman's film Blue in Rovereto, Italy. In April of the same year, <mask> and Pavlov, alongside David Tibet, Othon Mataragas and Ernesto Tomasini, also performed a live soundtrack for The Angelic Conversation in Turin, Italy. In 2009 Soisong recorded their first full-length album xAj3z, the release of which was followed by a European Reunion Tour and a worldwide campaign in search of the band's missing virtual vocalists featured on the record. In 2010 Soisong declared a "Split Phase 2010", during which all of the members would concentrate on their personal work; however, two independently recorded solo EPs, both entitled Soisong, were scheduled for release.<mask> never finalized his work for the release, but Soisong Split was eventually published in September 2012, nearly two years after <mask>'s death. The release consists of a CoH Soisong EP by Pavlov, originally recorded in 2010, and a collection of four unpublished sketches by <mask> that were made available on the band's website. In 2010 <mask> started collaborating with Hirsute Pursuit, featuring Harley Phoenix and Bryin Dall, via email. They finished two songs together, "One Sleazy Night in Bangkok" and "One Sleazy Night in New Orleans", for the album Tighten That Muscle Ring. The album was signed to Cold Spring Records, but <mask> died prior to its release. Writing for the Quietus online publication, Luke Turner claimed that the album was "the most sexy and perverted album of 2012". Also in 2010, <mask> was sent an iPad by musician Trent Reznor that contained music for a potential collaboration.Reznor had asked for his blessing to use the moniker "How to Destroy Angels" for a musical project that Reznor was creating with his wife (<mask> had used the phrase in 1982, as the title of the first recording released by Coil). <mask> responded amenably, suggesting that they could potentially collaborate as part of the project. <mask> explained that Reznor was a "perfect gentleman" in regard to the way in which the matter was negotiated; however, <mask> died before he was able to resend the iPad back to Reznor with his contribution. The final music that was ever recorded by <mask> occurred in Bangkok, Thailand with a project named "Electric Sewer Age" that also involved musician Danny Hyde. The original intention of the recordings was to complete a series of releases called "Moons Milk", but an album called In Final Phase was eventually released in 2013, with only 999 numbered CD copies made available. The CD is packaged in record sleeve-style thickened cardboard, and each copy is numbered from 1 to 999, while the insert sleeve displays a picture of <mask> in his Bangkok studio that was taken at the moment that the recording was completed. Musical innovator

Writing for The Guardian, Dave Simpson credited <mask> with using digital samplers on-stage before the Fairlight CMI popularised sampling.Also writing for The Guardian, Alexis Petridis described Carter and <mask> as "pioneers in technology", and noted a sampler that Carter had custom-built for <mask> a number of years before sampling became popular. <mask> explained Carter's construction and musical experimentation in a 1987 interview with Keyboard magazine:
It was a box that [TG synthesist] Chris Carter made for me, to my design that basically switched on and off – through inputs on tape recorders – six cassette machines, the output of each going to a different key. Many of the machines I used in TG were cassette machines that were stripped down and altered to play backward and forward and four tracks at once, the speed variable by flywheels. The very first sampling device there ever was, as far as I know, was manufactured by Mountain Hardware for Apple computers. It was designed to reproduce voice samples, and had a very limited selection of pitches. I was using that onstage in '79 or '80, which was before the first Fairlight was used commercially. So I've always had a soft spot for sampling.Design, photography, commercial art and film
Prior to his musical projects, <mask> was a commercial artist, designer, and photographer. Notably, he was one of the three partners of the album cover design group Hipgnosis, which was responsible for many notable album covers of the 1970s, such as those of Pink Floyd (Wish You Were Here) and <mask> (first three albums). He also designed the logo of UK fashion label BOY London. As a freelance photographer, <mask> shot the first promotional images of the Sex Pistols in 1976. He later provided design work for SEX, the fashion boutique owned by Malcolm McLaren and Vivienne Westwood. <mask> remained involved with commercial art up until his later life. He directed over 40 music videos—for artists such as Rage Against the Machine, The The, Van Halen, Sepultura and Robert Plant—and was responsible for a high number of television commercials.He filmed and directed the Threshold HouseBoys Choir DVD that was filmed in Thailand, as well as the infamous Broken. November 2014 saw the publication of a big retrospective book simply called "<mask> Christopherson - Photography" by Edition Timeless, collecting a lot of unseen photos from all areas of his work in photography but focusing on his private work. Death
<mask> died in his sleep on 25 November 2010, aged 55. The cause of  death was never made public. At the time of his death, <mask> was working on a complete re-working of Nico's 1970 album Desertshore, to be released as a Throbbing Gristle album. Legacy
In addition to numerous other tributes, P-Orridge wrote a lengthy eulogy for <mask>, in which they concluded:

Sleazy loved Bangkok and Thailand. He had been visiting regularly for several years before deciding to move there permanently after John/Jhonn/Geoff passed on.While we were spending time in 2009 with him we were pretty sick from the intense emotional stress of our ceremony in Nepal for the reliving and releasing of a beloved. Sleazy became a source of every suture for my heart, loving sustenance for my soul. He nurtured me with words of wise counsel garnered from his own similar and tragic losses. There had been a long sometimes desolate expanse between the seventies and now. But we had both crossed our abyss and we were blessed by Sleazy’s loving nature to be able to accept his gentle embrace and, crying like a child we often are, be able to lovingly say to him, “I HAVE GOT MY FRIEND BACK.” Many times, since then, we have stopped during hard times, confusing times, and we think of Sleazy and how his mastery of light went from cameras to hearts and souls, and that makes me smile and laugh. Which is as he would wish. We loved Sleazy in all he did…

<mask> published a brief post on his website on 26 November 2010 that opened with the statement: "We tip our hats to Mr <mask>son".Speaking to the Quietus website in February 2014, Reznor stated: "[Coil's] 'Tainted Love' video remains one of the greatest music videos of all time ... If it's not immediately obvious: Horse Rotorvator was deeply influential on me. What they did to your senses. What they could do with sound. What Jhonn was doing lyrically ... <mask> was a lovely guy. We had a respectful relationship." Discography

Solo as <mask>
"In My Head A Crystal Sphere of Heavy Fluid" on Foxtrot (1998)
"All Possible Numbers" on Autumn Blood (Constructions) (2009)
"Time Machines II" (Posthumously released in 2014)
"The Art Of Mirrors - Homage To Derek Jarman" (Posthumously released in 2015)

Solo as The Threshold HouseBoys Choir
 ...It Just Is compilation contains the track "Mahil Athal Nadrach".(CD) (2005)
 X-Rated: The Dark Files compilation contains the track "So Young It Knows No Maturing". (CD) (2006)
 Form Grows Rampant debut album. (CD+DVD) (2007)
 Brainwaves 2008 compilation contains "Cap Rot Taxi" (CD) (2008)
 Amulet Edition limited release (200 pcs) 4 mini-cds in Amulet package (CD) (2008)

With SoiSong
 Soijin-No-Hi Octagonal CDEP / free download EP from www.soisong.com from March (2008)
 xAj3z Octagonal CD housed in fold out custom sleeve with colour inlay (2009)
 Soisong Octagonal COH CDEP / free download Sleazy EP from www.soisong.com (2010)

With Psychic TV
 Force the Hand of Chance
 Just Drifting
 Dreams Less Sweet
 Berlin Atonal Vol. 1
 Berlin Atonal Vol. 2
 N.Y. Scum
 Mein-Goett-In-Gen

Other contributions

Album artwork credits
This from <mask> "Sleazy" <mask> himself: "I worked as a free-lance photographer and contributor, then promoted to an assistant to Hipgnosis before becoming a partner, and continued to act also after I officially left the organization. So my contributions range from attempted but rejected artwork or design work, to partial contribution in either/both as an assistant, to being fully responsible for all design and artwork, such as the Peter Gabriel LPs. What you wish to document is up to you."

masks:
Peter Martin Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Peter Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Christopherson
Peter Gabriel
Christopherson
Christopherson
Peter
Christopherson
Christopherson
Christopherson
Peter Gabriel
Peter Christopher
Peter
Peter Christopherson
Peter
Christopherson