texts:
 at the time, announced that he had signed Tyga to his GOOD Music imprint, under the aegis of Def Jam Recordings. On July 17, 2017, it was announced that <mask> will join as a series regular in the third season of the VH1 slasher television series Scream. He starred in the role of Jamal Elliot. The season premiered on July 8, 2019. On July 21, 2017, <mask> released his fifth studio album, BitchImTheShit2, the sequel to his 2011 mixtape #BitchImTheShit. 2018–present: Kyoto, commercial resurgence and Legendary

On February 16, 2018, <mask> released his sixth studio album, Kyoto. The album was panned by critics and sold poorly, becoming his first album to fail to chart anywhere.On May 16, 2018, <mask> released the single "Taste" featuring Offset of Migos. The song was a hit, becoming one of the biggest songs of summer 2018 and peaking  at number 8 on the US Billboard Hot 100. It marked <mask>'s first entry on the Hot 100 in three years, since 2015's Ride Out, and is certified 4x platinum by the Recording Industry Association of America (RIAA). The song is considered the catalyst for <mask>'s return to the mainstream music spotlight after almost 5 years of poor sales and negative reviews, being considered his "comeback" record. Following the success of "Taste", <mask> released a number of other singles throughout the latter of 2018, beginning with "Swish", which was certified gold, and later released "Dip" featuring Nicki Minaj, which was certified platinum. He was also featured on Iggy Azalea's platinum single, "Kream". <mask>'s seventh album Legendary was released in

masks: Tyga Tyga Tyga Tyga Tyga Tyga Tyga Tyga


type: original

texts:
 June 2019.In 2019, YG released the single "Go Loko", which featured <mask>. He stated, "We wanted to do something different to kinda try to bring all Latins together" and "Even YG could tell you, he grew up around all Mexicans, so we really wanted to do something to give back to the culture." In July 2020, Tyga partnered with businessman Robert Earl to launch a virtual kitchen brand called Tyga Bites, which uses existing restaurants' kitchens to produce branded menu items such as boneless chicken wings for delivery service only. In 2021, <mask> competed on the sixth season of The Masked Singer as "Dalmatian". He was the first of Group B to be eliminated. Personal life
<mask> met Blac Chyna on October 5, 2011, at The F.A.M.E Tour After Party with Chris Brown at King of Diamonds in Miami. Blac Chyna became Tyga's leading lady in his "Rack City" music video.They became an official couple on November 9, 2011, and posed for the cover of Urban Ink magazine in March 2012. On October 16, 2012, their son King Cairo Stevenson was born; and <mask> purchased a $6.5 million mansion in Calabasas, California for his new family. Both parents sport tattoos of their son's name. In December 2012, Blac Chyna confirmed that she and <mask> were engaged. The couple split in 2014. After months of speculation, <mask> finally confirmed his relationship with reality star Kylie Jenner. However, this relationship sparked controversy in the tabloids, because of the age difference, and they were reportedly dating since Jenner was 16.The legal age of consent in the state of California is 18.

masks: Tyga Tyga Tyga Tyga Tyga Tyga


texts:
 Photos of him and Jenner first seen holding hands in Mexico went viral a few days after her 18th birthday. The couple split in April 2017. <mask> also dated the British social media celebrity, Demi Rose Mawby, for a short while in 2016. In October 2021, <mask> was arrested by police over domestic abuse charges. Robbery
In June 2008, <mask> was robbed of his jewelry by unknown assailants. A pair of diamond chains would end up in the hands of local rapper 40 Glocc, who showed them off in an online video.Tyga would eventually admit to the robbery, but said 40 Glocc wasn't behind it. "Some niggas seen me and ran up on me with a little burner... I guess 40 Glocc's peoples robbed the peoples that got me, and then hopped on YouTube, talking about they robbed me." Legal issues
In late 2012, <mask> was sued by two women who appeared in the "Make It Nasty" video for $10 million each; they claimed he had shown their nipples without their consent. They were assured that this would be edited out and the unedited version would not be released, but Tyga proceeded to release a fully unedited version. On September 21, 2013, another woman from the video sued Tyga for sexual battery, fraud, invasion of privacy, and infliction of emotional distress. She claims, like the two other women who have filed suit against him, that she was convinced to dance topless and assured her breasts would be edited out.On September 4, 2013, it was reported Tyga had been sued by Beverly Hills-based jeweler Jason for allegedly not paying for roughly $91,000 worth of jewelry. Jason claims that Tyga agreed

masks: Tyga Tyga Tyga Tyga


texts:
 to pay $28,275 for the jeweler's diamond pantheon watch in August 2012 and that he borrowed a $63,000 diamond Cuban link chain in December 2012 and never returned the item, so he sued Tyga for the cost of both pieces, plus late fees, which totaled up to $185,306.50 in damages, double the original total cost. Tyga fell ill before the interrogation of this debt and was considered not able to proceed. He also did not bring the documents he was supposed to, however, he paid $100,000 of the $200,000 owed to his client. In June 2015, a judge ordered Tyga to pay an $80,000 settlement to a former landlord, who rented a home to the rapper in the city of Calabasas, California. It was the second ruling in the case, following a judgement in May 2015, in which he was ordered to pay $90,000, though the debt was never paid. In September 2015, the state of California placed a tax lien on Tyga for $19,000 in unpaid taxes.On his birthday, he was given a lawsuit in 2016. Discography

Studio albums
 No Introduction (2008)
 Careless World: Rise of the Last King (2012)
 Hotel California (2013)
 The Gold Album: 18th Dynasty (2015)
 BitchImTheShit2 (2017)
 Kyoto (2018)
 Legendary (2019)

Collaborative albums
Fan of a Fan: The Album  (2015)

Tours

Opening act
 Between the Sheets Tour  (2015)

Filmography

Awards and nominations

References

External links

Tyga on Spotify

1989 births
21st-century American rappers
21st-century American male musicians
American male rappers
American musicians of Vietnamese descent
American rappers of Asian descent
American rappers of Jamaican


texts:
 descent
Cash Money Records artists
Columbia Records artists
Crush Management artists
Decaydance Records artists
Def Jam Recordings artists
GOOD Music artists
Living people
Musicians from Compton, California
People from Gardena, California
People from Greater Los Angeles
Rappers from Los Angeles
Republic Records artists
West Coast hip hop musicians
Young Money Entertainment artists
OnlyFans creators
American people of Vietnamese


texts: <mask>  (30 September 1800 – 14 December 1881) was one of the foremost English architects and urban designers of the 19th century. He was the foremost Victorian architect in the Roman revival, Greek revival, Georgian neoclassical and Regency styles. He was accomplished also in the cottage orné, picturesque and neogothic styles. He was a founding fellow and, later, vice-president of the Royal Institute of British Architects, and architect to the Royal Botanic Society from 1840 and an early member of the Athenaeum Club, London, whose club premises he designed and which the company of father, <mask>, the pre-eminent property developer of Georgian London, built. Modern architectural historians Guy Williams (1990) and Dana Arnold (2004) contend that <mask>'s contribution to architecture has been underestimated: as a consequence of the misattribution to John Nash of many of his works; of his vituperation by his neo-gothic rival, Augustus Pugin; and of the consequent retention of his archives by his family. <mask>'s projects include Hyde Park, London (including the gate or screen at Hyde Park Corner, Wellington Arch, Cumberland Gate, Stanhope Gate, Grosvenor Gate, and the Prince of Wales's Gate, Knightsbridge); Green Park and St James's Park; Regent's Park, London (including Cornwall Terrace, York Terrace, Clarence Terrace, Chester Terrace, and the villas of the Inner Circle (which included his own mansion, The Holme, and the original Winfield House); the enclosure of the forecourt of Buckingham Palace, from which he had Nash's Marble Arch facing the Palace moved to its present site; the clubhouse of the

masks:
Decimus Burton
James Burton
Burton
Burton


texts: Athenaeum Club; Carlton House Terrace; Spring Gardens in St. James's; and the Palm House and the Temperate House at Kew Gardens. Outside London, Burton planned, and designed the architecture of, the seaside towns of St Leonards-on-Sea Fleetwood, Folkestone with the Leas promenade and the spa town Tunbridge Wells.His development of the Calverley Estate, of which only a small proportion survives, that contained elements of the neoclassical, the Old English and the neogothic styles, was highly commended: it has been described as "a landmark in English domestic architecture". For two decades he was engaged on a vast landscaping project to renovate Phoenix Park in Dublin. He was the architect of Dublin Zoo, and of the renewal of the sea-side resort of Queenstown. Decimus was the tenth child of <mask>. He was taught by his father, Sir John Soane and John Nash. Decimus's siblings included <mask>, the Egyptologist, and <mask>, the physician, and he was a cousin of the Canadian author, Thomas Chandler Haliburton, and of the British civil servant Lord Haliburton. <mask> was a leading member of London society during the late Georgian and Regency eras.He has been described by Williams as "rich, cool, well-dressed, apparently celibate, the designer and prime member of the Athenaeum, one of London's grandest gentlemens' clubs", and as one who was treated by the aristocracy "more as a friend than as a professional advisor". He had close friendships with Princess Victoria (the future Queen Victoria); the Duchess of Kent; William Cavendish, 6th Duke of Devonshire, John Wilson Croker, Sir John Soane, John Nash and Sir

masks:
James Burton
James Burton
Henry Burton
Burton


texts:
 Humphry Davy. Family
Decimus was the tenth child of <mask>, a pre-eminent London property developer (1761–1837), and Elizabeth Westley (12 December 1761 – 14 January 1837), of Loughton, Essex, the daughter of John and Mary Westley. His father was born James Haliburton, and shortened his surname to <mask> in 1794, between the births of his fourth and fifth children. The paternal grandfather was William Haliburton (1731–1785), a London property developer of Scottish descent. On his father's side, Decimus's great-great grandparents were Rev. James Haliburton (1681–1756) and Margaret Eliott, daughter of Sir William Eliott, 2nd Baronet and aunt of George Augustus Eliott, 1st Baron Heathfield.Decimus was descended from John Haliburton (1573–1627), from whom Sir Walter Scott was descended on the maternal side. <mask> was a cousin of the Canadian author and barrister Thomas Chandler Haliburton and of the British civil servant Lord Haliburton, who was the first native Canadian to be raised to the Peerage of the United Kingdom. Education and architectural style
Decimus was born at the 'very comfortable and well staffed' North House in the newly built Southampton Terrace, Bloomsbury, London. From 1805, Decimus was raised in his father's mansion, Mabledon House, in Kent. Subsequent to the birth of his twelfth child, Jessy, in 1804, Decimus's father <mask> had purchased a site on a hill about one mile to the south of Tonbridge in Kent, where he constructed, to the designs of the architect Joseph T. Parkinson, in 1805, the large country mansion which he named Mabledon House, which was described in 1810 by the local

masks:
James Burton
Burton
Burton
James Burton


texts:
 authority as 'an elegant imitation of an ancient castellated mansion'. The majority of the stone that <mask> required for Mabledon was quarried from the hill on which it was to be built, but <mask> also purchased the stone that had been released by the recent demolition of a nearby mansion, Penhurst Place. <mask> <mask> was coincidentally commissioned to expand Mabledon, his childhood home, on several occasions after it had been sold by his father.Tuition by his father and George Maddox
Decimus first trained with his father and received drawing lessons from George Maddox. Decimus's father James was a talented architect, in addition to the foremost contemporaneous property developer. Williams says of <mask>, "[He] was no ordinary builder. He could have put up an imposing and beautifully proportioned building, correct in every constructional detail, from the roughest of sketches tossed patronizingly at him by a 'gentleman architect'", and "<mask> became adept at relieving the monotony of long residential terraces by allowing their central blocks to project slightly from the surfaces to each side, and by bringing forward, too, the houses at each end", and that "the ironwork in a classical style in <mask>'s Bloomsbury terraces was, and often still is, particularly fine, though mass produced". Samuel Pepys Cockerell, advisor to the Governors of the Foundling Hospital, a contemporary of <mask>, commended <mask>'s architectural excellence: Without such a man, possessed of very considerable talents, unwearied industry, and a capital of his own, the extraordinary success of the improvement of the Foundling Estate

masks:
James Burton
Burton
Decimus
Burton
James Burton
James Burton
James Burton
James Burton
James Burton


texts:
 could not have taken place... By his own peculiar resources of mind, he has succeeded in disposing of his buildings and rents, under all disadvantages of war, and of an unjust clamour which has repeatedly been raised against him. Mr <mask> was ready to come forward with money and personal assistance to relieve and help forward those builders who were unable to proceed in their contracts; and in some instances he has been obliged to resume the undertaking and complete himself what has been weakly and imperfectly proceeded with.... In 1815, <mask> took Decimus to Hastings, where the two would later design and build St Leonards-on-Sea and, in 1816, Decimus commenced work in <mask>'s office.Whilst working for his father, Decimus was present in the design and construction of Regent Street St. James. Simultaneously, Maddox taught Decimus architectural draughtsmanship, including the details of the five orders. After his first year of tuition by his father and Maddox, Decimus submitted to the Royal Academy a design for a bridge, which was commended by the academy. Tuition at Royal Academy Schools by John Soane
<mask> has been described by Williams as "an exceptionally clever child" who demonstrated a lack of emotion characteristic of his family. Decimus left Tonbridge School in 1816 and entered directly the Royal Academy Schools, in 1817. His contemporaries at the Royal Academy included Sidney Smirke, with whom he would restore Temple Church, London between 1841 and 1843, and William Tite. As a consequence of his father's social position, <mask> was able to enter the Schools at an unprecedentedly young age,

masks:
Burton
James Burton
James Burton
Burton
Burton


texts:
 without having been previously articled to an architect.There he was taught by Sir John Soane, for whom his brother, James, had also worked. Soane was an advocate of the Neo-Palladian style, but had repudiated, including to his students, Robert Smirke's new Opera House, which had not been built in proportion: Soane used special diagrams to demonstrate to his students, including <mask>, the failings of Smirke's design, as a consequence of which he was ostracized within the Royal Academy and compelled to suspend his lectures. Soane commended, in contradistinction, in 1815, as an archetype of neoclassical excellence, Robert Adam's [Kedleston Hall]: "In this superb structure he [Adam] has united... the taste and magnificence of a Roman villa with all the comforts and conveniences of an English Nobleman's residence". Tuition by John Nash
Whereas <mask>'s father <mask> was vigorously industrious, and had become 'most gratifyingly rich', John Nash's early years in private practice, and his first speculative developments, which failed either to sell or let, were unsuccessful, and his consequent financial shortage was exacerbated by the 'crazily extravagant' wife whom he had married before he had completed his training, until he was declared bankrupt in 1783. To resolve his financial shortage, Nash cultivated the acquaintance of <mask>, who consented to patronize him. <mask> was responsible for the social and financial patronage of the majority of Nash's London designs, in addition to for their construction, and <mask> became acquainted with Nash through his father. Architectural scholar Guy Williams has written,

masks:
Burton
Decimus
James Burton
James Burton
James Burton
Decimus


texts: 'John Nash relied on <mask> for moral and financial support in his great enterprises.Decimus had showed precocious talent as a draughtsman and as an exponent of the classical style... John Nash needed the son's aid, as well as the father's'. Subsequent to the Crown Estate's refusal to finance them, <mask> agreed to personally finance the construction projects of John Nash at Regent's Park, which he had already been commissioned to construct. In return, Nash agreed to promote the career of <mask> <mask>. Nash was a vehement advocate of the neoclassical revival endorsed by Soane, although he had lost interest in the plain stone edifices typical of the Georgian style, and instead advocated the use of stucco. <mask> <mask> entered the office of Nash in 1815, where he worked alongside Augustus Charles Pugin, who detested the neoclassical style. Decimus established his own architectural practice in 1821. In 1821, Nash invited Decimus to design Cornwall Terrace in Regent's Park, and Decimus was also invited by George Bellas Greenough, a close friend of the Prince Regent, Humphry Davy, and Nash, to design Grove House in Regent's Park.Greenough's invitation to <mask> <mask> was 'virtually a family affair', for Greenhough had dined frequently with Decimus's parents and Decimus's brothers, including the physician <mask>. Greenough and Decimus finalized their designs during numerous meetings at the opera. Decimus's design, when the villa had been completed, was described in The Proceedings of the Royal Society as, 'One of the most elegant and successful adaptations of the Grecian style to purposes of modern domestic

masks:
James Burton
James Burton
Decimus
Burton
Decimus
Burton
Decimus
Burton
Henry Burton


texts:
 architecture to be found in this or any country'. Subsequently, Nash invited <mask> to design Clarence Terrace, Regent's Park. Nash was appointed architectural 'overseer' for Decimus's Regent's Park projects: Cornwall Terrace, York Terrace, Chester Terrace, Clarence Terrace, the villas along the Inner Circle, including The Holme and the London Colosseum attraction, to Thomas Hornor's specifications. However, to Nash's great annoyance, Decimus disregarded the latter's advice and developed the terraces according to his own style. As a result, Nash sought, unsuccessfully, to demolish and completely rebuild Chester Terrace.Decimus subsequently eclipsed his master and emerged as the dominant force in the design of Carlton House Terrace, where he exclusively designed No. 3 and No.4. Decimus also designed some of the villas of the Inner Circle: his villa for the Marquess of Hertford has been described as, 'decorated simplicity, such as the hand of taste, aided by the purse of wealth can alone execute'. Other influences

Decimus was a polymath and a philomath and extremely erudite in both arts and sciences, as was demonstrated by the diversity of his library – a part of which was auctioned off by his nieces after his death. The sale catalogue listed 347 separate lots, some of which ran into many volumes. The collection bore witness to the range of his intellectual interests. It contained the Proceedings of the Camden Society complete in 135 volumes and transactions of many of the learned societies of which <mask> was a member, as well as a complete set of the Histoire Naturelle (70 vols.)of G. L. L. Buffon and

masks: Burton Burton


texts: Bernard Germain de Lacépède. The architectural texts comprised mostly standard works on classical architecture, such as the five volumes of Colen Campbell, Vitruvius Britannicus by John Woolfe and James Gandon, James Gibbs's Book of Architecture, and William Kent's The Designs of Inigo Jones. Alongside these, there were numerous topographical views and surveys of cities and counties in the collection. There were also some foreign-language texts, including volumes by Charles Percier and Jean-Baptiste Rondelet, a complete set of Giovanni Battista Piranesi's works, and several dictionaries. The absence of an educative Grand Tour early in his career meant that his books and casts were the sources for his early designs, which are technically formal and academic in style. However, later on he did travel extensively in Europe and North America. His first tours were of France and Spain, in 1826.He toured the Netherlands in 1846 and Germany in 1850. He toured Italy, including Venice. He toured Canada and the United States, after departing Liverpool for Halifax, Nova Scotia, with his cousin Thomas Chandler Haliburton, a Tory MP and author. <mask> collected an extensive collection of casts, which informed his work, over 200 of which he donated to the Victoria and Albert Museum, which displayed 18 of the same in its British Galleries. Amongst <mask>'s possession on his death were an oil painting of St. John, copied by Sir Joshua Reynolds from a work by Raphael; a model of the Temple on the Ilissus at Athens; a statuette of an Angel copied from an original by Thorwaldsen; framed drawings of 'A Royal Palace' by Joseph


texts:
 Gandy ARA (b. 1771), who had been described as 'an English Piranesi'; and a bronze lamp suspended from a snake's mouth. Although he was the leading exponent of Greek revival architecture, <mask> was uniquely and significantly influenced by Ancient Roman architecture.It was in his Georgian neoclassical work that he attained the acme of his excellence. Dana Arnold (2002) described his Neoclassical work thus:

"His use of the orders is always correct, but he showed a lack of pedantry in their application that sets him apart from some of his more doctrinaire contemporaries, such as Hamilton and Smirke. From Nash he had learned to combine the classical and the picturesque, and it is the picturesque that is predominant in much of his later work". In his later career, Decimus designed buildings in the Gothic revival style, the old English style and in the cottage orné style. His Gothic revival designs are unoriginal as he had little sympathy for the style. Life

<mask> has been described, by architectural scholar Guy Williams, as "rich, cool, well-dressed, apparently celibate, the designer and prime member of the Athenaeum, one of London's grandest gentlemens' clubs" where <mask> "mixed with many of the greatest in the land, meeting the most creative as well as those with enormous hereditary wealth". By 1826, the name of <mask> <mask> "was on the lips of everyone who cared at all about the arts and architecture": he was "very well liked [and] his modesty, politeness, and upright bearing were endearing" and "his integrity and professional competence were worthy of the greatest respect".<mask> was treated by the

masks: Burton Burton Burton Decimus Burton Burton


texts: aristocracy 'more as a friend than as a professional advisor' and his close friendships with, and patronage by, the aristocracy were undamaged by the vituperation of both his person and his neoclassical architecture by Augustus Pugin and his disciples. The Proceedings of the Royal Society commended <mask>'s "extreme amiability of character". The <mask>s' social circle included Princess Victoria; the Duchess of Kent; William Cavendish, 6th Duke of Devonshire; John Wilson Croker; John Nash; Sir Humphry Davy; George Bellas Greenough; Sir Peter Hesketh-Fleetwood; and their Canadian cousin, Thomas Chandler Haliburton. Decimus and his siblings, Jane, James (born 1786), Septimus, the solicitor, Octavia, and Jessy, would host Thomas on his visits to London. <mask> was "on excellent terms" with Princess Victoria, and with the Duchess of Kent. The Princess and the Duchess, with several courtiers, had laid the foundation stone of a Decimus <mask> School in Tunbridge Wells, and, five weeks later, in autumn 1834, they had stayed, by <mask>'s invitation, at <mask>'s private villa at St Leonards-on-Sea, until several weeks into 1835. From 1818, <mask> resided, with his father, at The Holme, Regent's Park, which has been described as "one of the most desirable private homes in London", which was designed as the <mask> family mansion by Decimus, and built by <mask>'s own company.The Holme was the second villa to be built in Regent's Park, and the first of those to be designed or constructed by the <mask> family. The hallmark of the <mask> design is the large semi-circular bay that divided the principal elevation, and

masks:
Burton
Burton
Burton
Burton
Burton
James Burton
Burton
Burton
James Burton
Burton
Burton


texts: which extended for two storeys. The original villa also had a conservatory of polygonal form, which used wrought iron glazing bars, then only recently patented, instead of the then customary wooden bars. The first villa to be constructed in the park was St. John's Lodge by John Raffield. <mask> bought from the Crown a plot at Spring Gardens, St. James's Park, at the east end of The Mall, where he constructed, in the Georgian neoclassical townhouse style, No. 10, 12, and 14 Spring Gardens, as both his townhouse and his principal office. The buildings no longer exist, but elevations of them appear in the former LCC's Survey of London Vol.XX, and views of their interiors have been preserved in Hastings Museum. At the end of 1834, <mask> had two "comfortable well-staffed homes", one in Spring Gardens and one at Tunbridge Wells, where he had another office at No. 10 Calverley Parade, where the Tunbridge Wells Town Hall now stands. Williams records that, for <mask>, "Money was rolling in. Income tax was of no concern. [<mask>] had a brother who could look after his business affairs and see to his investments". <mask> retired in 1869, and subsequently resided at his homes at Gloucester Gardens, Kensington, and St. Leonards Lodge, St. Leonards-on-Sea, which adjoined 'The Uplands' and 'The Lawn' developments which he had designed.He never married nor had issue. He died in December 1881, at 1 Gloucester Road, Kensington, and was buried in Kensal Green Cemetery, alongside his brother <mask>, and his sister Jessy <mask>. Decimus was the last of his siblings to die. Over his grave is a tapering sarcophagus of grey

masks:
Burton
Burton
Burton
Decimus
Burton
Henry Burton
Burton


texts:
 Cornish granite, on a stepped base, with a shallow pyramidal cover. His tomb was Grade II listed building in 2001. On his death, his property, including his extensive library and all of his architectural drafts and notes passed to surviving members of his family, mostly to his nephew Alfred Henry <mask> (d.1917) or his two unmarried nieces, Helen and Emily Jane Wood, who subsequently sold their share, despite that he had left his library to the Royal Institute of British Architects, of which he had served as president. However, <mask> donated 200 of his extensive collection of casts, which informed his work, to the Victoria and Albert Museum, which displayed 18 of the same in its British Galleries.Amongst <mask>'s possession on his death were an oil painting of St. John, copied by Sir Joshua Reynolds from a work by Raphael; a model of the Temple on the Ilissus at Athens; a statuette of an Angel copied from an original by Thorwaldsen; framed drawings of 'A Royal Palace' by Joseph Gandy ARA (b. 1771), who had been described as 'an English Piranesi'; and a bronze lamp suspended from a snake's mouth. An obituary notice said "No architect was better known, and none was better respected, for he was amiable, considerable, and gentle to all". Career

Central London Parks
During the second half of the 1820s, the Commissioners of Woods and Forests and the King resolved that Hyde Park, and the area around it, must be renovated to the extent of the splendor of rival European capital cities, and that the essence of the new arrangement would be a triumphal approach to Buckingham Palace, which had been recently

masks: Burton Burton Burton


texts: completed. The committee of the project, led by the Prime Minister, Lord Liverpool, and advised by Charles Arbuthnot, President of the Board of Commissioners of Woods and Forests, selected <mask> <mask> as the project's architect: in 1828, when giving evidence to a Parliamentary select committee on the Government's spending on public works, Arbuthnot explained that he had nominated <mask> 'having seen in the Regent's Park, and elsewhere, works which pleased my eye, from their architectural beauty and correctness'. <mask> intended to create an urban space dedicated to the celebration of the House of Hanover, national pride, and the nation's heroes. The renovation of Hyde Park, Green Park, and St James's Park, began, in 1825, with the demarcation of new drives and pathways, subsequent to which <mask> designed new lodges and gates, viz.Cumberland Gate, Stanhope Gate, Grosvenor Gate, the Hyde Park Gate/Screen at Hyde Park Corner, and, later, the Prince of Wales's Gate, Knightsbridge, in the classical style. There were no authoritative precedents for such buildings, which required windows and chimney stacks, in the classical style, and, in the words of Guy Williams, '<mask>'s reticent treatment of the supernumerary features' and of the cast iron gates and railings, was 'greatly admired'. At Hyde Park Corner, the King required that 'some great ceremonial outwork that would be worthy of the new palace that lay to its rear', and accepted <mask>'s consequent proposal for a sequence comprising a gateway and a classical screen, and a triumphal arch, which would enable those approaching Buckingham Palace from the

masks: Decimus Burton Burton Burton Burton Burton Burton


texts:
 north to ride or drive first through the screen and then through the arch, before turning left to descend Constitution Hill and enter the forecourt of Buckingham Palace through Nash's Marble Arch. The screen became the Roman revival Hyde Park Gate/Screen at Hyde Park Corner, which delighted the King and his Committee, and which architectural historian Guy Williams describes as 'one of the most pleasing architectural works that have survived from the neo-classical age'. The triumphal arch became the Wellington Arch at Constitution Hill into Green Park, London, which has been described as 'one of London's best loved landmarks'. <mask> designed the arch's iron gates, which were constructed by Bramah and Co. of Pimlico. Burton's original design for the triumphal arch, which was modelled on the Arch of Titus at Rome, on which the central and side blocks of the Screen had been modelled, was more technically perfect, and coherent with the Screen, than that of the arch that was subsequently built: this original design, however, was rejected by the committee – who had envisaged a design based on the Arch of Constantine (on which Nash's Marble Arch had been modelled) – because it was not sufficiently ostentatious.<mask> created a new design, 'to pander to the majestic ego', which was much larger and modelled on a fragment found in the Ancient Roman forum, which was accepted on 14 January 1826, and subsequently built as the present Wellington Arch. Sculpture of the Triumphal Arch
The arch at Constitution Hill was left devoid of decorative sculpture as a result of the moratorium in 1828 on public building work, and,


texts: instead, despite the absolute objection of <mask>, was mounted with an ungainly equestrian statue of the Duke of Wellington by Matthew Cotes Wyatt, the son of the then recently deceased James Wyatt, who had been selected by statue's commissioner, and one of its few subsequent advocates, Sir Frederick Trench. Matthew Cotes Wyatt was not competent: Guy Williams contends that he was 'not noticeably talented', and the Dictionary of National Biography that 'thanks to royal and other influential patronage, Wyatt enjoyed a reputation and practice to which his mediocre abilities hardly entitled him'. Trench, and his patrons the Duke and Duchess of Rutland, had told the public subscribers to the statue that the statue would be place on top of <mask>'s triumphal arch at Hyde Park Corner: <mask> expressed his opposition to this proposal 'as plainly and as vehemently as his nature allowed' consistently over successive years, because the ungainly statue would 'disfigure' his arch, for which it was much too large, and the surrounding neighbourhood, because it would have to be placed, contrary to all classical precedent, across, instead of parallel with, the roadway under the arch. <mask> had envisaged that his arch would be topped with only a small quadriga whose horses would have been parallel with the road under the arch. <mask>'s objections were extensively endorsed by most of the aristocratic residents of London. A writer in The Builder asked Lord Canning, the First Commissioner for Woods and Forests, to ban the project: "We have learnt, and can state positively, that Mr. <mask> has the strongest objection

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texts: possible against placing the group in question on the archway... and that he is taking no part whatever in the alteration proposed to be made in the upper part of the structure to prepare it to receive the pedestal... Mr. <mask>, through the mildness which characterizes him, has not expressed this opinion so loudly and so publicly as he ought to have done.... an opinion prevails very generally, that he is a party to the proceedings, and this has induced many to be silent who would otherwise have spoken...".The Prime Minister, Sir Robert Peel, contended that another site would be preferable, and proposed, on behalf of the Crown, to offer any other site, but the statue's subscribers rejected all alternative proposals. Every single MP except Sir Frederick Trench wanted the statue to be placed elsewhere. Canning wrote that 'the remonstrances which reach Her Majesty's Government against the proposed appropriation of the arch are so many and so strong, the representations of its architect, Mr. <mask>, in the same sense, are so earnest, and the opinion of every other eminent architect, artist, or other competent authority who has been consulted on the subject is so decided [against the placing of the Wellington statue on the arch]". <mask> <mask> himself wrote, "The arch would, I consider, suffer greatly in importance if the colossal statue in question be placed there, because it would become a mere pedestal. The want of proportion in the proposed surmount, compared with the columns and other details of the architecture, would show that they had been designed by different hands, and without reference for each

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texts: other. ...I have desired to witness the completion of this building, as originally designed by me, and as approved by the Lords of the Treasury, yet I would prefer that the building should remain for the present in its forlorn and bare state, rather than a colossal equestrian statue should be placed upon it... I fear that if this appropriation of the building should be decided upon, a proposition would soon be made for removing altogether the facades of columns, the slender proportions of which would appear so incongruous and out of proportion compared with the prodigious dimensions of the statue".<mask> had realized that the disciples of Pugin and advocates of Pugin's anti-classicism would remove all classical elements from his arch if permitted the opportunity to do so. The Government placed the Wellington statue on the arch in autumn 1846: Williams contends that the product was 'ridiculous'. The Builder contended, down, unquestionably, it must come. As the network of timber is removed, spar by spar, from before it, so do the folly of the experiment, the absurdity of the conjunction, and the greatness of the sacrifice become apparent. Its effect is even worse than we anticipated – the destruction of the arch by the statue, and of the statue by its elevation on the arch, more complete. Every post brings us letters urging renewed efforts to remove te figure to another site. The contestation about the prospective removal of the statue became national.However, the Government failed to remove the statue, despite that they had professed, when it had been placed, that they would do so if it provoked the


texts: aversion which it had provoked. Foreign intellectuals who visited London identified the incongruous fusion of the statue and the arch as 'spectacular confirmation' of the 'artistic ignorance of the English'. Architectural historian Guy Williams writes that "[the] arch at Hyde Park Corner is a visible reminder of one of the fiercest attacks that have ever been launched in the worlds of art and architecture. The face of London might have been very different now – freer, perhaps, of the 'monstrous carbuncles' so disliked by the present Prince of Wales – if the attacked party [<mask> <mask>] had been a little more pugnacious, and so better equipped to stand his ground". In 1847 the problem of accommodating Queen Victoria's expanding family was becoming acute. It was "solved" in two steps by <mask> <mask> and W.A. Nesfield.With his eye for landscape, <mask> had John Nash's triumphal monument, originally intended as the entrance to the palace, relocated to the north eastern corner of Hyde Park. He consulted on filling in the Buckingham Palace forecourt, creating new interiors and the palace Facade we know today. The Royal Family were able to move in to more spacious premises. Moving the arch, stone by stone, was left to the engineering skills of Thomas Cubitt and took four years. The siting at the Cumberland Gate entrance to the park was eventually completed in 1851. During 1882, traffic congestion at Hyde Park Corner motivated advocacy for <mask>'s triumphal arch to be moved to the top of Constitution Hill to create space for traffic. In response to this advocacy, <mask>'s great-nephew Francis Fearon compiled

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 and published a pamphlet that advocated the removal of the Wellington statue from the arch in the event of the removal of the arch to another location: Fearon contended that the arch should be 'relieved once and for all of its unsightly load'.The campaign led by Fearon was successful: Wyatt's incongruous statue was removed to Aldershot, and its place on <mask>'s arch, which was moved to Constitution Hill in 1883, was occupied by a Quadriga by Captain Adrian Jones. Jones' statue is not nearly as elegant as <mask>'s designed statue intended for the arch, but it is more coherent with the arch than Wyatt's statue, and its figures, unlike those of Wyatt's statue, are aligned with the roadway under the arch. London Zoo
By the end of 1829, Burton had completed London Zoo, which had opened in April 1828, to fervent commendation. Guy Williams records, "From all sides, Decimus <mask>'s Zoo buildings received the highest praise. They were playful - witty, even - while being architecturally beyond reproach. They made a visit to the Zoo an aesthetic, as well as an educational, pleasure. They brought a suggestion of foreign lands to the flattish expanses at the foot of Primrose Hill".<mask> laid out the Zoo in the picturesque style, and designed the early animal houses in the cottage orné style. As a consequence of the success of his London Zoo designs, <mask> received more commissions than he were able to complete himself, and, consequently, employed assistants, began to train pupils, and bought a plot at Spring Gardens, St. James's Park, at the east end of The Mall, where he constructed No. 10, 11, and 12 Spring

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 Gardens as both his townhouse and his own office. Architecture as environment
<mask> was one of the first architects to consider the implications of architecture on the creation of distinct urban environments. The evidence given by <mask> to two Parliamentary select committees demonstrates the breadth of his knowledge, and the esteem in which his opinion was held by his contemporaries. <mask>'s evidence to the 1840 Select Committee, which discussed plans to develop Trafalgar Square, popularised his views on urban development. This is one of the first examples of public discourse about an urban space that acknowledged the potential for its national and political significance.Athenaeum Club
The Athenaeum was founded in 1824 at the instigation of John Wilson Croker, then Secretary to the Admiralty, who was primarily responsible for the organisation and early development of the club. In 1823, Croker wrote to Sir Humphry Davy, "I will take the opportunity of repeating the proposition I have made to you about a Club for Literary and Scientific men and followers of the Fine Arts. The fashionable and Military Clubs... have spoiled all the Coffee Houses and Taverns so that the artist, or mere literary man... are in a much worse position". Croker suggested 30 names for the club's organizing Committee, including the Earl of Aberdeen, the Earl of Ashburnham, Earl Spencer, Lord Palmerston, Sir Thomas Lawrence, Francis Chantrey, and Robert Smirke the Younger: all of those invited, except Richard Payne Knight, accepted. The first meeting of the Athenaeum, with 14 men present, was held at the rooms of the Royal Society


texts: on 16 February 1824, where a committee was formed that resolved: first, that temporary premises would be rented at 12 Waterloo Place, which had been constructed by the company of Club member <mask>, the pre-eminent London property developer; and, second, that <mask> <mask>, then 24 years old, would be commissioned to design a permanent clubhouse. The Trustees of the Club who employed <mask> were the Earl of Aberdeen, former Prime Minister and President of the Society of Antiquaries; Sir Thomas Lawrence, President of the Royal Academy; and Sir Humphry Davy, President of the Royal Society. Decimus continued to work for the club until 1864, and designed Croker's villa at Stokes Bay, near Gosport, in around 1840.<mask>'s Athenaeum clubhouse is in the Neoclassical style, with both Ancient Greek, Ancient Roman, and Renaissance Italian elements: it has a Doric portico with paired columns, and has been described by architectural scholar Guy Williams as 'a building of remarkable grace and astonishing novelty' with a central staircase that is 'distinctly Egyptian in flavour'. The Corinthian-columns of the entrance hall, informed by those of the Athenian Tower of the Winds, are Greek: the barrel-vaulted ceiling Roman. John Summerson contends design were informed by that of Peruzzi's 17th century Palazzo Pietro Massimi in Rome. <mask> made himself responsible for the design of as many of the decorative features of the club as possible, including the clock-cases and the pendant light-fittings. When the Clubhouse was completed in April 1830, the members of the Club Committee stated, "[They] are bound to express their

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 entire satisfaction at the manner in which the work has been carried out by Mr. <mask>. They can testify, and indeed the foregoing Accounts evince, the general accuracy of his estimates and they trust that the Club at large, as well as the public, must be satisfied of his professional skill, and the beauty of his architectural designs". <mask> <mask> subsequently became the "prime member of the Athenaeum, one of London's grandest gentlemen's clubs", of which his father James was also a member.The cast of the Apollo Belvedere positioned in the recess at the top of the principal staircase at the Athenaeum was a gift to the club from Decimus. There is a photographic portrait of Decimus, taken in 1873, preserved at the club, and the Club retains some furniture designed by Decimus. Another early member was Sir Peter Hesketh-Fleetwood, a close friend of the <mask>s. Calverley Estate
Burton was commissioned to develop the Calverley Estate by John Ward, an MP for whom he had designed his first neoclassical country residence. Great Mount Pleasant, a mansion owned by the Duke of Leeds, had been used by the Princess Victoria and the Duchess of Kent. The villas constructed by <mask> on the Calverley Estate were intended for the gentry, and each would be able to accommodate several servants. <mask>'s design is predominantly Georgian neoclassical in style, but includes elements of the Italianate-, Old English or Tudor-, neogothic-, and cottage orne styles.<mask> designed 24 villas, the first of which was completed in autumn 1828: nearly twenty years would pass until the last villa of the series were complete. <mask>

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texts: also constructed a series of Tudor-style servants' cottages, and three grand entrances to the estate: the Victoria Gate, and the less ornate Keston Lodge and Farnborough Lodge. In 1832, Calverley Park Crescent, designed by <mask>, modelled partially on those at Bath and Buxton, was constructed at Calverley. The Crescent contained 17 shops, and covered areas for spectators. <mask>'s development of the Calverley Estate contained elements of the neoclassical-, the Old English-, and the neogothic styles, and was highly commended: it has been described as 'a landmark in English domestic architecture' and the 'prototype garden suburb'. M. Wilson contends that '<mask> <mask>'s laying out of the Calverley Estate is the best surviving embodiment of Early Victorian seriousness and refinement'. Christopher Hussey, of Country Life, commended <mask>'s 'restrained eclectism' in the Calverley developments.Williams contends that the Calverley Estate be 'one of the great architectural successes of the nineteenth century' and that '<mask> <mask>'s reputation could be assured by his work here alone', and describes <mask>'s villas at the estate as 'domestic masterpiece[s]'. Henry Russell Hitchcock described <mask>'s Calverley Estate as 'the finest extant example' of its kind. Sir John Soane's friend John Britton described <mask>'s Calverley as a 'beautiful pleasure garden'. Dr. Philip Whitbourn OBE FSA FRIBA contends that <mask> has been inaccurately 'sometimes stereotyped as [one] feeling no enthusiasm for the Gothic Revival' and that 'it is as a master not only of the neoclassical but also of the picturesque that <mask>

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 <mask> should be remembered'. William Willicombe's subsequent designs on the Calverley Estate, including Lansdowne Road and Calverley Park Gardens, were informed by <mask>, with whom he had worked on Burton's earlier parts of the town. Constructions in the neo-gothic style
<mask> was commissioned to design Holy Trinity Church at Tunbridge Wells in the neo-gothic style: he unwisely accepted the commission despite that he was 'neither by temperament nor training' qualified to design a work in this style, of which he knew little, and his design was censured, in addition to commended as a 'beautiful structure' and a 'handsome structure' which 'reflects great credit on the architect'. A more unanimously successful attempt to design in the neogothic style was St Mary's Church, Goring-by-Sea, which he redesigned, for the Tory MP David Lyon, between 1836 and 1838.Neoclassical Houses of Parliament and vituperation by Augustus W. N. Pugin
<mask> created a design for a new neoclassical Houses of Parliament. <mask> <mask> and his pupils commended the purchase of the Elgin Marbles for the nation, and the erection of a neoclassical gallery in which they could be displayed to the same, and subsequently contended that the destruction of the Houses of Parliament by the fire of 1834 were an opportunity for the creation of a splendid neoclassical replacement of the Houses of Parliament, in which the Elgin Marbles could be displayed: they expressed their aversion that the new seat of the British Empire would ‘be doomed to crouch and wither in the , vaultings, tracery, pointed roof, and flying buttresses of a Gothic

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texts: building…’: a building of a style that they contended to be improper ‘to the prevailing sentiment of an age so enlightened’. In contradistinction to the neo-gothic style, they commended those who had ‘built St. Paul's Cathedral, to the satisfaction of an applauding posterity, in the more beautiful and universal style of Roman architecture’. However, the Prime Minister, Sir Robert Peel, wanted, now that he were premier, to disassociate himself from the controversial John Wilson Croker, who was a founding member of the Athenaeum, close associate of the Burtons, an advocate of neoclassicism, and repudiator of the neo-gothic style: consequently, Peel appointed a committee chaired by Edward Cust, a detestor of the style of Nash and William Wilkins, which resolved that the new Houses of Parliament would have to be in either the ‘gothic’ or the ‘Elizabethan’ style. Augustus W. N. Pugin, the foremost expert on the Gothic, had to submit each of his designs through, and thus in the name of, other architects, Gillespie-Graham and Charles Barry, because he had recently openly and fervently converted to Roman Catholicism, as a consequence of which any design submitted in his own name would certainly have been automatically rejected; the design he submitted for improvements to Balliol College, Oxford, in 1843 were rejected for this reason. The design for Parliament that Pugin submitted through Barry won the competition. Subsequent to the announcement of the design ascribed to Barry, William Richard Hamilton, who had been secretary to Elgin during the acquisition and transportation of the Elgin Marbles, published a


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 pamphlet in which he censured the fact that ‘gothic barbarism’ had been preferred to the masterful designs of Ancient Greece and Rome: but the judgement was not altered, and was ratified by the Commons and the Lords.The commissioners subsequently appointed Pugin to assist in the construction of the interior of the new Palace, to the design of which Pugin himself had been the foremost determiner. The first stone of the new Pugin-Barry design was laid on 27 April 1840. Vituperation of <mask> by Pugin
During the competition for the design of the new Houses of Parliament, <mask>, "the land's leading classicist", was vituperated with continuous invective, which Guy Williams has described as an "anti-<mask> campaign", by the foremost advocate of the neo-gothic style, Augustus Pugin, who was made enviously reproachful that <mask> "had done much more that Pugin's father (Augustus Charles Pugin) to alter the appearance of London". Pugin attempted to popularize advocacy of the neo-gothic, and repudiation of the neoclassical, by composing and illustrating books that contended the supremacy of the former and the degeneracy of the latter, which were published from 1835. In 1845, Pugin, in his Contrasts: or a Parallel Between the Noble Edifices of the Fourteenth and Fifteenth Centuries and Similar Buildings of the Present Day, which the author had to publish himself as a consequence of the extent of the defamation of society architects therein, satirized John Nash as "Mr Wash, Plasterer, who jobs out Day Work on Moderate Terms", and <mask> as "Talent of No Consequence, Premium Required", and included satirical


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 sketches of Nash's Buckingham Palace and <mask>'s triumphal arch at Hyde Park. Consequently, the amount of commissions received by <mask> declined, although he retained a close friendship with the aristocrats amongst his patrons, who continued to commission him. Burton completed a new portico, hall, and staircase for the William Cavendish, 6th Duke of Devonshire's residence near Piccadilly; additions to 10 Belgrave Square for the 2nd Earl of Burlington (later the 7th Duke of Devonshire); the enlargement of Grimston Park, Yorkshire, for John Hobart Caradoc, 2nd Baron Howden and the Russian Princess Bagration; additions to Syon House for Lord Prudhoe (later the 4th Duke of Northumberland); and a new town, Fleetwood, in Lancashire, for Sir Peter Hesketh-Fleetwood.Glasshouses
Decimus was primarily responsible for the 'Great Stove' [conservatory] at Chatsworth for the 6th Duke of Devonshire, for which Joseph Paxton has been erroneously attributed primary responsibility and credit. Architectural historian Guy Williams is unequivocal: <mask> <mask> was '[the] designer of the Great Stove at Chatsworth'. <mask>, who was advisor to the Royal Botanical Society, also designed the 'Winter Garden' glasshouse of the Royal Botanic Society in Regent's Park, and the Palm House, originally named 'the Stove', and Temperate House at Kew Gardens. The constructed Palm House is the consequence of the collaboration of <mask> and Richard Turner: '<mask> <mask> contributed his considerable flair for creating refined and elegant structures and Richard Turner a singular talent for metal fabrication'. <mask>'s Palm House has been

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 described as 'one of the boldest pieces of 19th century functionalism in existence - much bolder indeed, and hence aesthetically much more satisfying than Crystal Palace ever was'. Dr. Philip Whitbourn OBE FSA FRIBA contends that Burton's Palm House 'could have a just claim as the world's most important surviving Victorian glass and iron structure'. Joseph Paxton's Crystal Palace was derived almost entirely from the glasshouse work of <mask> <mask> and Richard Turner.Subsequent to his retirement there, Decimus designed and constructed several buildings at St Leonards-on-Sea. <mask>'s Temperate House at Kew, which is double the size of his Palm House and the world's largest surviving Victorian glass structure, was only completed after his death, in 1898, and has become one of his most popularly acclaimed works: Williams writes of the Temperate House, "It makes one wonder how much the appearance of London might not have been improved if Augustus W. N. Pugin had never started his anti-<mask> campaign". <mask>'s other works at Kew include the Museum No.1, the Campanile, and the Main Entrance Gates to Kew Green. <mask>'s Glasshouses at Kew constituted the UK's case for Kew to be made an UNESCO World Heritage Site in 2002. Further studies and elections
From 1830 to 1834, <mask> studied at Clifford's Inn. The architectural historian, Sir Nikolaus Pevsner, believes that Decimus was the designer of the Gatehouse and the Inn buildings. In 1832 <mask> <mask> was elected a Fellow of the Royal Society.He became a Fellow of the Royal Society of Arts; a Fellow of the Society of Antiquaries of London; a founding Fellow,

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 and later vice-president, of the Royal Institute of British Architects; and was architect to the Royal Botanic Society from 1840. An 1828 testimonial for his election to Fellowship of the Society of Antiquaries described him as 'Architect and Gentleman, well versed in the History and Antiquaries of this Kingdom': he was elected FSA on 8 January 1829, during the tenure of W. R. Hamilton, Chief Commissioner of Woods and Forests, as vice-president. Decimus was an early member of the Athenaeum Club, London, whose mansion he designed and his father, <mask>, built. James was also an early member of the club. The cast of the Apollo Belvedere positioned in the recess at the top of the principal staircase at the Athenaeum was a gift to the club from <mask>. There is a photographic portrait of <mask> <mask>, taken in 1873, preserved at the club, which retains some furniture designed by him. <mask> had over 30 years of correspondence with John Wilson Croker, a co-founder of the club, and was a close friend of Sir Peter Hesketh-Fleetwood, who was another early member.Protégés
<mask> trained his nephew, Henry Marley <mask>RIBA (1821–1880) the son of his eldest brother, William Ford <mask>. Henry Marley <mask> succeeded to Decimus's architectural practice subsequent to Decimus's retirement. In 1866, Henry Marley was commissioned by John George Dodson, 1st Baron Monk Bretton to design a mansion at Coneyborough. Decimus had previously designed Bineham in Chailey for Dodson's brother-in-law, John George Blencowe. <mask> also taught the architects Henry Currey FRIBA, George Mair, John Crake, Arthur William Hakewill, and

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 Edward John May FRIBA, who was his last pupil. Legacy
Despite the fact that he had left his library to the Royal Institute of British Architects, of which he had served as president, most of it was deposited instead with his two unmarried nieces, Helen and Emily Jane Wood, who subsequently sold it, and the remainder was distributed among other family members. As a consequence, according to Dana Arnold, there is a gross imbalance between the ‘scale and significance’ of <mask> <mask>'s work and the amount of documentary evidence about it that has come into the public domain.Given the fragmentary nature of written sources concerning his work, he has tended to be relegated, quite undeservedly, 'to the margins of architectural histories’. However, <mask>'s works in London, especially those around Hyde Park, Green Park, Regent's Park, remains a lasting and resplendent memorial. His reputation has increased since the commencement of the 20th century, during which a Burtons' St Leonards Society has been founded in St Leonards-on-Sea to 'encourage the preservation of the work of James and <mask> <mask> and to prevent development unsympathetic to its character', which has successfully thwarted several attempts to create new developments that would have violated the beauty of the <mask>s' project. Architectural historian Guy Williams writes that "[the] arch at Hyde Park Corner is a visible reminder of one of the fiercest attacks [on <mask> <mask> and neoclassicism, by Augustus Pugin] that have ever been launched in the worlds of art and architecture. The face of London might have been very different now – freer,

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 perhaps, of the 'monstrous carbuncles' so disliked by the present Prince of Wales – if the attacked party [<mask> <mask>] had been a little more pugnacious, and so better equipped to stand his ground". The recently completed restoration (2018) of the Temperate House at London's Kew Gardens has prompted a re-evaluation of <mask>'s horticultural designs. Douglas Murphy contends that <mask>'s use of "Iron and glass, through shedding ornament and aiming for efficient performance over capricious pomp, was retroactively understood as the historic forerunner of Modernism, meaning that what had been thought of as mere engineering was allowed to enter the pantheon of true architecture.<mask>'s name was now fortunately attached to some of the most significant works of that type". <mask>'s legacy on either side of the Irish Sea endures. In April 2017 the Hearsum Collection, in collaboration with The Royal Parks and Ireland's Office of Public Works, mounted an exhibition at Dublin's Phoenix Park entitled Parks, Our Shared Heritage: The Phoenix Park, Dublin & The Royal Parks, London, demonstrating the historical links between Richmond Park (and other Royal Parks in London) and Phoenix Park. This exhibition was also displayed at the Mall Galleries in London in July and August 2017. List of architectural projects
The projects are listed by county in alphabetical order. The list is based on the work of , and on the Oxford Dictionary of National Biography entry for "<mask>, Decimus (1800–1881)", by Dana Arnold. Any other sources are specified individually.Buckinghamshire
 Stockgrove House, Buckinghamshire/Bedfordshire


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 border (1831) demolished circa 1928

Derbyshire
 The Great Conservatory and the Home Farm at Chatsworth (1836–1840: Conservatory demolished circa 1920))

Dorset
 Lower Pleasure Gardens, Bournemouth (1840s)
 St Mary's church, Bradford Peverell (1850)

East Sussex
 Oaklands Park, Sedlescombe Sedlescombe (1830)
 Adelaide Crescent, Hove, Brighton, (1831 – 1834, for Sir Isaac Goldsmith). The style that <mask> used here was the progenitor of that which Osbert Lancaster subsequently termed 'Kensington Italianate'. (Only numbers 1–10 were built in <mask>'s style: the remainder were completed from 1850 to a much grander design)
 Wick Hall, Hove (1840; demolished 1936)
 Furze Hill Villa, Brighton, (1833, for Sir Isaac Lyon Goldsmith)
 Holy Trinity Church, Eastbourne (1837-9, later extended)
 St. Augustine's Church, Flimwell (1839)
 Worth Park, Sussex, (additions, 1833, for Joseph Montefiore)

St Leonards-on-Sea
In 1828 <mask>'s father, James, bought an estate in East Sussex, on which he built the new town of St Leonard's-on-Sea, as a pleasure resort for the gentry. Decimus designed the majority of the buildings. Central London
 The Holme, Inner Circle, Regent's Park (1818). From 1818, <mask> resided, with his father, at The Holme, Regent's Park, which has been described as 'one of the most desirable private homes in London', which was designed as the <mask> family mansion by Decimus, and built by <mask>'s own company. The Holme was the second villa to be built in Regent's Park, and the first of those to be designed or constructed by the <mask> family.The hallmark of the <mask> design is the large semi-circular

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 bay that divided the principal elevation, and which extended for two storeys. The original villa also had a conservatory of polygonal form, which used wrought iron glazing bars, then only recently patented, instead of the then customary wooden bars. The first villa to be constructed in the park was St. John's Lodge by John Raffield. Clarence Terrace, Regent's Park (1823)
 The original Winfield House (1825) for the 3rd Marquess of Hertford, which became known as 'St. Dunstan's Villa'. <mask>'s creation was described as, 'decorated simplicity, such as the hand of taste, aided by the purse of wealth can alone execute'. <mask>'s creation was subsequently reconstructed as a building with a modern exterior.In 1819, <mask> had also designed for the same commissioner a South Villa, the designs of which were exhibited at Royal Academy in 1822 and in 1825, the manuscript drawings of which are now in the Library of the Architectural Association, London. Cornwall Terrace, Regent's Park, London (1821)
 Chester Terrace, Regent's Park
 York Terrace, Regent's Park
Hyde Park Screen (1824)
Hyde Park, London: Stanhope, Grosvenor, and Cumberland Gates and their lodges. More extensive plans for the Parks that were not realized included the dramatic circular Bayswater Gate and Lodge, and an entrance to Green Park from Piccadilly based on a Greek temple design. Parliamentary Mews, Prince's Street, Westminster (1825). Remodelled in 1853 and 1854, also by <mask> <mask>, after which they were named 'Stationery Office'. Spring Gardens, St. James's Park, No. 10, 12, and 14, all for his own townhouse and office (1827).Wellington

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 Arch, Hyde Park Corner, (1827)
Athenaeum Club, London Clubhouse (1827–1830)
Royal Naval Club, 160 Bond Street (1828)
3 Carlton House Terrace, for Lord de Clifford, (1828)
4 Carlton House Terrace, for Lord Stuart de Rothesay, (1828)
Royal Society of Literature, St. Martin's Place, (1830)
Charing Cross Hospital (1830)
Magazine of the Grenadier Guards, Hyde Park, (redesign)(1830)
Clifford's Inn (1830)
80 Pall Mall, (alterations), (1830)
6 Whitehall Gardens(1831)
Holland House, Kensington, (restoration, for 3rd Lord Holland), (1833)
House of Commons (not built, 1833)
10 Belgrave Square (improvements) (1839)
18 Hyde Park Gardens (1841)
Temple Church, London (restoration, with Sidney Smirke) (1841–1843)
Devonshire House, Piccadilly, (additions: portico, hall, staircase),(1843)
Lodge for the Prince of Wales's Gate, Hyde Park, (1846)
The Ferns, Victoria Road, Kensington, (1864), (improvements, for E. W. Cooke R. A. ), (1864)
 Grove House (subsequently called 'Nuffield Lodge') Regent's Park
 Holford House (1833),
 St. John's Lodge, (for John Mabberley MP) (let in 1829 to the Marquess of Wellesley, who employed <mask> to enlarge it. London Colosseum, Regent's Park, (1823–1827). It was informed by the design of the Roman Pantheon, but also by Grecian principles, and had a Doric portico. Its dome was larger than that of St. Paul's Cathedral. It was described as 'one of the finest and best proportioned of Greco-Doric in the Metropolis'.It was demolished in 1875. Zoological Society of London Gardens (1826–41)
 Botanical Society of London Gardens (1840–59). Parliamentary Stables, Westminster
 London Zoo, various


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 buildings (1826–28) and (1831–34); surviving buildings include the Giraffe House, the Camel House, the Raven Cage and the tunnel under the Outer Circle, connecting the two parts of the zoo. He also designed the llama building (1828) with a clock tower. The Geological Society's apartments at Somerset House (1828)
 The former United Service Club, Pall Mall, London alterations. The original Charing Cross Hospital, London, WC. (1831–39)
 The Oriental Club.The construction of additions to the club building that were designed by <mask> <mask>, in 1853, was superintended, when eventually commenced, in 1871, by his nephew, Henry Marley <mask>. Kew Gardens. Layout of the gardens and paths, the Palm House (1844–48) (at the time the largest greenhouse in the world), Main Gate (1846, renamed The Elizabeth Gate in 2012 to mark the Diamond Jubilee of Elizabeth II), the Water Lily House (1852), The Museum, (1857, extended 1881), The Temperate House, (1859–1863) (the flanking wings, also part of <mask>'s design, were not built until 1897–98)
 Beulah Spa, Upper Norwood, London SE (1831). <mask> landscaped the grounds and designed the buildings for the entrepreneur, John Davidson Smith. It became a popular society venue attracting large crowds to its fêtes''. <mask>'s buildings were in a " rustic"  style, with the ticket office in the form of a thatched cottage. The Spa closed in 1856 soon after the opening of the nearby Crystal Palace.<mask> also drew up designs for a grand crescent of terraced houses on hill above the spa, which was, however, never built. Holwood House, Keston (1823–1826) This has been described as


texts:
 'splendidly Grecian... the best thing of its kind in Kent'. House at Harrow School for Rev. J. W. Colenso (1838)
Headmaster's House, Harrow School, (1840, enlarged by <mask> in 1845 and 1846)
Lodges, Gates, at Chiswick House; additions to the Grove; additions to Sutton Court, Chiswick (1835, for 6th Duke of Devonshire)

Hampshire
 Bay House (originally Ashburton House), Gosport (1838)

Hertfordshire
 Haydon Hill House, Bushey (1840s; later extended – now a Grade II listed building and converted into flats)

Kent
Calverley Estate, Tunbridge Wells, (commenced 1828)
Holy Trinity Church, (1827–1829) Royal Tunbridge Wells
 Calverley Estate (Calverley House is now a hotel), Tunbridge Wells (1828)
 Calverley Park Crescent, Tunbridge Wells (c.1833)
 Burrswood Hospital, Tunbridge Wells (1830s)
 St. Peter's Church, Southborough, Kent (1830) altered in the 1880s
 Bentham Hill House, Southborough, Kent (1830–3) a small country house in Deveyesque style for Alexandre Pott, now converted into flats.It has been termed DB's most picturesque house. St. Mary's Church, Riverhead, Kent (1831)
 Culverden House, Tunbridge Wells, Kent (1830), demolished to make way for the Kent and Sussex Hospital. All that remains of the <mask> designed estate is the woodland part of the grounds
 East Cliffe House (additions), Ramsgate, Kent, for Sir Moses Montefiore

Lancashire
Burton's work with his father on the East Sussex town of St Leonards-on-Sea, between 1827 and 1837, had so impressed their friend, and fellow Atheneaum Club member, Peter Hesketh-Fleetwood that he commissioned Burton to design and lay out his new port and seaside

masks: Burton Burton


texts:
 resort of Fleetwood. The Beach Lighthouse, Fleetwood (1839–40)
 St Peter's Church, Fleetwood (1839–41)
 Pharos Lighthouse, Fleetwood (1840)
 North Euston Hotel, Fleetwood (1841–42)
 Queens Terrace GardensQueen's Terrace, Fleetwood
 Fleetwood, Town Hall
 The Customs House, now the Fleetwood Museum

Norfolk
 Sennowe Hall, near Guist, extended 1855–56, remodelled 1908 – very little of Burton's work survives.North Yorkshire
 Grimston Park, near Tadcaster (1839–40)

Nottinghamshire
 The Grammar School, Retford (1855–1857)

West Sussex
 St Mary's Church, Goring-by-Sea (1836–38). <mask> was commissioned by David Lyon to redesign the church. Republic of Ireland
<mask> spent two decades of his life modernising and landscaping the neglected site of Phoenix Park, Dublin. This included many works on the paths, relocation of monuments and construction of gates to an area previously dominated by military and police


texts:
<mask> is an Indian Kathak dancer. She belongs to the Lucknow Gharana. Early life and background
<mask> was born in a well established family of Lucknow. Her grandfather, <mask>, was a High Court Judge at The Lucknow bench. Her father, Prof. <mask>, was a Geologist and a Geophysics professor at the IIT Roorkee, and a respected Space Scientist who established the Remote Sensing Applications Centre at Lucknow and a visionary in the field of Science & Technology for Rural Development. Her mother <mask> is a strong, resilient, well read woman who instilled strong values in her children. Manjari spent her early formative years in Lucknow and it is this city that has impacted her work the most.She did her schooling from Carmel Convent and Hoerner School and her higher studies from Lucknow University. She did her Masters (M.Sc.) In Environmental Sciences from the Lucknow University. She trained in the professional category of Kathak Dance at the Kathak Kendra under the UP Sangeet Natak Academy . She trained initially in the Lucknow gharana of kathak under the guidance of Arjun Mishra. She also studied abhinaya under Kalanidhi Narayan at Protima Bedi’s Nrityagram. She closely studied Baba Bulleh Shah’s contribution to Punjabi Sufi traditions.Mawlana Rumi and Amir Khusro also influenced her. Career
Chaturvedi began her career as a Kathak dancer. She attempts at building an interface with diverse forms like the music of Rajasthan, Kashmir, Awadh, Punjab, Turkmenistan, Iran and Krygistan. She is particularly drawn to Sufi mysticism and has

masks:
Manjari Chaturvedi
Manjari Chaturvedi
Justice Hari Shankar Chaturvedi
Ravi Shankar Chaturvedi
Sudha Chaturvedi


texts:
 endeavoured to incorporate movements in her performances that are reminiscent of the meditative practices of the whirling dervishes. She has therefore, chosen to name her dance style as Sufi Kathak. [2]

She performed at the Taj Mahal and Sydney Opera House. [3] [4]

She did a Sufi music video directed by Vishal Bhardwaj and written by Gulzar called as Tere Ishq Mein.[5]

She has performed in more than 300 concerts in more than 22 countries across the world. In the last two decades, Manjari has performed concerts all over the world including Europe (France, Germany, Portugal, Italy, Austria, Switzerland, U.K. & Ireland), Armenia, Georgia, the Middle East (Dubai, Bahrain, Abu Dhabi, Qatar, Kuwait), South East Asia (Singapore, Malaysia, Sri Lanka) and Central Asia (Turkmenistan, Kyrgyzstan, Uzbekistan, Tajikistan) along with Australia and America. In the past decade <mask> <mask> has collaborated and performed with a wide range of international artists as Global Fusion with Tim Ries (Saxophone, Rolling Stones, USA) And Ustad Shujaat Hussain Khan (Sitar, India), Taufiq Quereshi (India), Kailash Kher (India), Kevin Hays (Piano, USA), Dhaffer Yoseuf (Oudh, Vocals, Tunisia), Rahim Al Hajj ( Oudh, Iraq), Patrick Possey (Saxophone, USA), Firas Shahrstan (Qanun, Syria), Micheal Glenn (Bass, USA). SHORT FILMS AND VIDEOS She did a Sufi music video directed by Vishal Bhardwaj and written by Gulzar called as Tere Ishq Mein. She has performed in ZARA THAHER JAAO: a Dance sequence on music by Ustad Amjad Ali Khan She has performed in

masks: Manjari Chaturvedi


texts:
 JASHN-E-AWADH: An audio visual for the Taj Group of Hotels She has performed in SOULFUL STRINGS OF SARANGI: A film by Pamela Rooks She has performed in HISTORICAL JOURNEY OF TAJ HOTELS, RESORTS & PALACES: A film directed by Zafar Hai She has performed in AMIR KHUSRAU: A film for National Television directed by Muzaffar Ali She has performed in RAQS-E-DIL: A film for National Television by Muzaffar Ali She has performed in RUMI IN THE LAND OF KHUSRAU: A film on the Sufi traditions across the world She has done dance direction and choreography in HUSN-E-JAANA a television serial by Muzaffar Ali She has performed in THE LEGACY OF AN ERA: A film on Lucknow by Mazhar Kamran. The Courtesan Project

A brilliant initiative by Manjari Chaturvedi that is dedicated to work towards removing social stigmas associated with Courtesan, the Tawaifs, and thereby giving them much deserved respect and place as artists par excellence. "The Lost Songs and Dance of Courtesans - Gender discrimination in Arts and How it Shapes the Art for Future" is a project that archives and documents the lives and stories of the incredible women performers.[8]

Manjari has undertaken an absolutely new work, it is a lot of research as it brings alive dance and stories of women who were stigmatised by the society for being performers both music and dance and in an unfortunate society ridden by gender discrimination were not even part of the documentation history of the performing arts. Hence it becomes imminent we tell their brilliant stories to the world and show


texts:
 their dance. In the wake of inadequate research and documentation, several myths and misconceptions shroud lives and history of courtesans. Today, it is not uncommon to have the words ‘courtesan’ and ‘prostitute’ being used inter-changeably. This is the greatest error that has been continually done. In an extremely unfair record of history based on gender inequality, the men pursuing these arts are revered as "Ustads" (Masters) while the women pursuing the same arts became "Nautch Girls" (Dancing Girls). The current generations of erstwhile male court dancers talk about family lineage with a sense of pride extolling the greatness of their forefathers as dancers in royal courts.At the same time, the generations of women court dancers live with a sense of shame never disclosing their lineage or any connection with erstwhile courts. Gender discrimination in the field of arts has never been addressed and today this sect of women are ostracised in the society and considered "lesser" than their contemporary men. Manjari says, "It is the need of the hour to question and challenge the "disregard" towards these women artists and their traditions. We must think about this as a collective society and a project like this helps to shape up the collective conscience of the society." See also
 List of Kathak dancers

References

Kathak exponents
Indian female classical dancers
Performers of Indian classical dance
1968 births
Living people
Dancers from Uttar Pradesh
Women artists from Uttar Pradesh
20th-century Indian dancers
20th-century


texts:
<mask> (October 11, 1936 – May 3, 2001) was an American jazz drummer. He played mainly free jazz and hard bop. Biography
<mask> was born in Los Angeles, California, United States. <mask> played on Ornette Coleman's first records, beginning in 1958. He then freelanced extensively with hard bop and other post-bop players, including Donald Byrd, Dexter Gordon, Grant Green, Herbie Hancock, Joe Henderson, Don Cherry, Paul Horn, Milt Jackson, Jackie McLean, Pat Metheny, Hank Mobley, Thelonious Monk, Lee Morgan, David Murray, Art Pepper, Sonny Rollins, Mal Waldron, and Cedar Walton. He was one of the house drummers for Blue Note Records and played on dozens of Blue Note albums of the 1960s. He also collaborated with composer La Monte Young and guitarist Sandy Bull.In his career, he played on over 700 recordings, including recordings of rock and funk. He appeared as a jazz drummer in the 2001 movie, Southlander. In 1989, <mask> cofounded a cultural center, The World Stage, in Los Angeles to encourage and promote younger jazz musicians. The center provides workshops in performance and writing, as well as concerts and recordings. <mask> also taught in the jazz studies program at the University of California, Los Angeles. He was divorced from wife Mauricina Altier <mask> and had three sons, William, Joseph, and David, as well as a stepson Jody. His youngest son Benjamin resides in Los Angeles.He also had two daughters, Rickie Wade and Heidi. <mask> died of kidney and liver failure on May 3, 2001 at a hospital in Inglewood, California. Discography

As leader
 1979: Soweto (Red)
 1979: The

masks:
Billy Higgins
Higgins
Higgins
Higgins
Higgins
Higgins
Billy Higgins


texts:
 Soldier (Timeless, [1981])
 1980 Once More (Red)
 1984: Mr. <mask> (Evidence)
 1980-86: Bridgework (Contemporary)
 1994: ¾ for Peace (Red)
 1997: <mask> Quintet (Evidence)
 2001: The Best of Summer Nights at Moca (Exodus)

As a sideman
With Gene Ammons and Sonny Stitt
 God Bless Jug and Sonny (Prestige, 1973 [2001])
 Left Bank Encores (Prestige, 1973 [2001])
With Chris Anderson
Blues One (DIW, 1991)
With Gary Bartz
 Libra (Milestone, 1968)
With Paul Bley
 Live at the Hilcrest Club 1958 (Inner City, 1958 [1976])
 Coleman Classics Volume 1 (Improvising Artists, 1958 [1977])
With Sandy Bull
 Fantasias for Guitar and Banjo (Vanguard, 1963)
 Inventions (Vanguard, 1965)
With Jaki Byard
 On the Spot! (Prestige, 1967)
With Donald Byrd
 Royal Flush (Blue Note, 1961)
 Free Form (Blue Note, 1962)
 Blackjack (Blue Note, 1967)
 Slow Drag (Blue Note, 1967)
With Joe Castro
 Groove Funk Soul (Atlantic, 1959)
With Don Cherry
 Brown Rice (EMI, 1975)
 Art Deco (A&M, 1988)
With Sonny Clark
 Leapin' and Lopin' (Blue Note, 1961)
With George Coleman
 Amsterdam After Dark (Timeless, 1979)
With Ornette Coleman
 Something Else!!!! (Contemporary, 1958)
 The Shape of Jazz to Come (Atlantic, 1959)
 Change of the Century (Atlantic, 1959)
 The Art of the Improvisers (Atlantic, 1959)
 To Whom Who Keeps a Record (Warner, 1959–60)
 Free Jazz: A Collective Improvisation (Atlantic, 1961)
 Twins (Atlantic, 1961)
 Science Fiction (Columbia, 1971)
 In All Languages (Caravan of Dreams, 1987)
With John Coltrane
 Like Sonny (Roulette, 1960)
With Junior Cook
Somethin's Cookin' (Muse, 1981)
With Bill Cosby
 Hello, Friend: To

masks:
Billy Higgins
Billy Higgins


texts:
 Ennis With Love (Verve, 1997)
With Stanley Cowell
 Regeneration (Strata East, 1976)
With Ray Drummond
 The Essence (DMP, 1985)
With Teddy Edwards
Teddy Edwards at Falcon's Lair (MetroJazz, 1958)
Sunset Eyes (Pacific Jazz, 1960)
 Teddy's Ready! (Contemporary, 1960)
 Nothin' But the Truth! (Prestige, 1968)
With Eddie Harris
 The In Sound (Atlantic, 1965)
 Mean Greens (Atlantic, 1966)
 The Tender Storm (Atlantic, 1966)
 Excursions (Atlantic, 1966–73)
 How Can You Live Like That?(Atlantic, 1976)
With Johnny Hartman
 Today (Perception, 1972)
With Jimmy Heath
 Love and Understanding (Muse, 1973)
 The Time and the Place (Landmark, 1974 [1994])
 Picture of Heath (Xanadu, 1975)
With Joe Henderson
 Mirror Mirror (MPS, 1980)
With Andrew Hill
 Dance with Death (Blue Note, 1968 – not released until 1980)
With Richard "Groove" Holmes
 Get Up & Get It! (Prestige, 1967)
With Paul Horn
 Something Blue (HiFi Jazz, 1960)
With Toninho Horta
 Once I Loved (Verve, 1992)
With Freddie Hubbard
 Bolivia (Music Master, 1991)
With Bobby Hutcherson
 Stick-Up (Blue Note, 1969)
 Solo / Quartet (Contemporary, 1982)
 Farewell Keystone (Theresa, 1982 [1988])
 Color Schemes (Landmark, 1985 [1986])
With J. J. Johnson
Pinnacles (Milestone, 1980)
With Hank Jones and Dave Holland
 The Oracle (EmArcy, 1990)
With Sam Jones
 Seven Minds (East Wind Records, 1974)
 Cello Again (Xanadu, 1976)
 Something in Common (Muse, 1977)
With Clifford Jordan
 Soul Fountain (Vortex, 1966 [1970])
 Glass Bead Games (Strata-East, 1974)
 Night of the Mark VII (Muse, 1975)
 On Stage Vol. 1 (SteepleChase, 1975 [1977])
 On Stage Vol. 2


texts:
 (SteepleChase, 1975 [1978])
 On Stage Vol. 3 (SteepleChase, 1975 [1979])
 Firm Roots (Steeplechase, 1975)
 The Highest Mountain (Steeplechase, 1975)
With Fred Katz
 Fred Katz and his Jammers (Decca, 1959)
With Steve Lacy
 Evidence (New Jazz, 1962) with Don Cherry
With Charles Lloyd
 Acoustic Masters I (Atlantic, 1993)
 Voice in the Night (ECM, 1999)
 The Water Is Wide (ECM, 2000)
 Hyperion with Higgins (ECM, 2001, released posthumously)
 Which Way Is East (ECM, 2004, released posthumously)
With Pat Martino
 The Visit! (Cobblestone, 1972) also released as Footprints
With Jackie McLean
 A Fickle Sonance (Blue Note, 1961)
 Let Freedom Ring Blue Note, 1962)
 Vertigo (Blue Note, 1962-63)
 Action Action Action (Blue Note, 1964)
 Consequence (Blue Note, 1965 [2005])
 New and Old Gospel (Blue Note, 1967)
With Charles McPherson
 The Quintet/Live! (Prestige, 1966)
 Horizons (Prestige, 1968)
 Today's Man (Mainstream, 1973)
With Pat Metheny
 Rejoicing (ECM, 1983)
With Blue Mitchell
 Bring It Home to Me (Blue Note, 1966)
With Red Mitchell
 Presenting Red Mitchell (Contemporary, 1957)
With Hank Mobley
 The Turnaround (Blue Note, 1965)
 Dippin' (Blue Note, 1965)
 A Caddy for Daddy (Blue Note, 1965)
 A Slice of the Top (Blue Note, 1966 [1979])
 Hi Voltage (Blue Note, 1967)
 Third Season (Blue Note, 1967)
 Far Away Lands (Blue Note, 1967)
 Reach Out!(Blue Note, 1968)
 Breakthrough! (Muse, 1972) with Cedar Walton
 Straight No Filter (Blue Note, 1964-66 [1980])
With Thelonious Monk
 Thelonious Monk at the Blackhawk (Riverside, 1960)
With Buddy Montgomery
Ties of Love (Landmark, 1987)
With Tete


texts:
 Montoliu
Secret Love (Timeless, 1977)
Live at the Keystone Corner (Timeless, 1979 [1981])
With Frank Morgan
Easy Living (Contemporary, 1985)
Lament (Contemporary, 1986)
Bebop Lives! (Contemporary, 1987)
Love, Lost & Found (Telarc, 1995)
With Lee Morgan
 The Sidewinder (Blue Note, 1963)
 Search for the New Land (Blue Note, 1964)
 The Rumproller (Blue Note, 1965)
 The Gigolo (Blue Note, 1965)
 Cornbread (Blue Note, 1965)
 Infinity (Blue Note, 1965 [1980])
 Delightfulee (Blue Note, 1966)
 Charisma (Blue Note, 1966)
 The Rajah (Blue Note, 1966 [1984])
 Sonic Boom (Blue Note, 1967 [1979])
 The Sixth Sense (Blue Note, 1967–68)
 The Procrastinator (Blue Note, 1967 [1978])
 Taru (Blue Note, 1968 [1980])
 Caramba! (Milestone, 1967)
With Charles Tolliver
 The New Wave in Jazz (Impulse!, 1965)
With Stanley Turrentine
More Than a Mood (MusicMasters, 1992)
With Mal Waldron
 Up Popped the Devil (Enja, 1973)
 One Entrance, Many Exits (Palo Alto, 1982)
With Cedar Walton
 Cedar! (1962)
With David Williams
 Up Front (Timeless, 1987)
With Jack Wilson
 Easterly Winds (Blue Note, 1967)

References

External links
 [ Billy Higgins at Allmusic]
 Paean by Tony Gieske

American jazz drummers
Free jazz drummers
Hard bop drummers
African-American drummers
Jazz musicians from California
Musicians from Los Angeles
1936 births
2001 deaths
Grammy Award winners
Timeless Records artists
Red Records artists
Contemporary Records artists
Avant-garde jazz drummers
Deaths from hepatitis
20th-century American drummers
American male drummers
20th-century American male musicians
American male jazz musicians
20th-century


texts:
<mask>. (born September 21, 1990) is an American professional basketball player who last played for the Sydney Kings of the National Basketball League (NBL). He played college basketball for the North Carolina Tar Heels and the UCLA Bruins. He played briefly with the Sacramento Kings in the National Basketball Association (NBA) in 2015. In high school, <mask> won a silver medal for the United States national team at the FIBA Americas Under-18 Championship. He was named an All-American as a senior in 2009. He played in college for one season at North Carolina before transferring to UCLA. After going undrafted in the 2014 NBA draft, he played most of 2014–15 in the NBA Development League (now known as the NBA G League), but also had a brief stint in the NBA with Sacramento.He then played two seasons in Spain with Baloncesto Fuenlabrada before joining Osaka. High school career
Wear attended Mater Dei High School in Santa Ana, California where he was a two-time California Interscholastic Federation State champion in 2007 and 2008. As a junior, he averaged 18.9 points and 10.0 rebounds per game. As a senior, he averaged 16.4 points and 7.5 rebounds per game. Wear was selected as the 2009 county boys' basketball player of the year, a 2009 fourth-team Parade All-American, a repeat first team all-county member, first team All-Division I-AA member, first team all-league member, second team all-state in 2009, and an all-state sophomore in 2007. Considered a four-star recruit by Rivals.com, Wear was listed as the No. 16 power forward and the No.59 player in the nation in 2009. College career
<mask> and his twin brother, Travis, played for the defending national champion North

masks:
David Earl Wear Jr
Wear
Wear


texts:
 Carolina Tar Heels in their freshman year. <mask> contributed 2.9 points and 1.7 rebounds a game while averaging over 10 minutes per game. The Tar Heels missed the National Collegiate Athletic Association (NCAA) tournament, which upset their fans. Brother Travis said playing for North Carolina "wasn't what I thought it would be." The twin brothers transferred after the season in May 2010 to UCLA. They redshirted the following season due to NCAA transfer rules.UCLA won the Pac-12 Conference championship in 2012–13. However, UCLA coach Ben Howland was fired after the season, prompting <mask> and his brother to consider transferring. After meeting with incoming coach Steve Alford, the brothers were convinced they fit as starters in the new coach's system. On January 26, 2014, <mask> scored a career-high 18 points against California, eclipsing his previous high of 17 in 2011, also against Cal. At the team's annual banquet after the 2013–14 season, <mask> Pohlmeyer Memorial Trophy, for being the team's top defensive player. He graduated following the season. Professional career

D-League and NBA (2014–2016)
After going undrafted in the 2014 NBA draft, <mask> joined the Chicago Bulls for the 2014 NBA Summer League.On September 25, 2014, he signed with the Sacramento Kings. However, he was later waived by the Kings on October 19, 2014. On November 2, 2014, he was acquired by the Reno Bighorns as an affiliate player. <mask>'s shooting ability allowed him to thrive in Coach <mask> Jr.'s run-and-gun system, and he was invited to participate in the Three-Point Contest during the 2015 D-League All-Star Weekend. On March 23, 2015, <mask> signed a 10-day contract with the Sacramento

masks:
Wear
Wear
Wear
Wearv
Wear
Wear
David Arseneault
Wear


texts:
 Kings. He was not retained by the Kings following the expiration of his 10-day contract on April 2. In July 2015, <mask> joined the Detroit Pistons for the Orlando Summer League and the Sacramento Kings for the Las Vegas Summer League.Overseas (2016–present)
On August 10, 2015, Wear signed with Baloncesto Fuenlabrada of Spain for the 2015–16 season. On August 1, 2016, he re-signed with Baloncesto Fuenlabrada  for the 2016–17 season. In 2017–18, Wear moved to Japan to play with Osaka Evessa in the B.League and played with the Sydney Kings of the Australian National Basketball League in 2018–19. National team career
In July 2008, Wear won a silver medal playing for the USA Basketball Men's U18 National Team at the FIBA Americas U18 Championship in Formosa, Argentina. His father played college basketball at Fresno State and Cal State Fullerton and professionally overseas. His twin brother, Travis, also became a pro basketball player. Wear's wife Christina played basketball professionally overseas.References

External links

 UCLA Bruins bio

1990 births
Living people
American expatriate basketball people in Australia
American expatriate basketball people in Spain
American men's basketball players
Baloncesto Fuenlabrada players
Basketball players from Long Beach, California
Forwards (basketball)
Liga ACB players
McDonald's High School All-Americans
North Carolina Tar Heels men's basketball players
Osaka Evessa players
Parade High School All-Americans (boys' basketball)
Reno Bighorns players
Sacramento Kings players
Sydney Kings players
Twin people from the United States
Twin sportspeople
UCLA Bruins men's basketball players
Undrafted National Basketball Association


texts:
<mask> (November 13, 1875 – January 31, 1947) was an American catcher and manager in Major League Baseball for the Chicago Cubs (the Chicago Orphans until 1902), Boston Braves / Rustlers, and Cincinnati Reds. <mask> was the Cubs' starting catcher in the final game of the 1908 World Series, the last championship for the team for 108 years. Early years
<mask> was born and raised in Kansas City, Missouri, the son of John (a German-American baker) and <mask>. It was expected that he would work in the bakery business, as his brother Charles seems to have done, but <mask> fell in love with baseball. By the age of fifteen, he was playing amateur ball. He also had an interest in pool, and began playing competitively even as he pursued a baseball career ("Match Game of Pool", 1897, 3). In late January 1904, <mask> married Lillian May Gradwohl.While <mask> was not born Jewish, his wife was, and they were married by a Kansas City Rabbi Harry H. Mayer, of Temple B'nai Jehudah, a Reform congregation. In the major leagues
After playing amateur and semi-pro baseball, <mask> finally made his major league debut on September 11, 1900, playing for the Chicago Orphans of the National League. He got three hits, and made a positive impression both as a catcher and as a hitter. For what was left of the season, he caught fifteen games and had a batting average of .294  He also acquired the nickname "Noisy John", because he kept up a constant chatter on the field; some baseball historians have noted this was part of his skill in waging "psychological warfare" on his opponents. By all accounts he was an exceptional defensive catcher, praised for his skill in throwing out runners who were caught stealing. He was also a reliable hitter, and a pivotal member of the team that became known as the Chicago Cubs,

masks:
John Gransfield Kling
Kling
Kling
Caroline Kling
Johnny
Kling
Kling
Kling


texts:
 an integral part of the dynasty which included Hall of Fame infielders Joe Tinker, <mask> and Frank Chance. Between 1906 and 1910, the Cubs won four National League pennants and two World Series titles, and <mask> was said to be one of the reasons why.And unlike many ballplayers of his day, he didn't smoke, drink or chew tobacco. Staying in good shape as a result was said to contribute to his baseball success. Overall, he played in 1261 major league games, hit .272 with 20 home runs and 514 RBIs in his major league career. He had 1154 hits in 4246 at bats and scored 475 runs. In August 1902, he amassed a Major League Baseball record streak of 12 consecutive hits. Walt Dropo later tied the mark in 1952. He caught 115 shutouts during his career, ranking him 16th all-time among major league catchers.Pool vs. Baseball
While he loved baseball, <mask> never lost his devotion to the game of pool. In 1902, for example, one reporter called him the best pool player of any active baseball player. He often played for purses as high as $300, a sizable amount in that era. During this time, he also ran his own billiard room in his native Kansas City. During the early 1900s, his pool-playing career was regarded positively by sports reporters—in one article, he was praised as a baseball player who was not idle during the off-season; he was said to have "double[d] his diamond income" by being an accomplished pool player. His skill at pool also served him well when it came time to negotiate his baseball salary.Before the 1906 season he announced that he would not sign a new contract unless Chicago offered him a raise in pay, and if the raise was not forthcoming he would stay home and play pool. This angered his manager, Frank Chance, who snapped that everyone else but <mask> had come to terms with

masks:
Johnny Evers
Kling
Kling
Kling


texts:
 the club. He subsequently did decide to play, raise or not. He had another impressive season, catching 96 games and hitting over .300 for the record 116-36 pennant winners. Although he once again told Cubs' management he was considering giving up baseball for pool before the 1907 season, he once again returned to play for the Cubs, who won the World Series in both 1907 and 1908. Then, in early 1909, after several solid years with Chicago, he engaged in another dispute with the management over salary and this time decided to spend some time away from the club. During that time he continued to compete in pool, winning the world billiards championship, and played semi-pro baseball with a Kansas City team.He sat out the entire 1909 season, and in early October competed against Charles "Cowboy" Weston and won the world's championship of pool. When he decided to come back to baseball in early 1910 and asked to be reinstated, a debate ensued as to whether he should be permitted to return since he had not honored his contract during the 1909 season. National League President Thomas J. Lynch wanted him fined or possibly traded; in the end, he was fined $700 and allowed to return. His love for both pool and billiards led him to not only play competitively, but to organize a league which was called the National Amateur Three-Cushion League. It had teams from eight cities, Kansas City, Chicago and St. Louis among them. He told reporters that when his baseball career was over, he would devote himself to pool and billiards full-time. And despite his often-divided loyalties, baseball writers agreed that <mask> was among the best players of his era; in fact, his obituary described him as "one of the greatest catchers the Chicago Cubs ever had".Final years
After a decade of success with the Cubs,


texts: <mask> was traded to the lowly Boston Braves, where he spent the 1911 and 1912 seasons. At one point he even managed the Braves, but his managerial efforts were not successful and the team had a losing record  He was said to be unhappy with the way the Braves' owners made him run the team, and this led to his being traded in 1913. His final year in the majors was spent with the Cincinnati Reds. He devoted the rest of his life to several important pursuits. He owned the Dixon Hotel in Kansas City, where his billiard parlor gained national recognition. During his baseball career, he had begun mentoring his nephew, Bennie Allen, and as the years passed, Bennie went on to become a champion too. In 1933, he purchased the Kansas City Blues of the American Association and was able to generate more interest in the team and increase their attendance within a year of taking over.One of his innovations was to desegregate the ballpark, allowing both black and white fans to attend the games together. <mask> sold the Blues in 1937. Though never a major name among Hall of Fame rooters, <mask> garnered his share of support for Cooperstown. He received votes from the BBWAA in eight elections, earning as much as 10% of the vote (in 1937). In late January 1947, while returning from Miami to Kansas City, he suffered either a heart attack or a cerebral hemorrhage and died in the hospital at age 71. He was survived by his wife and two daughters. Was <mask> Jewish?Speculation about whether <mask> was Jewish has persisted over the years. One source says he used the name "Kline" early in his career, a surname that is sometimes (but not always) Jewish. And although he was married to a Jewish woman in a ceremony conducted by a Reform Jewish rabbi, there are questions that have never been fully resolved.

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texts:
 The major Jewish newspapers never questioned <mask>'s Jewishness: writers and reporters frequently referred to him as Jewish, in articles from the 1920s through the 1970s. The Boston Jewish Advocate was among those that asserted his real name was John Kline, and said he had even played baseball under that name; one writer said he was "the first of the Jewish [baseball] pioneers" (Harold U. Ribalow, "<mask> Kling Showed the Way", Jewish Advocate, 12 April 1951, p. 22). But even earlier, the story of <mask>'s Jewishness was given a vote of confidence by New York Giants owner-manager John McGraw, who knew <mask> and referred to him as a Jewish ballplayer in a 1923 article, "Jewish Baseball Players Wanted" (American Israelite, 9 August 1923, p. 6). Among contemporary authors who believe he was Jewish is Dr. Gil Bogen, who wrote a book about Kling's life.But some researchers dispute this, and years after his death, his widow Lillian, who was definitely Jewish, seemed to deny that her husband was ever Jewish. In a 1976 Esquire magazine article, sportswriter Harry Stein published an "All Time All-Star Argument Starter", consisting of five ethnic baseball teams. <mask> was the catcher on Stein's Jewish team. (A reader, however, wrote in and pointed out that <mask> was not Jewish but his wife was; and suggested Harry Danning instead.) See also

List of Major League Baseball player–managers

References

Bibliography
"Baseball as Business Training", Washington Post, January 22, 1911, p. M4. "Baseball Gossip", Washington Post, January 3, 1904, p. E12. "Baseball Notes", Washington Post, December 7, 1902, p. 36."Billiard League Organized by Kling", Atlanta Constitution, July 24, 1910, p. D6. "Birthday Greetings", Philadelphia Inquirer, November 13, 1912, p. 12. Bogen, Gil. <mask>:  A Baseball

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