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<mask> (born 18 August 1970) is a former professional footballer who is now the assistant manager at Cymru Premier club Connah's Quay Nomads. <mask> played as a winger and made around 700 appearances in his career, many of which were in the English Football League. Twice a Northern Ireland B international, he went on to win 18 senior caps for Northern Ireland. He began his career at Hartlepool United in 1987, before heading into the non-league scene with Shepshed Charterhouse in 1989. He returned to the professional game the following year after signing a contract with York City. He spent the next five years with the club, helping York to promotion via the play-offs in 1993, and twice being voted Clubman of the Year. In 1995, he joined Port Vale for a £450,000 fee.In his first year at Vale Park he was awarded the club's Player of the Year award, and also played in the Anglo-Italian Cup final. In 1997, he was sold on to Birmingham City for £1.5 million. The highlight of a five-year injury-plagued stay in Birmingham would be a League Cup final appearance in 2001. The next year he was loaned out to Sheffield Wednesday, before a return to Port Vale was followed by a brief spell with Doncaster Rovers and a cameo return at York City. Settling with Carlisle United, he left the Football League in 2003 to play for non-League Hucknall Town. Hucknall were crowned Northern Premier League Premier Division champions in 2003–04, and following this success he won a deal with Northwich Victoria. He helped the club to the Conference North title in 2005–06, before he retired in 2007.He was appointed as first team coach at Chester in January 2014, and after a brief spell as caretaker, became manager of the club in May 2016, before he was sacked in September 2017. He then joined Southport for a four year spell as assistant manager, before he was appointed assistant manager at Connah's Quay Nomads in October 2021. Club career

Early career
Born in Middlesbrough, <mask> began his career with Hartlepool United on non-contract terms in November 1987 under manager John Bird, making his first-team debut at the age of 17 by playing the last ten minutes of the last game of the 1987–88 season. Bird was sacked later in the year and his successor, Bobby Moncur, released <mask>. He had a short spell outside of the professional game after joining Shepshed Charterhouse of the Northern Premier League in March 1989. York City
John Bird persuaded <mask> to join York City on a part-time contract in March 1990 and he made his debut in a 1–1 draw against Gillingham on 29 September. While still studying at university he signed professional forms with York in March 1991.He was named Clubman of the Year for 1991–92, after which he helped the club to promotion after winning the 1993 Football League Third Division play-off Final at the end of 1992–93. York chairman Douglas Craig revealed the club had turned down a £150,000 offer from Bradford City for <mask>, valuing him at at least three times that amount. Following a 1994–95 season described as "superb" he was named Clubman of the Year a second time. He played for York for five years and developed a reputation as one of the Football League's foremost right-sided wingers. Port Vale
He was bought by John Rudge's Port Vale for a £450,000 fee in August 1995, which at the time was York's record transfer fee received. With <mask> on the right-wing and Steve Guppy on the left-wing, Rudge played attacking wing-based football. During his spell with Vale, <mask> earned plaudits for his league performances and his display in the club's FA Cup tie against Everton, scoring the winning goal in a 2-1 victory at Vale Park.He played in the 1996 Anglo-Italian Cup Final, as Vale lost 5–2 to Genoa. He won the club's Player of the Year award in 1996. He played over 100 games within two seasons at Vale Park before he was snapped up by Birmingham City manager Trevor Francis in September 1997, who paid Vale a £1.5 million fee for him. Birmingham City
He helped Birmingham reach the First Division play-offs in 1998–99, but lost out to Watford after a penalty shoot-out. They again reached the play-offs in 1999–2000, but <mask> missed the semi-final defeat to Barnsley after breaking his leg. After his recovery he played in the 2001 League Cup Final defeat against Liverpool. Despite breaking his leg three times within five years as a Birmingham player, he made well over 100 appearances for the club.He had a one-month loan spell at fellow First Division side Sheffield Wednesday in April 2002. Told he had no future at the club by manager and former teammate Steve Bruce, he left Birmingham on a free transfer. Later career
In August 2002, <mask> returned to previous club Vale, who were now in the Second Division. Two months later he was released by Vale in the midst of a financial crisis and moved on to Doncaster Rovers in the Third Division. On 7 November 2002, he was on the move again, re-joining York on non-contract terms after training with the club. His fourth club in three months was Carlisle United, signing on a one-month contract on 29 November 2002. He remained at Brunton Park for the rest of 2002–03, playing in the 2003 Football League Trophy Final at the Millennium Stadium, which ended in a 2–0 defeat to Bristol City despite <mask> linking up well with Stuart Green and almost providing an assist for Richie Foran.It was in this tournament that he scored his first goal for the club, in a 2–0 win over Wrexham. His only other goal for the club came in a 1–0 league win over Southend United. However, after failing to agree terms with the club he was released in May 2003. In the 2003–04 season he teamed up with Steve Burr at Hucknall Town, helping them win the Northern Premier League Premier Division title, making 34 league appearances and scoring six goals. He then followed Burr to Conference National outfit Northwich Victoria at the start of 2004–05. He helped Northwich win the Conference North title in 2005–06, and therefore promotion back into the Conference National. Despite working as a full-time teacher he still managed to play the majority of Northwich's games until the end of 2006–07, at which point he retired from football.International career
In 1991, <mask> won a bronze medal as part of the Great Britain football team at the XVI Summer Universiade, commonly known as the "World Student Games", in Sheffield. He was eligible to represent Northern Ireland on the international stage through parentage, making his debut against Sweden in 1996 while with Port Vale. He earned 18 caps for Northern Ireland from 1996 to 2001. He was capped twice by the Northern Ireland B team, in 1996 and 1998. Style of play
Port Vale player and lifelong fan Tom Pope described <mask> as "a winger that drove at you" with raw pace, and a player with good crossing ability. In May 2019, he was voted into the "Ultimate Port Vale XI" by members of the OneValeFan supporter website. Coaching career
In January 2014, he was appointed as first-team coach at Conference Premier club Chester by manager Steve Burr.He took over as caretaker manager with Ian Sharps as assistant after Burr was sacked on 7 April 2016, and after three wins from four matches that ensured Chester's survival in the National League, signed a one-year contract as permanent manager in May. In January 2017, he signed a new -year contract. However, after a poor start to the 2017–18 season, with the club picking up just one win from the opening eight league games, he was sacked on 6 September 2017. <mask> returned to former club Port Vale in November 2017, working as new manager Neil Aspin's fitness coach. Aspin was a former teammate at Port Vale, but said "It is not a case of jobs for the boys, it is because <mask> is well qualified for the job that I want him to do, to deal with the fitness of the players and also to be another coach". However he left the following month to take up a new post at Southport as assistant manager to Kevin Davies. He was retained at Southport after Liam Watson replaced Davies as manager in May 2018.He joined Cymru Premier champions Connah's Quay Nomads as assistant to manager Craig Harrison in October 2021. Personal life
After retiring, <mask> started working for BBC Radio Stoke as a match day reporter for Port Vale in August 2007. He then moved on to Birmingham Radio Station brmb and Gold as a commentator on Birmingham City matches. During his early years with York City, he attained a degree in sports science from Nottingham Polytechnic. After retiring, he used that degree to take up a lecturing at Mid Cheshire College. He is also a qualified UEFA A licence coach. Career statistics

Club

International

Managerial statistics

Honours
York City
Third Division play-offs: 1992–93

Port Vale
Anglo-Italian Cup runner-up: 1995–96

Birmingham City
League Cup runner-up: 2000–01

Carlisle United
Football League Trophy runner-up: 2003

Hucknall Town
Northern Premier League Premier Division: 2003–04

Northwich Victoria
Conference North: 2005–06

Individual
York City Clubman of the Year: 1991–92, 1994–95
Port Vale Player of the Year: 1995–96

References

External links
 (not including Northwich Victoria)
 (Northwich Victoria only)

1970 births
Living people
Footballers from Middlesbrough
English footballers
Association footballers from Northern Ireland
Northern Ireland B international footballers
Northern Ireland international footballers
Association football wingers
Hartlepool United F.C.players
Shepshed Dynamo F.C. players
York City F.C. players
Port Vale F.C. players
Birmingham City F.C. players
Sheffield Wednesday F.C. players
Doncaster Rovers F.C. players
Carlisle United F.C.players
Hucknall Town F.C. players
Northwich Victoria F.C. players
English Football League players
Northern Premier League players
National League (English football) players
English football managers
Chester F.C. managers
National League (English football) managers
Schoolteachers from Yorkshire
Alumni of Nottingham Trent University
Association football coaches
Port Vale F.C. non-playing staff
Southport F.C. non-playing staff
Universiade bronze medalists for Great Britain
Universiade medalists in football

masks:
Jonathan David McCarthy
McCarthy
McCarthy
McCarthy
McCarthy
McCarthy
McCarthy
McCarthy
McCarthy
McCarthy
McCarthy
McCarthy
McCarthy
McCarthy
Jon
McCarthy


type: original

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<mask> (21 February 1884 – 1 November 1954) was a German stage designer, painter and sculptor. Life

<mask> was born in Cologne the son of the authorised agent Heinrich W<mask> and his wife <mask>, née Röhr. He first attended schools in Recklinghausen and Cologne and then studied at the Kunstakademie Düsseldorf, the Universität der Künste Berlin and the Akademie der Bildenden Künste München. In Düsseldorf, where he studied from 1900 to 1903, Peter Janssen and Willy Spatz were his teachers. From 1907, <mask> lived again in his home town, where he worked under Max Martersteig and his conductor Otto Lohse on the decoration of the Bühnen der Stadt Köln and as a sculptor. Martersteig had seen <mask>'s etching Tor der Phantasie. Contact then arose through Lohse's wife, in whose salon the theatre world from Germany and other countries met.Wildermann then participated in the 1911 Opera Festival and the following year took part in the Cologne Sonderbund exhibition, where he created the group of figures "Young Man with Pony" and "Girl with Deer" for the forecourt of the exhibition hall at the Aachener Tor which later stood in the green spaces of  until World War II. In 1912 the . Until the end of the First World War, he worked mainly as a sculptor, painter and graphic artist. Somehow this doesn't really fit in anywhere, he seems to have been constantly on the move in all the arts during that time. In 1912,  brought him to the Stadttheater Essen as a guest stage designer. A year later, in 1913, he went to Munich, where he met Paul Klee. This was followed by collaborations with the Berlin Opera House, the Nationaltheater München and the Opernhaus Leipzig.In August 1919, <mask> again followed Maurach, who was now artistic director at the Städtische Bühnen Dortmund. In 1920 he then married Erna Maria Concordia Hoheisel in Berlin. When Maurach went to Nuremberg in 1922/1923, <mask> also followed him initially. However, the new Dortmund artistic director Karl Schäffer succeeded in bringing Wildermann back to Dortmund. In 1926, <mask> moved to Breslau, where he received a professorship for theatre painting at the . From 1936 he was head of the decoration department at the Wroclaw Opera House. In 1937, the National Socialists confiscated his triptych Transfiguration and declared it Degenerate Art.After the Second World War, <mask> returned to his home town of Cologne, where he last lived in Riehl, not far from the Cologne Zoological Garden. On 1 November 1954, he died in the  in the district of Lindenthal at the age of 70. His marriage produced a daughter, Angelika. Wildermann and National Socialism
Already in the 1920s, Wildermann had a deep friendship with the nationalist and, since 1933, national-socialist Regensburg music book publisher Gustav Bosse. Bosse had him illustrate the Almanach der Deutschen Musikbücherei (1920-1927) extensively and dedicated a separate publishing line to him, Hans-Wildermann-Werke, in which almost the entire graphic work had already appeared in 1923. Wildermann cut the Anton Bruckner Medal of the International Bruckner Society in 1936 on the occasion of the unveiling of Anton Bruckner's bust in the Valhalla on 6 June 1937; a commission that once again emanated from Bosse. In 1942, he illustrated the book Italian Poetry from Dante to Mussolini - An Anthology (Gauverlag-NS-Silesia), and in the same year was honoured with Siegmund Skraup's book Die Oper als lebendiges Theater by illustrating 35 stage sets.His illustrations for Die Schildbürger appeared in the  for the 63,000th time in 1942. For his 60th birthday in 1944, the magazine published  – Organ of the Office of Music at the Fuehrer's Commissioner for the Supervision of All Spiritual and Ideological Training and Education of the NSDAP the homage by Carl Niessen <mask> als Bühnenbildner (issue 1, ). Achievements
<mask> began his career during the economically difficult period of the Weimar Republic. However, he used the financial bottlenecks as an opportunity and implemented new developments from painting in stage design. Instead of elaborate, decorative scenery, he used simple shapes and achieved desired effects with colours and lighting. In addition to his work as a stage designer, <mask> always worked as a sculptor, painter and graphic artist. The Museum für Kunst und Kulturgeschichte in Dortmund, dedicated a place to him in its permanent exhibition.The "Werkfolge" of <mask>'s works published in 1933 by , curator and deputy director of the Silesian Museum of Applied Arts and Antiquities at Breslau, comprises 589 titles. Among them are 72 paintings and 60 sculptures. Work
Paintings
 Homer, 1911, Wandgemälde im Deutschen Theater., Cologne, Bismarckstr. 7 (war-destroyed)
 Faust am Meer, 1911, Wandgemälde im Deutschen Theater, Cologne, Bismarckstr. 7 (war-destroyed)
 Griechischer Frühling, 1913, Wandgemälde in der Villa Kruska, Köln-Lindenthal, Pfarriusstr. 4 (Architekt Joseph Maria Olbrich, 1907/08)
 Transfiguration, Elias, Johannes der Täufer, 1924, Triptychon, Öl auf Holz

Plastiken
 Dr. Max Martersteig, 1908, Bronze (1933: Besitzer Theatermuseum Köln). Mädchen mit Reh, 1911, Bronze-Skulptur., Köln-Riehl (Flora Botanical Garden)
 Jüngling mit Pony (also Jüngling mit Pferd) 1911, Bronze-Skulptur., Köln-Müngersdorf, Stadionschwimmbad
 Schifffahrtsbrunnen, 1912, Bronze., für die Düsseldorfer Städteausstellung erstellt, 1913 in Köln-Mülheim aufgestellt
 Industrie- und Handelsbrunnen, 1912, Bronze., für die Düsseldorfer Städteausstellung erstellt, 1913 in Köln-Mülheim aufgestellt
 Knabe mit Kaninchen, 1913, Bronze auf Steinsockel, Köln-Kalk (Stadtgarten).Christian Morgenstern, 1918, Bronzeplastik (1933 im Städtischen Museum, Darmstadt). Johannes der Täufer, 1924, wooden statue. Otto-Lohse-Urne (mit 3 Figuren), 1925, Bronzetempelchen zu Ehren von Otto Lohse. Liegende-Madonna, 1928, Holzplastik. Cycles
 Faust-Wirklichkeiten, 1909 to 1919, collection with 49 prints., created on the occasion of Faust productions by Max Martersteig. Single pages
 Vier Elemente, 1922, Grafik. Further reading

 Robert Steimel: Kölner Köpfe.Steimel-Verlag, Cologne 1958. Henriette Meynen: Cologne: Kalk und Humboldt-Gremberg. (Stadtspuren–Denkmäler in Köln, volume 7). Bachem Verlag, Cologne 1990, . References

External links

 Ansichten der Serie „Faust-Wirklichkeiten“ bei krueger-koblenz.de
 Goethe House Frankfurt museum-digital.de

1884 births
1954 deaths
20th-century German painters
20th-century male artists
Artists from Cologne
German scenic designers
Modern sculptors

masks:
Hans Wilhelm Wildermann
Wildermann
. Wildermann
Maria Wildermann
Wildermann
Wildermann
Wildermann
Wildermann
Hans Wildermann
Wildermann
Hans Wildermann
Wildermann
Wildermann
Hans Wildermann


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<mask> (born  April 27, 1945) is an American entrepreneur, the former CEO of Maverick Jets and controversial founder of the "Blitz Movement" which became the Great Commission Association of Churches. He was also a member of the Council for National Policy as well having been a holder of national and international media interests. Childhood
Born on April 27, 1945, James Douglas McCotter spent his childhood in Texas and Colorado. He was raised by an originally Methodist family, which later joined the conservative evangelical Plymouth Brethren Church. McCotter graduated from high school in Colorado Springs. Religious Pursuits
In 1965, a 20-year-old McCotter left his home in Colorado Springs, Colorado and moved to Greeley, Colorado in an attempt to recreate the "New Testament Church", a church model he believed no existing Christian denomination was emulating fully. After arriving in Greeley, McCotter began sharing his faith primarily at the University of Northern Colorado campus, which he also began attending.According to McCotter, by the end of the first year 12 people had joined him, after 1966 there were thirty, and the following years it "doubled and tripled." Eventually a handful of men moved out to other cities in Colorado, as well as Las Cruces, New Mexico, to start other "works" as they were then called. The size of these "works" were most likely small, as McCotter has stated that, "Most people wouldn't have called them churches. Most people never knew we were churches." Though McCotter was not ordained by the Plymouth Brethren, he claimed the authority of an apostle. McCotter dropped out of college to focus on ministry full time, and was planning to move down to Pueblo, Colorado to continue his efforts; however, in 1967, at the height of the Vietnam War, he was drafted into the United States Army. During training, at a base in Fort Polk, Louisiana, McCotter met Dennis Clark, to whom he imparted his vision of God's "strategy" to reach the world.Returns to the U.S.
<mask> returned to Colorado after he had completed his service in Vietnam. In May 1970, Dennis Clark returned from the service as well and joined <mask> in Colorado. On a bus in 1970, while attending a conference, <mask> struck up a conversation with Herschel Martindale, who would become one of the early leaders of the movement in the summer of 1970. In the early 1970s, he helped start an evangelical movement with other young Christians at a Colorado university. He spent a summer touring Southwest universities, setting up campus-based churches, which according to one member church, were characterized by a literal interpretation of the Bible, a "strong expectation of the soon return of the Lord, and an aggressive emphasis on evangelism." Over the next decade, the movement spread into the wider community. "The Blitz"
In 1970, under the leadership of <mask>, Dennis Clark, Herschel Martindale, and others, approximately 30 college-age Christians embarked on "The Blitz" - a summer-long evangelistic outreach to several university campuses in the Southwestern United States."The Blitz" was named after the Blitzkrieg military offensive of World War II. During the next few years, additional mission outreaches and training conferences took place as the movement expanded to many more university campuses. By the summer of 1973, nearly 1,000 people attended the movement's national conference, held on an eastern campus. Fifteen new campuses were "Blitzed" that summer by hundreds of recruits, fresh from the conference, and the movement continued to gain strength. By the end of 1973, there were about 15 "works" established. The movement would eventually become known as Great Commission International, and then later Great Commission Association of Churches. Child rearing controversy

In 1978, McCotter was criticized in the Des Moines Sunday Register for a statement he made during a sermon about child rearing.The sermon was based upon the Bible verse Proverbs 20:30 ("Blows that wound cleanse away evil; strokes make clean the innermost parts.") In it, McCotter said, "When you discipline, this verse indicates, as others do, that you want to do it so it wounds. Now, when you say ‘wounds,’ it doesn’t mean that you have a bloody mess on your hands necessarily. It doesn’t mean that you have a child ‘wounding’ like he has a broken leg.... And he may, and often will be, black and blue. My children have been many times. And it cleans evil from them." ISU child development professor Sedahlia Crase was quoted as saying, "What he advocates on this tape is just poor child-rearing practice in every sense of what we know now.Besides that, it's illegal to injure a child and bruising is injuring them. I’m upset that he goes around preaching these kinds of things." McCotter responded to Crase's comments with, "She might have taken what I said out of context, but I would stand by the idea that the Bible very strongly advocates spanking children. Of course, they also need to be loved and played with." Dating teaching controversy

McCotter has been criticized for his teachings on dating. In a 1984 Great Commission International (GCI) teaching, McCotter taught that dating was forbidden by the Bible because, "What we call 'dating,' the Bible may call 'partiality' (James 2:9). What we call 'boyfriend/girlfriend,' the Bible may call a 'clique' or a 'faction' (Galatians 5:20)."According to former member and researcher Larry Pile, quoted in a 1988 newspaper article, "[In GCI] You’re practically engaged by the time you have what you normally consider a date. I do know of cases where couples were actually broken up by the leadership." Resignation

In late 1986, McCotter announced his resignation from GCI, stating a desire to utilize his entrepreneurial abilities in an attempt to influence secular media for Christ as his reason. Two years later, <mask> moved to Florida and has not attended a church affiliated with the movement since that time, with the exception of the 2003 Faithwalkers conference. In an interview with New Zealand's North and South, McCotter denied involvement with Great Commission, saying, "I personally grew up as a Protestant and have tried to contribute most of my life to Christian or charitable organizations. However, I am not remotely involved in any way, in any "Church Movement" as you suggest, although I do go to church." References in Churches That Abuse book

In Ronald Enroth's 1992 book Churches That Abuse, Great Commission International, and specifically <mask>r, are given as examples of an "abusive church" situation.Specifically, McCotter is criticized for authoritarian leadership practices during his time with Great Commission:
In abusive-church situations, the "spiritual family" often displaces the biological family, and church leaders assume the role of surrogate parents. The founder of Great Commission International, <mask>r, is said to have usurped "the very authority of parents over these young people" by allowing youthful "elders" to exercise greater influence in the lives of the young adults than did their own parents. Enroth's 1994 follow-up book, Recovering From Churches That Abuse, further mentioned McCotter when researcher Paul R. Martin noted that:

Also in the book, Great Commission International (GCI) was criticized for not denouncing McCotter's teachings and negative influence on the movement, something GCI elder Dave Bovenmyer was quoted as saying "we cannot in good conscience do." A former member was quoted in response, suggesting such an attitude "protects unequivocally the prophet-leader (McCotter), keeping him in holy light, regardless of the realities of distortion and problems seen from those not under the spell. The implication is, then, that they, even though having made significant moves, are still under 'the spell.'" Publishing Pursuits
While with GCI, McCotter began several publishing enterprises, including a monthly publication called Today's Student, which claims to have reached circulation of 500,000 (a figure disputed by researcher Larry Pile in his book Marching To Zion.) His further interests in media continued with the acquisition of two radio networks (including Florida Radio News Network in 1988), and Media Net (a television holding company).Sun Newspaper Group
In 1989, McCotter formed the Sun Newspaper Group and associated Sun Newspapers, which at their peak circulated 235,000 copies a week. After 15 months, McCotter unexpectedly fired the 96 employees and closed the newspaper. The Sun's content was described by Bill Bradford, formerly the Sun's managing editor, as "a very conservative viewpoint." Fred Fedler, chairman of the University of Central Florida journalism department, at one point criticized the Sun's content as "a bunch of fluff." McCotter was further criticized for his business practices as well as the sudden shutdown of the paper, which occurred without warning five days before the Christmas holiday of 1991. One former employee was quoted as saying, "I like <mask>r, and that sounds crazy, 'cause I also see him as devious and unethical and a money-grabber. And yet he's a very likable guy.You go figure it out." Canterbury Television

In 2001 in New Zealand, McCotter bought Canterbury Television (CTV) for $500,000 and set up a newspaper called The Citizen. He further consolidated television interests there by buying out rival Now TV the following year. Following this, McCotter purchased an $800,000 luxury home with "spectacular ocean views" in Christchurch, New Zealand. The Citizen lasted about two years, before shutting down in July 2002. At least eight former employees sought legal advice over employment disputes with McCotter, and at least five of these cases were settled out of court. Sports editor Ken Nicholson publicly criticized McCotter's business practices following the closure of The Citizen, saying, "My first impression was that he was a slimy, greasy American and my impression since is that for all his supposed religious beliefs he has absolutely no caring for people at all.All it would seem McCotter is interested in is money and more money." McCotter was also criticized for damaging "the regional television product quite severely", having been accused of driving the three previous news programmes out of business prior to the closure of The Citizen. McCotter, an American, was also criticized as a "foreign investor" for not caring "about the interests of the locals." Political interests
McCotter also described himself through New Zealand Media Group as a "longtime member of the Council for National Policy", an umbrella organization and networking group for conservative activists. Pressed for his views about the CNP in an interview, McCotter replied "most in the Republican Party... would consider it an honor to have a leadership role in the CNP." Two of McCotter's nine children, Shannon and Liz, have also appeared on membership lists for the CNP. Maverick Jets
In March 2001 McCotter Aviation purchased majority shares of Maverick Air Inc., the brainchild of homebuilder Bob Bornhofen.He expanded Maverick Air Inc. under the name Maverick Jets and relocated it from Colorado to Melbourne, Florida. Leader
In August 2002, McCotter was featured on the cover of the Brevard Technical Journal (a Florida Today publication) touting the Maverick Jets Leader, a Very Light Jet priced at $750,000 for "the common man." McCotter has experienced several setbacks in seeking certification and production for the Leader, the twinjet VLJ in which Maverick Jets chief pilot Jack Reed suffered a fatal crash in January 2003. On May 8, 2003 Maverick Jets laid off a significant portion of its staff suddenly and without warning. and McCotter's attempts to secure production with Tbilisi Aerospace Manufacturing in the Republic of Georgia fell through in January 2004, leaving McCotter with the task of finding yet another means of production. SmartJet
Having produced very few Leaders, Maverick continued development of a next-generation VLJ, the SmartJet. Sohu reported that McCotter eventually signed a treaty with Xi'an, China Vice-Mayor Yang Guangsheng to begin production of SmartJets there.The treaty-signing ceremony was held on November 24, 2006. In 2011, Lorenzo Amaya became the CEO of Maverick. Big Horn Mountain Resorts
McCotter purchased Powder Pass Ski Area, Meadowlark Lake Resort and Deerhave Lodge between 1998 and 1999, joining the properties under the operating name Big Horn Mountain Resorts. Andrew Purrier was a minority investor in the joint venture. A dispute broke out on December 23, 1999. McCotter insisted that the resort bar remain open despite Purrier's allegation of the moral toll it was taking on residents and workers. Subsequently, Purrier quit the business.On April 9, 2007 <mask> was cited by the Wyoming Department of Environmental Quality for violating health, safety, environmental and sanitation conditions of his Forest Service permit because of raw sewage that had polluted Ten Sleep Creek. Bighorn National Forest Supervisor Bill Bass shut down Deerhaven and Meadowlark Lake Resorts because of the spillage. Frozen lines at both locations were suspected of causing the leaks. On May 15, 2007, Bass reported that McCotter, who had been restricted from touching the sewer systems during the closure, had submitted a plan to fix the problem, which was subject to approval by the U.S. Forest Service and the Wyoming DEQ. On July 19, 2008, the U.S. Forest Service permanently barring <mask> from operating his businesses in the National Forest following a series of investigations and closures for alleged health and safety violations, pending a 45-day appeal period. On October 8, 2008, a pending sale of Big Horn Mountain Resorts was reported. On June 30, 2009, the Washakie County Sheriff's department issued public notice of a Sheriff's sales of the entire Big Horn Mountain Resorts complex to satisfy unpaid creditors.The sale occurred on July 16, 2009 with the three properties making up the Big Horn Mountain Resorts selling for $410,000 to Wayne and Holli Jones, owners of another local lodge. A misdemeanor warrant for ignoring court orders to appear for allegation of failing to pay past employees was issued to McCotter by the Bighorn County attorney's office. Prior to the sale, the Washakie County Sheriff's Department set the minimum bid at $263,000 that included sale costs and outstanding liens filed against McCotter. References

1945 births
American communications businesspeople
American Plymouth Brethren
Former members of the Great Commission church movement
Great Commission church movement people
Living people

masks:
James Douglas McCotter
Jim McCotter
Jim
Jim
Jim McCotter
Jim
Jim McCotte
Jim McCotte
Jim McCotte
McCotter
Jim McCotter


texts:
<mask> (8 February 1819  20 January 1900) was an English writer, philosopher, art critic and polymath of the Victorian era. He wrote on subjects as varied as geology, architecture, myth, ornithology, literature, education, botany and political economy. <mask>'s writing styles and literary forms were equally varied. He wrote essays and treatises, poetry and lectures, travel guides and manuals, letters and even a fairy tale. He also made detailed sketches and paintings of rocks, plants, birds, landscapes, architectural structures and ornamentation. The elaborate style that characterised his earliest writing on art gave way in time to plainer language designed to communicate his ideas more effectively. In all of his writing, he emphasised the connections between nature, art and society.<mask> was hugely influential in the latter half of the 19th century and up to the First World War. After a period of relative decline, his reputation has steadily improved since the 1960s with the publication of numerous academic studies of his work. Today, his ideas and concerns are widely recognised as having anticipated interest in environmentalism, sustainability and craft. <mask> first came to widespread attention with the first volume of Modern Painters (1843), an extended essay in defence of the work of J. M. W. Turner in which he argued that the principal role of the artist is "truth to nature". From the 1850s, he championed the Pre-Raphaelites, who were influenced by his ideas. His work increasingly focused on social and political issues. Unto This Last (1860, 1862) marked the shift in emphasis.In 1869, <mask> became the first Slade Professor of Fine Art at the University of Oxford, where he established the Ruskin School of Drawing. In 1871, he began his monthly "letters to the workmen and labourers of Great Britain", published under the title Fors Clavigera (1871–1884). In the course of this complex and deeply personal work, he developed the principles underlying his ideal society. As a result, he founded the Guild of St George, an organisation that endures today. Early life (1819–1846)

Genealogy
<mask> was the only child of first cousins. His father, <mask> <mask> (1785–1864), was a sherry and wine importer, founding partner and de facto business manager of Ruskin, Telford and Domecq (see Allied Domecq). <mask> was born and brought up in Edinburgh, Scotland, to a mother from Glenluce and a father originally from Hertfordshire.His wife, Margaret Cock (1781–1871), was the daughter of a publican in Croydon. She had joined the Ruskin household when she became companion to <mask>'s mother, Catherine. <mask> had hoped to practise law, and was articled as a clerk in London. His father, <mask> <mask>, described as a grocer (but apparently an ambitious wholesale merchant), was an incompetent businessman. To save the family from bankruptcy, <mask>, whose prudence and success were in stark contrast to his father, took on all debts, settling the last of them in 1832. <mask> and Margaret were engaged in 1809, but opposition to the union from <mask>, and the problem of his debts, delayed the couple's wedding. They finally married, without celebration, in 1818.<mask> died on 3 March 1864 and is buried in the churchyard of St John the Evangelist, Shirley, Croydon. Childhood and education

<mask> was born on 8 February 1819 at 54 Hunter Street, Brunswick Square, London (demolished 1969), south of St Pancras railway station. His childhood was shaped by the contrasting influences of his father and mother, both of whom were fiercely ambitious for him. <mask> <mask> helped to develop his son's Romanticism. They shared a passion for the works of Byron, Shakespeare and especially Walter Scott. They visited Scott's home, Abbotsford, in 1838, but Ruskin was disappointed by its appearance. <mask>, an evangelical Christian, more cautious and restrained than her husband, taught young <mask> to read the Bible from beginning to end, and then to start all over again, committing large portions to memory.Its language, imagery and parables had a profound and lasting effect on his writing. He later wrote:

<mask>'s childhood was spent from 1823 at 28 Herne Hill (demolished ), near the village of Camberwell in South London. He had few friends of his own age, but it was not the friendless and toyless experience he later said it was in his autobiography, Praeterita (1885–89). He was educated at home by his parents and private tutors, including Congregationalist preacher Edward Andrews, whose daughters, Mrs Eliza Orme and Emily Augusta Patmore were later credited with introducing Ruskin to the Pre-Raphaelite Brotherhood. From 1834 to 1835 he attended the school in Peckham run by the progressive evangelical Thomas Dale (1797–1870). Ruskin heard Dale lecture in 1836 at King's College, London, where Dale was the first Professor of English Literature. Ruskin went on to enroll and complete his studies at King's College, where he prepared for Oxford under Dale's tutelage.Travel

<mask> was greatly influenced by the extensive and privileged travels he enjoyed in his childhood. It helped to establish his taste and augmented his education. He sometimes accompanied his father on visits to business clients at their country houses, which exposed him to English landscapes, architecture and paintings. Family tours took them to the Lake District (his first long poem, Iteriad, was an account of his tour in 1830) and to relatives in Perth, Scotland. As early as 1825, the family visited France and Belgium. Their continental tours became increasingly ambitious in scope: in 1833 they visited Strasbourg, Schaffhausen, Milan, Genoa and Turin, places to which <mask> frequently returned. He developed a lifelong love of the Alps, and in 1835 visited Venice for the first time, that 'Paradise of cities' that provided the subject and symbolism of much of his later work.These tours gave Ruskin the opportunity to observe and record his impressions of nature. He composed elegant, though mainly conventional poetry, some of which was published in Friendship's Offering. His early notebooks and sketchbooks are full of visually sophisticated and technically accomplished drawings of maps, landscapes and buildings, remarkable for a boy of his age. He was profoundly affected by Samuel Rogers's poem Italy (1830), a copy of which was given to him as a 13th birthday present; in particular, he  deeply admired the accompanying illustrations by J. M. W. Turner. Much of <mask>'s own art in the 1830s was in imitation of Turner, and of Samuel Prout, whose Sketches Made in Flanders and Germany (1833) he also admired. His artistic skills were refined under the tutelage of Charles Runciman, Copley Fielding and J. D. Harding. First publications
Ruskin's journeys also provided inspiration for writing.His first publication was the poem "On Skiddaw and Derwent Water" (originally entitled "Lines written at the Lakes in Cumberland: Derwentwater" and published in the Spiritual Times) (August 1829). In 1834, three short articles for Loudon's Magazine of Natural History were published. They show early signs of his skill as a close "scientific" observer of nature, especially its geology. From September 1837 to December 1838, <mask>'s The Poetry of Architecture was serialised in Loudon's Architectural Magazine, under the pen name "Kata Phusin" (Greek for "According to Nature"). It was a study of cottages, villas, and other dwellings centred on a Wordsworthian argument that buildings should be sympathetic to their immediate environment and use local materials. It anticipated key themes in his later writings. In 1839, <mask>'s "Remarks on the Present State of Meteorological Science" was published in Transactions of the Meteorological Society.Oxford
In Michaelmas 1836, <mask> matriculated at the University of Oxford, taking up residence at Christ Church in January of the following year. Enrolled as a gentleman-commoner, he enjoyed equal status with his aristocratic peers. Ruskin was generally uninspired by Oxford and suffered bouts of illness. Perhaps the greatest advantage of his time there was in the few, close friendships he made. His tutor, the Rev Walter Lucas Brown, always encouraged him, as did a young senior tutor, Henry Liddell (later the father of Alice Liddell) and a private tutor, the Rev Osborne Gordon. He became close to the geologist and natural theologian, William Buckland. Among his fellow-undergraduates, Ruskin's most important friends were Charles Thomas Newton and Henry Acland.His most noteworthy success came in 1839 when, at the third attempt, he won the prestigious Newdigate Prize for poetry (Arthur Hugh Clough came second). He met William Wordsworth, who was receiving an honorary degree, at the ceremony. <mask>'s health was poor and he never became independent from his family during his time at Oxford. His mother took lodgings on High Street, where his father joined them at weekends. He was devastated to hear that his first love, Adèle Domecq, the second daughter of his father's business partner, had become engaged to a French nobleman. In April 1840, whilst revising for his examinations, he began to cough blood, which led to fears of consumption and a long break from Oxford travelling with his parents. Before he returned to Oxford, Ruskin responded to a challenge that had been put to him by Effie Gray, whom he later married: the twelve-year-old Effie had asked him to write a fairy story.During a six-week break at Leamington Spa to undergo Dr Jephson's (1798–1878) celebrated salt-water cure, <mask> wrote his only work of fiction, the fable The King of the Golden River (not published until December 1850 (but imprinted 1851), with illustrations by Richard Doyle). A work of Christian sacrificial morality and charity, it is set in the Alpine landscape <mask> loved and knew so well. It remains the most translated of all his works. Back at Oxford, in 1842 Ruskin sat for a pass degree, and was awarded an uncommon honorary double fourth-class degree in recognition of his achievements. Modern Painters I (1843)

For much of the period from late 1840 to autumn 1842, <mask> was abroad with his parents, mainly in Italy. His studies of Italian art were chiefly guided by George Richmond, to whom the Ruskins were introduced by Joseph Severn, a friend of Keats (whose son, Arthur Severn, later married Ruskin's cousin, Joan). He was galvanised into writing a defence of J. M. W. Turner when he read an attack on several of Turner's pictures exhibited at the Royal Academy.It recalled an attack by the critic Rev <mask> in Blackwood's Magazine in 1836, which had prompted <mask> to write a long essay. <mask> had sent the piece to Turner, who did not wish it to be published. It finally appeared in 1903. Before <mask> began Modern Painters, <mask> <mask> had begun collecting watercolours, including works by Samuel Prout and Turner. Both painters were among occasional guests of the Ruskins at Herne Hill, and 163 Denmark Hill (demolished 1947) to which the family moved in 1842. What became the first volume of Modern Painters (1843), published by Smith, Elder & Co. under the anonymous authority of "A Graduate of Oxford", was <mask>'s answer to Turner's critics. <mask> controversially argued that modern landscape painters—and in particular Turner—were superior to the so-called "Old Masters" of the post-Renaissance period.<mask> maintained that, unlike Turner, Old Masters such as Gaspard Dughet (Gaspar Poussin), Claude, and Salvator Rosa favoured pictorial convention, and not "truth to nature". He explained that he meant "moral as well as material truth". The job of the artist is to observe the reality of nature and not to invent it in a studioto render imaginatively on canvas what he has seen and understood, free of any rules of composition. For Ruskin, modern landscapists demonstrated superior understanding of the "truths" of water, air, clouds, stones, and vegetation, a profound appreciation of which Ruskin demonstrated in his own prose. He described works he had seen at the National Gallery and Dulwich Picture Gallery with extraordinary verbal felicity. Although critics were slow to react and the reviews were mixed, many notable literary and artistic figures were impressed with the young man's work, including Charlotte Brontë and Elizabeth Gaskell. Suddenly Ruskin had found his métier, and in one leap helped redefine the genre of art criticism, mixing a discourse of polemic with aesthetics, scientific observation and ethics.It cemented <mask>'s relationship with Turner. After the artist died in 1851, Ruskin catalogued nearly 20,000 sketches that Turner gave to the British nation. 1845 tour and Modern Painters II (1846)
Ruskin toured the continent with his parents again during 1844, visiting Chamonix and Paris, studying the geology of the Alps and the paintings of Titian, Veronese and Perugino among others at the Louvre. In 1845, at the age of 26, he undertook to travel without his parents for the first time. It provided him with an opportunity to study medieval art and architecture in France, Switzerland and especially Italy. In Lucca he saw the Tomb of Ilaria del Carretto by Jacopo della Quercia, which <mask> considered the exemplar of Christian sculpture (he later associated it with the then object of his love, Rose La Touche). He drew inspiration from what he saw at the Campo Santo in Pisa, and in Florence.In Venice, he was particularly impressed by the works of Fra Angelico and Giotto in St Mark's Cathedral, and Tintoretto in the Scuola di San Rocco, but he was alarmed by the combined effects of decay and modernisation on the city: "Venice is lost to me", he wrote. It finally convinced him that architectural restoration was destruction, and that the only true and faithful action was preservation and conservation. Drawing on his travels, he wrote the second volume of Modern Painters (published April 1846). The volume concentrated on Renaissance and pre-Renaissance artists rather than on Turner. It was a more theoretical work than its predecessor. Ruskin explicitly linked the aesthetic and the divine, arguing that truth, beauty and religion are inextricably bound together: "the Beautiful as a gift of God". In defining categories of beauty and imagination, Ruskin argued that all great artists must perceive beauty and, with their imagination, communicate it creatively by means of symbolic representation.Generally, critics gave this second volume a warmer reception, although many found the attack on the aesthetic orthodoxy associated with Joshua Reynolds difficult to accept. In the summer, Ruskin was abroad again with his father, who still hoped his son might become a poet, even poet laureate, just one among many factors increasing the tension between them. Middle life (1847–1869)

Marriage to Effie Gray
During 1847, Ruskin became closer to Euphemia "Effie" Gray, the daughter of family friends. It was for her that Ruskin had written The King of the Golden River. The couple were engaged in October. They married on 10 April 1848 at her home, Bowerswell, in Perth, once the residence of the Ruskin family. It was the site of the suicide of <mask> <mask> (Ruskin's grandfather).Owing to this association and other complications, <mask>'s parents did not attend. The European Revolutions of 1848 meant that the newlyweds' earliest travels together were restricted, but they were able to visit Normandy, where Ruskin admired the Gothic architecture. Their early life together was spent at 31 Park Street, Mayfair, secured for them by <mask>'s father (later addresses included nearby 6 Charles Street, and 30 Herne Hill). Effie was too unwell to undertake the European tour of 1849, so Ruskin visited the Alps with his parents, gathering material for the third and fourth volumes of Modern Painters. He was struck by the contrast between the Alpine beauty and the poverty of Alpine peasants, stirring his increasingly sensitive social conscience. The marriage was unhappy, with Ruskin reportedly being

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 cruel to Effie and distrustful of her. The marriage was never consummated and was annulled six years later in 1854.Architecture
<mask>'s developing interest in architecture, and particularly in the Gothic, led to the first work to bear his name, The Seven Lamps of Architecture (1849). It contained 14 plates etched by the author. The title refers to seven moral categories that <mask> considered vital to and inseparable from all architecture: sacrifice, truth, power, beauty, life, memory and obedience. All would provide recurring themes in his future work. Seven Lamps promoted the virtues of a secular and Protestant form of Gothic. It was a challenge to the Catholic influence of architect A. W. N. Pugin. The Stones of Venice
In November 1849, <mask> and Effie <mask> visited Venice, staying at the Hotel Danieli.Their different personalities are revealed by their contrasting priorities. For Effie, Venice provided an opportunity to socialise, while <mask> was engaged in solitary studies. In particular, he made a point of drawing the Ca' d'Oro and the Doge's Palace, or Palazzo Ducale, because he feared that they would be destroyed by the occupying Austrian troops. One of these troops, Lieutenant Charles Paulizza, became friendly with Effie, apparently with Ruskin's consent. Her brother, among others, later claimed that Ruskin was deliberately encouraging the friendship to compromise her, as an excuse to separate. Meanwhile, <mask> was making the extensive sketches and notes that he used for his three-volume work The Stones of Venice (1851–53). Developing from a technical history of Venetian architecture from the Romanesque to the Renaissance, into a broad cultural history, Stones represented Ruskin's opinion of contemporary England.It served as a warning about the moral and spiritual health of society. <mask> argued that Venice had degenerated slowly. Its cultural achievements had been compromised, and its society corrupted, by the decline of true Christian faith. Instead of revering the divine, Renaissance artists honoured themselves, arrogantly celebrating human sensuousness. The chapter, "The Nature of Gothic" appeared in the second volume of Stones. Praising Gothic ornament, <mask> argued that it was an expression of the artisan's joy in free, creative work. The worker must be allowed to think and to express his own personality and ideas, ideally using his own hands, rather than machinery.This was both an aesthetic attack on, and a social critique of, the division of labour in particular, and industrial capitalism in general. This chapter had a profound effect, and was reprinted both by the Christian socialist founders of the Working Men's College and later by the Arts and Crafts pioneer and socialist William Morris. Pre-Raphaelites

<mask> Millais, William Holman Hunt and Dante Gabriel Rossetti had established the Pre-Raphaelite Brotherhood in 1848. The Pre-Raphaelite commitment to 'naturalism' – "paint[ing] from nature only", depicting nature in fine detail, had been influenced by <mask>. <mask> became acquainted with Millais after the artists made an approach to <mask> through their mutual friend Coventry Patmore. Initially, <mask> had not been impressed by Millais's Christ in the House of His Parents (1849–50), a painting that was considered blasphemous at the time, but <mask> wrote letters defending the Pre-Raphaelite Brotherhood to The Times during May 1851. Providing Millais with artistic patronage and encouragement, in the summer of 1853 the artist (and his brother) travelled to Scotland with <mask> and Effie where, at Glenfinlas, he painted the closely observed landscape background of gneiss rock to which, as had always been intended, he later added <mask>'s portrait.Millais had painted a picture of Effie for The Order of Release, 1746, exhibited at the Royal Academy in 1852. Suffering increasingly from physical illness and acute mental anxiety, Effie was arguing fiercely with her husband and his intense and overly protective parents, and sought solace with her own parents in Scotland. The Ruskin marriage was already undermined as she and Millais fell in love, and Effie left Ruskin, causing a public scandal. During April 1854, Effie filed her suit of nullity, on grounds of "non-consummation" owing to his "incurable impotency", a charge <mask> later disputed. <mask> wrote, "I can prove my virility at once." The annulment was granted in July. Ruskin did not even mention it in his diary.Effie married Millais the following year. The complex reasons for the non-consummation and ultimate failure of the Ruskin marriage are a matter of enduring speculation and debate. <mask> continued to support Hunt and Rossetti. He also provided an annuity of £150 in 1855–57 to Elizabeth Siddal, Rossetti's wife, to encourage her art (and paid for the services of Henry Acland for her medical care). Other artists influenced by the Pre-Raphaelites also received both critical and financial assistance from Ruskin, including <mask>, <mask> Inchbold, and Edward Burne-Jones, who became a good friend (he called him "Brother Ned"). His father's disapproval of such friends was a further cause of tension between them. During this period Ruskin wrote regular reviews of the annual exhibitions at the Royal Academy with the title Academy Notes (1855–59, 1875).They were highly influential, capable of making or breaking reputations. The satirical magazine Punch published the lines (24 May 1856), "I paints and paints,/hears no complaints/And sells before I'm dry,/Till savage Ruskin/He sticks his tusk in/Then nobody will buy." <mask> was an art-philanthropist: in March 1861 he gave 48 Turner drawings to the Ashmolean in Oxford, and a further 25 to the Fitzwilliam Museum, Cambridge in May. <mask>'s own work was very distinctive, and he occasionally exhibited his watercolours: in the United States in 1857–58 and 1879, for example; and in England, at the Fine Art Society in 1878, and at the Royal Society of Painters in Watercolour (of which he was an honorary member) in 1879. He created many careful studies of natural forms, based on his detailed botanical, geological and architectural observations. Examples of his work include a painted, floral pilaster decoration in the central room of Wallington Hall in Northumberland, home of his friend Pauline Trevelyan. The stained glass window in the Little Church of St Francis Funtley, Fareham, Hampshire is reputed to have been designed by him.Originally placed in the St. Peter's Church Duntisbourne Abbots near Cirencester, the window depicts the Ascension and the Nativity. <mask>'s theories also inspired some architects to adapt the Gothic style. Such buildings created what has been called a distinctive "Ruskinian Gothic". Through his friendship with Henry Acland, Ruskin supported attempts to establish what became the Oxford University Museum of Natural History (designed by Benjamin Woodward)—which is the closest thing to a model of this style, but still failed to satisfy Ruskin completely. The many twists and turns in the Museum's development, not least its increasing cost, and the University authorities' less than enthusiastic attitude towards it, proved increasingly frustrating for <mask>. Ruskin and education
The Museum was part of a wider plan to improve science provision at Oxford, something the University initially resisted. <mask>'s first formal teaching role came about in the mid-1850s, when he taught drawing classes (assisted by Dante Gabriel Rossetti) at the Working Men's College, established by the Christian socialists, Frederick James Furnivall and Frederick Denison Maurice.Although Ruskin did not share the founders' politics, he strongly supported the idea that through education workers could achieve a crucially important sense of (self-)fulfilment. One result of this involvement was <mask>'s Elements of Drawing (1857). He had taught several women drawing, by means of correspondence, and his book represented both a response and a challenge to contemporary drawing manuals. The WMC was also a useful recruiting ground for assistants, on some of whom Ruskin would later come to rely, such as his future publisher, George Allen. From 1859 until 1868, Ruskin was involved with the progressive school for girls at Winnington Hall in Cheshire. A frequent visitor, letter-writer, and donor of pictures and geological specimens to the school, Ruskin approved of the mixture of sports, handicrafts, music and dancing encouraged by its principal, Miss Bell. The association led to Ruskin's sub-Socratic work, The Ethics of the Dust (1866), an imagined conversation with Winnington's girls in which he cast himself as the "Old Lecturer".On the surface a discourse on crystallography, it is a metaphorical exploration of social and political ideals. In the 1880s, <mask> became involved with another educational institution, Whitelands College, a training college for teachers, where he instituted a May Queen festival that endures today. (It was also replicated in the 19th century at the Cork High School for Girls.) Ruskin also bestowed books and gemstones upon Somerville College, one of Oxford's first two women's colleges, which he visited regularly, and was similarly generous to other educational institutions for women. Modern Painters III and IV
Both volumes III and IV of Modern Painters were published in 1856. In MP III Ruskin argued that all great art is "the expression of the spirits of great men". Only the morally and spiritually healthy are capable of admiring the noble and the beautiful, and transforming them into great art by imaginatively penetrating their essence.MP IV presents the geology of the Alps in terms of landscape painting, and their moral and spiritual influence on those living nearby. The contrasting final chapters, "The Mountain Glory" and "The Mountain Gloom" provide an early example of <mask>'s social analysis, highlighting the poverty of the peasants living in the lower Alps. Public lecturer
In addition to leading more formal teaching classes, from the 1850s <mask> became an increasingly popular public lecturer. His first public lectures were given in Edinburgh, in November 1853, on architecture and painting. His lectures at the Art Treasures Exhibition, Manchester in 1857, were collected as The Political Economy of Art and later under Keats's phrase, A Joy For Ever. In these lectures, <mask> spoke about how to acquire art, and how to use it, arguing that England had forgotten that true wealth is virtue, and that art is an index of a nation's well-being. Individuals have a responsibility to consume wisely, stimulating beneficent demand.The increasingly critical tone and political nature of <mask>'s interventions outraged his father and the "Manchester School" of economists, as represented by a hostile review in the Manchester Examiner and Times. As the Ruskin scholar Helen Gill Viljoen noted, Ruskin was increasingly critical of his father, especially in letters written by Ruskin directly to him, many of them still unpublished. Ruskin gave the inaugural address at the Cambridge School of Art in 1858, an institution from which the modern-day Anglia Ruskin University has grown. In The Two Paths (1859), five lectures given in London, Manchester, Bradford and Tunbridge Wells, Ruskin argued that a 'vital law' underpins art and architecture, drawing on the labour theory of value. (For other addresses and letters, Cook and Wedderburn, vol. 16, pp. 427–87.)The year 1859 also marked his last tour of Europe with his ageing parents, during which they visited Germany and Switzerland. Turner Bequest
<mask> had been in Venice when he heard about Turner's death in 1851. Being named an executor to Turner's will was an honour that <mask> respectfully declined, but later took up. <mask>'s book in celebration of the sea, The Harbours of England, revolving around Turner's drawings, was published in 1856. In January 1857, <mask>'s Notes on the Turner Gallery at Marlborough House, 1856 was published. He persuaded the National Gallery to allow him to work on the Turner Bequest of nearly 20,000 individual artworks left to the nation by the artist. This involved <mask> in an enormous amount of work, completed in May 1858, and involved cataloguing, framing and conserving.Four hundred watercolours were displayed in cabinets of <mask>'s own design. Recent scholarship has argued that <mask> did not, as previously thought, collude in the destruction of Turner's erotic drawings, but his work on the Bequest did modify his attitude towards Turner. (See below, Controversies: Turner's Erotic Drawings.) Religious "unconversion"
In 1858, <mask> was again travelling in Europe. The tour took him from Switzerland to Turin, where he saw Paolo Veronese's Presentation of the Queen of Sheba. He would later claim (in April 1877) that the discovery of this painting, contrasting starkly with a particularly dull sermon, led to his "unconversion" from Evangelical Christianity. He had, however, doubted his Evangelical Christian faith for some time, shaken by Biblical and geological scholarship that had undermined the literal truth and absolute authority of the Bible: "those dreadful hammers!"he wrote to Henry Acland, "I hear the chink of them at the end of every cadence of the Bible verses." This "loss of faith" precipitated a considerable personal crisis. His confidence undermined, he believed that much of his writing to date had been founded on a bed of lies and half-truths. He later returned to Christianity. Social critic and reformer: Unto This Last

Although in 1877 Ruskin said that in 1860, "I gave up my art work and wrote Unto This Last ... the central work of my life" the break was not so dramatic or final. Following his crisis of faith, and influenced in part by his friend Thomas Carlyle (whom he had first met in 1850), Ruskin shifted his emphasis in the late 1850s from art towards social issues. Nevertheless, he continued to lecture on and write about a wide range of subjects including art and, among many other matters, geology (in June 1863 he lectured on the Alps), art practice and judgement (The Cestus of Aglaia), botany and mythology (Proserpina and The Queen of the Air).He continued to draw and paint in watercolours, and to travel extensively across Europe with servants and friends. In 1868, his tour took him to Abbeville, and in the following year he was in Verona (studying tombs for the Arundel Society) and Venice (where he was joined by William Holman Hunt). Yet increasingly Ruskin concentrated his energies on fiercely attacking industrial capitalism, and the utilitarian theories of political economy underpinning it. He repudiated his sometimes grandiloquent style, writing now in plainer, simpler language, to communicate his message straightforwardly. Ruskin's social view broadened from concerns about the dignity of labour to consider issues of citizenship and notions of the ideal community. Just as he had questioned aesthetic orthodoxy in his earliest writings, he now dissected the orthodox political economy espoused by <mask> Mill, based on theories of laissez-faire and competition drawn from the work of Adam Smith, David Ricardo and Thomas Malthus. In his four essays Unto This Last, Ruskin rejected the division of labour as dehumanising (separating the labourer from the product of his work), and argued that the false "science" of political economy failed to consider the social affections that bind communities together.He articulated an extended metaphor of household and family, drawing on Plato and Xenophon to demonstrate the communal and sometimes sacrificial nature of true economics. For Ruskin, all economies and societies are ideally founded on a politics of social justice. His ideas influenced the concept of the "social economy", characterised by networks of charitable, co-operative and other non-governmental organisations. The essays were originally published in consecutive monthly instalments of the new Cornhill Magazine between August and November 1860 (and published in

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 a single volume in 1862). However, the Cornhills editor, William Makepeace Thackeray, was forced to abandon the series by the outcry of the magazine's largely conservative readership and the fears of a nervous publisher (Smith, Elder & Co.). The reaction of the national press was hostile, and Ruskin was, he claimed, "reprobated in a violent manner". <mask>'s father also strongly disapproved.Others were enthusiastic, including <mask>'s friend Thomas Carlyle, who wrote, "I have read your paper with exhilaration... such a thing flung suddenly into half a million dull British heads... will do a great deal of good." <mask>'s political ideas, and Unto This Last in particular, later proved highly influential. The essays were praised and paraphrased in Gujarati by Mohandas Gandhi, a wide range of autodidacts cited their positive impact, the economist <mask>. Hobson and many of the founders of the British Labour party credited them as an influence. Ruskin believed in a hierarchical social structure. He wrote "I was, and my father was before me, a violent Tory of the old school." He believed in man's duty to God, and while he sought to improve the conditions of the poor, he opposed attempts to level social differences and sought to resolve social inequalities by abandoning capitalism in favour of a co-operative structure of society based on obedience and benevolent philanthropy, rooted in the agricultural economy. <mask>'s explorations of nature and aesthetics in the fifth and final volume of Modern Painters focused on Giorgione, Veronese, Titian and Turner.Ruskin asserted that the components of the greatest artworks are held together, like human communities, in a quasi-organic unity. Competitive struggle is destructive. Uniting Modern Painters V and Unto This Last is <mask>'s "Law of Help":

<mask>'s next work on political economy, redefining some of the basic terms of the discipline, also ended prematurely, when Fraser's Magazine, under the editorship of James Anthony Froude, cut short his Essays on Political Economy (1862–63) (later collected as Munera Pulveris (1872)). <mask> further explored political themes in Time and Tide (1867), his letters to Thomas Dixon, a cork-cutter in Sunderland, Tyne and Wear who had a well-established interest in literary and artistic matters. In these letters, Ruskin promoted honesty in work and exchange, just relations in employment and the need for co-operation. Ruskin's sense of politics was not confined to theory. On his father's death in 1864, he inherited a considerable fortune of between £120,000 and £157,000 (the exact figure is disputed).This considerable fortune, inherited from the father he described on his tombstone as "an entirely honest merchant", gave him the means to engage in personal philanthropy and practical schemes of social amelioration. One of his first actions was to support the housing work of Octavia Hill (originally one of his art pupils): he bought property in Marylebone to aid her philanthropic housing scheme. But Ruskin's endeavours extended to the establishment of a shop selling pure tea in any quantity desired at 29 Paddington Street, Paddington (giving employment to two former Ruskin family servants) and crossing-sweepings to keep the area around the British Museum clean and tidy. Modest as these practical schemes were, they represented a symbolic challenge to the existing state of society. Yet his greatest practical experiments would come in his later years. Lectures in the 1860s
<mask> lectured widely in the 1860s, giving the Rede lecture at the University of Cambridge in 1867, for example. He spoke at the British Institution on 'Modern Art', the Working Men's Institute, Camberwell on "Work" and the Royal Military Academy, Woolwich on 'War.'<mask>'s widely admired lecture, Traffic, on the relation between taste and morality, was delivered in April 1864 at Bradford Town Hall, to which he had been invited because of a local debate about the style of a new Exchange building. "I do not care about this Exchange", <mask> told his audience, "because you don't!" These last three lectures were published in The Crown of Wild Olive (1866). The lectures that comprised Sesame and Lilies (published 1865), delivered in December 1864 at the town halls at Rusholme and Manchester, are essentially concerned with education and ideal conduct. "Of Kings' Treasuries" (in support of a library fund) explored issues of reading practice, literature (books of the hour vs. books of all time), cultural value and public education. "Of Queens' Gardens" (supporting a school fund) focused on the role of women, asserting their rights and duties in education, according them responsibility for the household and, by extension, for providing the human compassion that must balance a social order dominated by men. This book proved to be one of <mask>'s most popular, and was regularly awarded as a Sunday School prize.Its reception over time, however, has been more mixed, and twentieth-century feminists have taken aim at "Of Queens' Gardens" in particular, as an attempt to "subvert the new heresy" of women's rights by confining women to the domestic sphere. Although indeed subscribing to the Victorian belief in "separate spheres" for men and women, <mask> was however unusual in arguing for parity of esteem, a case based on his philosophy that a nation's political economy should be modelled on that of the ideal household. Later life (1869–1900)

Oxford's first Slade Professor of Fine Art

<mask> was unanimously appointed the first Slade Professor of Fine Art at Oxford University in August 1869, though largely through the offices of his friend, Henry Acland. He delivered his inaugural lecture on his 51st birthday in 1870, at the Sheldonian Theatre to a larger-than-expected audience. It was here that he said, "The art of any country is the exponent of its social and political virtues." It has been claimed that Cecil Rhodes cherished a long-hand copy of the lecture, believing that it supported his own view of the British Empire. In 1871, <mask> founded his own art school at Oxford, The Ruskin School of Drawing and Fine Art.It was originally accommodated within the Ashmolean Museum but now occupies premises on High Street. <mask> endowed the drawing mastership with £5000 of his own money. He also established a large collection of drawings, watercolours and other materials (over 800 frames) that he used to illustrate his lectures. The School challenged the orthodox, mechanical methodology of the government art schools (the "South Kensington System"). <mask>'s lectures were often so popular that they had to be given twice—once for the students, and again for the public. Most of them were eventually published (see Select Bibliography below). He lectured on a wide range of subjects at Oxford, his interpretation of "Art" encompassing almost every conceivable area of study, including wood and metal engraving (Ariadne Florentina), the relation of science to art (The Eagle's Nest) and sculpture (Aratra Pentelici).His lectures ranged through myth, ornithology, geology, nature-study and literature. "The teaching of Art...", Ruskin wrote, "is the teaching of all things." <mask> was never careful about offending his employer. When he criticised Michelangelo in a lecture in June 1871 it was seen as an attack on the large collection of that artist's work in the Ashmolean Museum. Most controversial, from the point of view of the University authorities, spectators and the national press, was the digging scheme on Ferry Hinksey Road at North Hinksey, near Oxford, instigated by Ruskin in 1874, and continuing into 1875, which involved undergraduates in a road-mending scheme. The scheme was motivated in part by a desire to teach the virtues of wholesome manual labour. Some of the diggers, who included Oscar Wilde, Alfred Milner and Ruskin's future secretary and biographer W. G. Collingwood, were profoundly influenced by the experience: notably Arnold Toynbee, Leonard Montefiore and Alexander Robertson MacEwen.It helped to foster a public service ethic that was later given expression in the university settlements, and was keenly celebrated by the founders of Ruskin Hall, Oxford. In 1879, <mask> resigned from Oxford, but resumed his Professorship in 1883, only to resign again in 1884. He gave his reason as opposition to vivisection, but he had increasingly been in conflict with the University authorities, who refused to expand his Drawing School. He was also suffering from increasingly poor health. Fors Clavigera and the Whistler libel case
In January 1871, the month before Ruskin started to lecture the wealthy undergraduates at Oxford University, he began his series of 96 (monthly) "letters to the workmen and labourers of Great Britain" under the title Fors Clavigera (1871–84). (The letters were published irregularly after the 87th instalment in March 1878.) These letters were personal, dealt with every subject in his oeuvre, and were written in a variety of styles, reflecting his mood and circumstances.From 1873, <mask> had full control over all his publications, having established George Allen as his sole publisher (see Allen & Unwin). In the July 1877 letter of Fors Clavigera, <mask> launched a scathing attack on paintings by James McNeill Whistler exhibited at the Grosvenor Gallery. He found particular fault with Nocturne in Black and Gold: The Falling Rocket, and accused Whistler of asking two hundred guineas for "flinging a pot of paint in the public's face". Whistler filed a libel suit against <mask>, but <mask> was ill when the case went to trial in November 1887, so the artist Edward Burne-Jones and Attorney General Sir <mask> represented him. The trial took place on 25 and 26 November, and many major figures of the art world at the time appeared at the trial. Artist Albert Moore appeared as a witness for Whistler, and artist William Powell Frith appeared for Ruskin. Frith said "the nocturne in black in gold is not in my opinion worth two hundred guineas".Frederic Leighton also agreed to give evidence for Whistler, but in the end could not attend as he had to go to Windsor to be knighted. Edward Burne-Jones, representing Ruskin, also asserted that Nocturne in Black and Gold was not a serious work of art. When asked to give reasons, Burne-Jones said he had never seen one painting of night that was successful, but also acknowledged that he saw marks of great labour and artistic skill in the painting. In the end, Whistler won the case, but the jury awarded damages of only a derisory farthing (the smallest coin of the realm) to the artist. Court costs were split between the two parties. <mask>'s were paid by public subscription organised by the Fine Art Society, but Whistler was bankrupt within six months, and was forced to sell his studio. The episode tarnished <mask>'s reputation, and may have accelerated his mental decline.It did nothing to mitigate <mask>'s exaggerated sense of failure in persuading his readers to share in his own keenly felt priorities. Guild of St George

Ruskin founded his utopian society, the Guild of St George, in 1871 (although originally it was called St George's Fund, and then St George's Company, before becoming the Guild in 1878). Its aims and objectives were articulated in Fors Clavigera. A communitarian protest against nineteenth-century industrial capitalism, it had a hierarchical structure, with Ruskin as its Master, and dedicated members called "Companions". Ruskin wished to show that contemporary life could still be enjoyed in the countryside, with land being farmed by traditional means, in harmony with the environment, and with the minimum of mechanical assistance. He also sought to educate and enrich the lives of industrial workers by inspiring them with beautiful objects. As such, with a tithe (or personal donation) of £7,000, Ruskin acquired land and a collection of art treasures.Ruskin purchased land initially in Totley, near Sheffield, but the agricultural scheme established there by local communists met with only modest success after many difficulties. Donations of land from wealthy and dedicated Companions eventually placed land and property in the Guild's care: in the Wyre Forest, near Bewdley, Worcestershire, called Ruskin Land today; Barmouth, in Gwynedd, north-west Wales; Cloughton, in North Yorkshire; Westmill in Hertfordshire; and Sheepscombe, Gloucestershire. In principle, Ruskin worked out a scheme for different grades of "Companion", wrote codes of practice, described styles of dress and even designed the Guild's own coins. Ruskin wished to see St George's Schools established, and published various volumes to aid its teaching (his Bibliotheca Pastorum or Shepherd's Library), but the schools themselves were never established. (In the 1880s, in a venture loosely related to the Bibliotheca, he supported Francesca Alexander's publication of some of her tales of peasant life.) In reality, the Guild, which still exists today as a charitable education trust, has only ever operated on a small scale. Ruskin also wished to see traditional rural handicrafts revived.St. George's Mill was established at Laxey, Isle of Man, producing cloth goods. The Guild also encouraged independent but allied efforts in spinning and weaving at Langdale, in other parts of the Lake District and elsewhere, producing linen and other goods exhibited by the Home Arts and Industries Association and similar organisations. The Guild's most conspicuous and enduring achievement was the creation of a remarkable collection of art, minerals, books, medieval manuscripts, architectural casts, coins and other precious and beautiful objects. Housed in a cottage museum high on a hill in the Sheffield district of Walkley, it opened in 1875, and was curated by Henry and Emily Swan. <mask> had written in Modern Painters III (1856) that, "the greatest thing a human soul ever does in this world is to see something, and to tell what it saw in a plain way." Through the Museum, Ruskin aimed to bring to the eyes of the working man many of the sights and experiences otherwise reserved for those who could afford to travel across Europe. The original Museum has been digitally recreated online.In 1890, the Museum relocated to Meersbrook Park. The collection is now on display at Sheffield's Millennium Gallery. Rose La Touche

<mask> had been introduced to the wealthy Irish La Touche family by Louisa, Marchioness of Waterford. Maria La Touche, a minor Irish poet and novelist, asked Ruskin to teach her daughters drawing and painting in 1858. Rose La Touche was ten. His first meeting came at a time when <mask>'s own religious faith was under strain. This always caused difficulties for the staunchly Protestant La Touche family who at various times prevented the two from meeting.A chance meeting at the Royal Academy in 1869 was one of the few occasions they came into personal contact. After a long illness, she died on 25 May 1875, at the age of 27. These events plunged Ruskin into despair and led to increasingly severe bouts of mental illness involving a number of breakdowns and delirious visions. The first of these had occurred in 1871 at Matlock, Derbyshire, a town and a county that he knew from his boyhood travels, whose flora, fauna, and minerals helped to form and reinforce his appreciation and understanding of nature. Ruskin turned to spiritualism. He attended seances at Broadlands. Ruskin's increasing need to believe in a meaningful universe and a life after death, both for himself and his loved ones, helped to revive his Christian faith in the 1870s.Travel guides
Ruskin continued to travel, studying the landscapes, buildings and art of Europe. In May 1870 and June 1872 he admired Carpaccio's St Ursula in Venice, a vision of which, associated with Rose La Touche would haunt him, described in the pages of Fors. In 1874, on his tour of Italy, Ruskin visited Sicily, the furthest he ever travelled. Ruskin embraced the emerging literary forms, the travel guide (and gallery

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 guide), writing new works, and adapting old ones "to give", he said, "what guidance I may to travellers..." The Stones of Venice was revised, edited and issued in a new "Travellers' Edition" in 1879. Ruskin directed his readers, the would-be traveller, to look with his cultural gaze at the landscapes, buildings and art of France and Italy: Mornings in Florence (1875–77), The Bible of Amiens (1880–85) (a close study of its sculpture and a wider history), St Mark's Rest (1877–84) and A Guide to the Principal Pictures in ... Venice (1877). Final writings

In the 1880s, Ruskin returned to some literature and themes that had been among his favourites since childhood. He wrote about Scott, Byron and Wordsworth in Fiction, Fair and Foul (1880) in which, as Seth Reno argues, he describes the devastating effects on the landscape caused by industrialization, a vision Reno sees as a realization of the Anthropocene.He returned to meteorological observations in his lectures, The Storm-Cloud of the Nineteenth-Century (1884), describing the apparent effects of industrialisation on weather patterns. <mask>'s Storm-Cloud has been seen as foreshadowing environmentalism and related concerns in the 20th and 21st centuries. <mask>'s prophetic writings were also tied to his emotions, and his more general (ethical) dissatisfaction with the modern world with which he now felt almost completely out of sympathy. His last great work was his autobiography, Praeterita (1885–89) (meaning, 'Of Past Things'), a highly personalised, selective, eloquent but incomplete account of aspects of his life, the preface of which was written in his childhood nursery at Herne Hill. The period from the late 1880s was one of steady and inexorable decline. Gradually it became too difficult for him to travel to Europe. He suffered a complete mental collapse on his final tour, which included Beauvais, Sallanches and Venice, in 1888.The emergence and dominance of the Aesthetic movement and Impressionism distanced <mask> from the modern art world, his ideas on the social utility of art contrasting with the doctrine of "l'art pour l'art" or "art for art's sake" that was beginning to dominate. His later writings were increasingly seen as irrelevant, especially as he seemed to be more interested in book illustrators such as Kate Greenaway than in modern art. He also attacked aspects of Darwinian theory with increasing violence, although he knew and respected Darwin personally. Brantwood and final years

In August 1871, Ruskin purchased, from W. J. Linton, the then somewhat dilapidated Brantwood house, on the shores of Coniston Water, in the English Lake District, paying £1500 for it. Brantwood was Ruskin's main home from 1872 until his death. His estate provided a site for more of his practical schemes and experiments: he had an ice house built, and the gardens comprehensively rearranged. He oversaw the construction of a larger harbour (from where he rowed his boat, the Jumping Jenny), and he altered the house (adding a dining room, a turret to his bedroom to give him a panoramic view of the lake, and he later extended the property to accommodate his relatives).He built a reservoir, and redirected the waterfall down the hills, adding a slate seat that faced the tumbling stream and craggy rocks rather than the lake, so that he could closely observe the fauna and flora of the hillside. Although <mask>'s 80th birthday was widely celebrated in 1899 (various Ruskin societies presenting him with an elaborately illuminated congratulatory address), Ruskin was scarcely aware of it. He died at Brantwood from influenza on 20 January 1900 at the age of 80. He was buried five days later in the churchyard at Coniston, according to his wishes. As he had grown weaker, suffering prolonged bouts of mental illness, he had been looked after by his second cousin, Joan(na) Severn (formerly "companion" to Ruskin's mother) and she and her family inherited his estate. Joanna's Care was the eloquent final chapter of Ruskin's memoir, which he dedicated to her as a fitting tribute. Joan Severn, together with Ruskin's secretary, W. G. Collingwood, and his eminent American friend Charles Eliot Norton, were executors to his will.E. T. Cook and Alexander Wedderburn edited the monumental 39-volume Library Edition of Ruskin's Works, the last volume of which, an index, attempts to demonstrate the complex interconnectedness of <mask>'s thought. They all acted together to guard, and even control, <mask>'s public and personal reputation. The centenary of <mask>'s birth was keenly celebrated in 1919, but his reputation was already in decline and sank further in the fifty years that followed. The contents of <mask>'s home were dispersed in a series of sales at auction, and Brantwood itself was bought in 1932 by the educationist and Ruskin enthusiast, collector and memorialist, <mask> Whitehouse. Brantwood was opened in 1934 as a memorial to Ruskin and remains open to the public today. The Guild of St George continues to thrive as an educational charity, and has an international membership. The Ruskin Society organises events throughout the year.A series of public celebrations of <mask>'s multiple legacies took place in 2000, on the centenary of his death, and events are planned throughout 2019, to mark the bicentenary of his birth. Note on <mask>'s personal appearance

In middle age, and at his prime as a lecturer, Ruskin was described as slim, perhaps a little short, with an aquiline nose and brilliant, piercing blue eyes. Often sporting a double-breasted waistcoat, a high collar and, when necessary, a frock coat, he also wore his trademark blue neckcloth. From 1878 he cultivated an increasingly long beard, and took on the appearance of an "Old Testament" prophet. Ruskin in the eyes of a student
The following description of Ruskin as a lecturer was written by an eyewitness, who was a student at the time (1884):

An incident where the Arts and Crafts master William Morris had aroused the anger of Dr Bright, Master of University College, Oxford, served to demonstrate <mask>'s charisma:

Legacy

International
Ruskin's influence reached across the world. Tolstoy described him as "one of the most remarkable men not only of England and of our generation, but of all countries and times" and quoted extensively from him, rendering his ideas into Russian. Proust not only admired Ruskin but helped translate his works into French.Gandhi wrote of the "magic spell" cast on him by Unto This Last and paraphrased the work in Gujarati, calling it Sarvodaya, "The Advancement of All". In Japan, Ryuzo Mikimoto actively collaborated in Ruskin's translation. He commissioned sculptures and sundry commemorative items, and incorporated Ruskinian rose motifs in the jewellery produced by his cultured pearl empire. He established the Ruskin Society of Tokyo and his children built a dedicated library to house his Ruskin collection. A number of utopian socialist Ruskin Colonies attempted to put his political ideals into practice. These communities included Ruskin, Florida, Ruskin, British Columbia and the Ruskin Commonwealth Association, a colony in Dickson County, Tennessee in existence from 1894 to 1899. Ruskin's work has been translated into numerous languages including, in addition to those already mentioned (Russian, French, Japanese): German, Italian, Catalan, Spanish, Portuguese, Hungarian, Polish, Romanian, Swedish, Danish, Dutch, Czech, Chinese, Welsh, several Indian languages like Kannada (ಕನ್ನಡ), Esperanto and Gikuyu.Art, architecture and literature
Theorists and practitioners in a broad range of disciplines acknowledged their debt to Ruskin. Architects including Le Corbusier, Louis Sullivan, Frank Lloyd Wright and Walter Gropius incorporated his ideas in their work. Writers as diverse as Oscar Wilde, G. K. Chesterton, Hilaire Belloc, T. S. Eliot, W. B. Yeats and Ezra Pound felt Ruskin's influence. The American poet Marianne Moore was an enthusiastic Ruskin reader. Art historians and critics, among them Herbert Read, Roger Fry and Wilhelm Worringer, knew Ruskin's work well. Admirers ranged from the British-born American watercolourist and engraver <mask> Hill to the sculptor-designer, printmaker and utopianist Eric Gill. Aside from E. T. Cook, Ruskin's editor and biographer, other leading British journalists influenced by Ruskin include J.A. Spender, and the war correspondent H. W. Nevinson. Craft and conservation
William Morris and C. R. Ashbee (of the Guild of Handicraft) were keen disciples, and through them <mask>'s legacy can be traced in the arts and crafts movement. <mask>'s ideas on the preservation of open spaces and the conservation of historic buildings and places inspired his friends Octavia Hill and Hardwicke Rawnsley to help found the National Trust. Society, education and sport
Pioneers of town planning such as Thomas Coglan Horsfall and Patrick Geddes called Ruskin an inspiration and invoked his ideas in justification of their own social interventions; likewise the founders of the garden city movement, Ebenezer Howard and Raymond Unwin. Edward Carpenter's community in Millthorpe, Derbyshire was partly inspired by Ruskin, and <mask>'s colony at Purleigh, Essex, which was briefly a refuge for the Doukhobors, combined Ruskin's ideas and Tolstoy's. The most prolific collector of Ruskiniana was <mask> Whitehouse, who saved Ruskin's home, Brantwood, and opened it as a permanent Ruskin memorial. Inspired by Ruskin's educational ideals, Whitehouse established Bembridge School, on the Isle of Wight, and ran it along Ruskinian lines.Educationists from William Jolly to Michael Ernest Sadler wrote about and appreciated Ruskin's ideas. Ruskin College, an educational establishment in Oxford originally intended for working men, was named after him by its American founders, Walter Vrooman and Charles A. Beard. <mask>'s innovative publishing experiment, conducted by his one-time Working Men's College pupil George Allen, whose business was eventually merged to become Allen & Unwin, anticipated the establishment of the Net Book Agreement. <mask>'s Drawing Collection, a collection of 1470 works of art he gathered as learning aids for the Ruskin School of Drawing and Fine Art (which he founded at Oxford), is at the Ashmolean Museum. The Museum has promoted Ruskin's art teaching, utilising the collection for in-person and online drawing courses. Pierre de Coubertin, the innovator of the modern Olympic Games, cited Ruskin's principles of beautification, asserting that the games should be "Ruskinised" to create an aesthetic identity that transcended mere championship competitions.Politics and critique of political economy
<mask> was an inspiration for many Christian socialists, and his ideas informed the work of economists such as William Smart and J. A. Hobson, and the positivist Frederic Harrison. Ruskin was discussed in university extension classes, and in reading circles and societies formed in his name. He helped to inspire the settlement movement in Britain and the United States. Resident workers at Toynbee Hall such as the future civil servants Hubert Llewellyn Smith and William Beveridge (author of the Report ... on Social Insurance and Allied Services), and the future Prime Minister Clement Attlee acknowledged their debt to Ruskin as they helped to found the British welfare state. More of the British Labour Party's earliest MPs acknowledged Ruskin's influence than mentioned Karl Marx or the Bible. More recently, Ruskin's works have also influenced Phillip Blond and the Red Tory movement.Ruskin in the 21st century
In 2019, Ruskin200 was inaugurated as a year-long celebration marking the bicentenary of <mask>'s birth. Admirers and scholars of <mask> can visit the Ruskin Library at Lancaster University, <mask>'s home, Brantwood, and the Ruskin Museum, both in Coniston in the English Lake District. All three mount regular exhibitions open to the public all the year round. Barony House in Edinburgh is home to a descendant of <mask>. She has designed and hand painted various friezes in honour of her ancestor and it is open to the public. <mask>'s Guild of St George continues his work today, in education, the arts, crafts, and the rural economy. Many streets, buildings, organisations and institutions bear his name: The Priory Ruskin Academy in Grantham, Lincolnshire; John Ruskin College, South Croydon; and Anglia Ruskin University in Chelmsford and Cambridge, which traces its origins to the Cambridge School of Art, at the foundation of which <mask> spoke in 1858.Also, the Ruskin Literary and Debating Society, (founded in 1900 in Toronto, Ontario, Canada), the oldest surviving club of its type, and still promoting the development of literary knowledge and public speaking today; and the Ruskin Art Club in Los Angeles, which still exists. In addition, there is the Ruskin Pottery, Ruskin House, Croydon and Ruskin Hall at the University of Pittsburgh. Ruskin, Florida, United States—site of one of the short-lived American Ruskin Colleges—is named after <mask>. There is a mural of Ruskin titled "Head, Heart and Hands" on a building across from the Ruskin Post Office. Since 2000, scholarly research has focused on aspects of <mask>'s legacy, including his impact on the sciences; <mask> and Oliver Lodge admired him. Two major academic projects have looked at Ruskin and cultural tourism (investigating, for example, Ruskin's links with Thomas Cook); the other focuses on Ruskin and the theatre. The sociologist and media theorist David Gauntlett argues that Ruskin's notions of craft can be felt today in online communities such as YouTube and throughout Web 2.0.Similarly, architectural theorist Lars Spuybroek has argued that <mask>'s understanding of the Gothic as a combination of two types of variation, rough savageness and smooth changefulness, opens up a new way of thinking leading to digital and so-called parametric design. Notable Ruskin enthusiasts include the writers Geoffrey Hill and Charles Tomlinson, and the politicians Patrick Cormack, Frank Judd, Frank Field and Tony Benn. In 2006, Chris Smith, Baron Smith of Finsbury, Raficq Abdulla, Jonathon Porritt and Nicholas Wright were among those to contribute to the symposium, There is no wealth but life: Ruskin in the 21st Century. Jonathan Glancey at The Guardian and Andrew Hill at the Financial Times have both written about Ruskin, as has the broadcaster Melvyn Bragg. In 2015, inspired by Ruskin's philosophy of education, Marc Turtletaub founded Meristem in Fair Oaks, California. The centre educates adolescents with developmental differences using Ruskin's "land and craft" ideals, transitioning them so they will succeed as adults in an evolving post-industrial society. Theory and criticism

Ruskin wrote over 250 works, initially art criticism and history, but expanding to cover topics ranging over science, geology, ornithology, literary criticism, the environmental effects of pollution, mythology, travel, political economy and social reform.After his death <mask>'s works were collected in the 39-volume "Library Edition", completed in 1912 by his friends Edward Tyas Cook and Alexander Wedderburn. The range and quantity of <mask>'s writing, and its complex, allusive and associative method of expression, cause certain difficulties. In 1898, <mask>. Hobson observed that in attempting to summarise Ruskin's thought, and by extracting passages from across his work, "the spell of his eloquence is broken". Clive Wilmer has written, further, that, "The anthologising of short purple passages, removed from their intended contexts [... is] something which Ruskin himself detested and which has bedevilled his reputation from the start." Nevertheless, some aspects of Ruskin's theory and criticism require further consideration. Art and design criticism
Ruskin's early work defended the reputation of J. M. W. Turner. He believed that all great art should communicate an understanding and appreciation of nature.Accordingly, inherited artistic conventions

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