texts:
 rarely."<mask> received the Prix de la Critique (1982), the Prix des Belles Lettres (1986), and in 1995 the Grand Prix Ramuz for the entirety of his work. On 17 February 1998, suffering from cancer, <mask> died, in the words of his wife, "in complete serenity." A few months earlier, he had written these words: "Henceforth it is in another elsewhere / that reveals not its name / in other whispers and other plains / that you must / lighter than thistle / disappear in silence / returning thus to the winds of the road" (Le dehors et le dedans, "Morte saison'"). Major voyages

Khyber Pass (1953–1954)
Without even waiting for the results of his exams (he would learn in Bombay that he had obtained his Licence in Letters and Law), he left Switzerland in June 1953 with his friend Thierry Vernet in a Fiat Topolino. First destination: Yugoslavia. The voyage lasted till December 1954. The voyage led the two men to Turkey, to Iran and to Pakistan, Thierry Vernet leaving his friend at the Khyber Pass.<mask> continued alone. <mask> recounted the journey in L'Usage du monde, published in English translation as "The Way of the World". The pilgrim finds the words to express himself, and his feet follow them faithfully: "A journey does not need reasons. Before long, it proves to be reason enough in itself. One thinks that one is going to make a journey, yet soon it is the journey that makes or unmakes you." The book was described as a voyage of self-discovery '"on the order of Robert M. Pirsig’s Zen and the Art of Motorcycle Maintenance". Sri Lanka/Ceylon (1955)
With intermittent company, Bouvier crossed Afghanistan, Pakistan and

masks:
Bouvier
Nicolas Bouvier
Bouvier
Bouvier


type: original

texts:
 India before reaching Ceylon.Here he lost his footing: the solitude and the heat floored him. It took him seven months to leave the island and almost thirty years to free himself of the weight of this adventure with the writing of Le Poisson-scorpion (published 1981, translated into English as The Scorpion-Fish). It ends on a quote from Louis-Ferdinand Céline: "The worst defeat of all is to forget and especially the thing that has defeated you." Japan (1955–1956)
After Ceylon, he left for another island: Japan. He found a country in the throes of change and he continued to visit Japan over the subsequent decades. These experiences led to Japon, which would become Chroniques Japonaises after a third sojourn in 1970 and a complete re-edition. It was published in English in 1992 as The Japanese Chronicles.In this book, he blended his personal experiences of Japan with Japanese history and rewrote a Japanese history from a Western perspectives. "Japan," he says, "is a lesson in economy. It is not considered good form to take up too much space." Ireland (1985)
Building on a report for a journal in the Aran Islands, <mask> wrote Journal d'Aran et d'autres lieux, a tale of travel that slips at times into the supernatural, the voyager suffering from typhoid. His appreciation of the air of the Irish islands is described as that which "dilates, tonifies, intoxicates, lightens, frees up animal spirits in the head who give themselves over to unknown but amusing games. It brings together the virtues of champagne, cocaine, caffeine, amorous rapture and the tourism office makes a big mistake in forgetting it in its


texts:
<mask>. (September 25, 1917 – September 9, 2003) was a Richmond department store owner, Chamber of Commerce executive, and politician. A member of the Byrd Organization, <mask> served briefly in both houses of the Virginia General Assembly: from 1953 to 1955 in the House of Delegates and from 1955 until 1959 in the Virginia Senate. Both occurred during the period of Massive Resistance to the United States Supreme Court's decision in Brown v. Board of Education. Early and family life

A Richmond native, and son of businessman <mask><mask> and his wife, the former <mask>, <mask> was educated at St. Christopher's School in Richmond, and had a sister who became Mrs. Charles M. Carr of Williamsburg. <mask> graduated from Princeton University in 1939 and was a member of Phi Beta Kappa. He then received a Master of Business Administration from the Harvard Business School. <mask> married Lucy Harvey (d. 2006) of Winnetka, Illinois, whom he met during his World War II naval service, and they had one daughter (Alice) who predeceased them, and three sons (William H., <mask>. and Charles).They divorced. <mask> later married Elaine Jantzen Willis, and she and her two daughters and three sons also survived him. Military career

During World War II, <mask> served in the United States Navy aboard three destroyers, last holding the position of First Lieutenant. Career

<mask> was the president and significant stockholder of Southern Department Stores (now defunct but then with 20 retail locations in Virginia and North Carolina, including in Williamsburg, Gloucester, Petersburg, Rappahannock and Kilmarnock). In 1951, the National Labor Relations Board ruled against the family's Richmond Dry Goods Co., which was the target of unionization efforts. In 1956, he spun that company off to Philip Whitlock Klaus, who had founded it with <mask>'s father. <mask> became president of the Richmond Better Business Bureau and of the Virginia Retail Merchants Association, vice president of the board of the National Retail Merchants Association and of the U.S. Chamber of Commerce's Southeastern

masks:
Eugene Beauharnais Sydnor Jr
Sydnor
Eugene B
. Sydnor
Sallie Belle Weller
Eugene
Sydnor
Eugene Sydnor
Eugene Jr
Sydnor
Sydnor
Sydnor
Sydnor
Sydnor


texts:
 Division.He was also a director of State-Planters Bank of Commerce and Trusts in Richmond and of the Richmond Dry Goods Co.

As Education Director for the U.S. Chamber of Commerce, <mask> gained nationwide recognition in connection with a 1971 memorandum from his neighbor, then Richmond attorney Lewis F. Powell Jr. concerning perceived attacks on the U.S. business system. His charitable activities included service as a trustee of the Richmond Area Community Chest and Virginia Museum of Fine Arts (to which he also donated several works), as well as vice president of the American Red Cross's Richmond chapter. Political career

<mask> served in the Virginia House of Delegates from 1953 until 1955, as one of the city's seven delegates. In that election, W. Moscoe Huntley, Fred G. Pollard, W. Griffith Purcell and J. Randolph Tucker Jr. were re-elected, but <mask>, George E. Allen Jr and Edward E. Lane replaced William H. Adams, Albert Orlando <mask> and Charles H. Phillips. When Senator Frank S. Richeson died on December 31, 1954, <mask> replaced him and won the senatorial seat in his own right in that election. He thus represented Richmond in the Virginia Senate as one of three Senators representing the city (along with Edward E. Willey and Edward E. Haddock, with fellow St. Christopher's alumnus FitzGerald <mask> replacing him in the House of Delegates). In 1957, a commission which <mask> chaired studied industrial policy in Virginia.Late the following year, <mask> was among the 29 businessmen approaching Governor J. Lindsay Almond, Lieutenant Governor Gi Stevens, Attorney General Albertis Harrison and other officials, warning them of the toll the Byrd Organization's policy of Massive Resistance was having upon the Commonwealth's business community. <mask> did not seek re-election in 1959 (the first year in which the senatorial districts were numbered), and <mask> also succeeded him in the Virginia Senate representing Richmond along with Haddock and Willey. As a state senator, <mask> sponsored the bill creating the State Council on Higher Education in 1959. He became the

masks: Sydnor Sydnor Sydnor Boschen Sydnor Bemiss Sydnor Sydnor Sydnor Bemiss Sydnor


texts:
 first chairman of the State Technical Education Board, as well as the first chairman of the State Board for Community Colleges (in 1966). <mask> also served on the Virginia Commission on Constitutional Government, and the Governor's Industrial Development Advisory Board. He also opposed creation of two expressways which divided Richmond, and in one of his last public expressions in 1980, advocated eliminating tolls on those roads. Death and legacy

<mask> died in Richmond in 2003, survived by his widow and stepdaughters, as well as his ex-wife and their children.In the 1970s, <mask> and <mask> had acquired an estate at "Dancing Point" in Charles City County overlooking the confluence of the James and Chickahominy Rivers. Lucy continued to live on the estate until her death in 2006. The area contains significant historical artifacts of both indigenous peoples and colonial settlers, so access is restricted. The postmodern house constructed and grounds designed by architects Robert Welton Steward of Richmond and California-based Thomas Dolliver Church were placed on the Virginia Landmarks register in 2015 and National Register of Historic Places in April 2016. It is occasionally open for tours. Development as a spiritual retreat or conference center is contemplated. The family's department store chain is defunct, not surviving competition from mass market retailers.In March, 1999, the family store in Williamsburg, run by his son Charles, requested bankruptcy court protection, in part due to ice storm damage. The scholarship at the University of Richmond's Evening Division was established in 1915 to honor his father, who founded the Richmond Dry Goods Co. and as president of the Richmond Chamber of Commerce had helped found Shenandoah National Park in the 1920s. References

Virginia Democrats
Virginia state senators
Politicians from Richmond, Virginia
People from Charles City County, Virginia
Harvard Business School alumni
1917 births
2003 deaths
Businesspeople from Richmond, Virginia
Princeton University alumni
20th-century American politicians
20th-century American

masks:
Sydnor
Eugene Sydnor
Eugene
Lucy Sydnor


texts:
<mask> (born 9 June 1965) is an Irish retired hurler who played as a centre-back for the Cork senior team. Born in Blackrock, Cork, <mask> first played competitive hurling during his schooling at Coláiste Chríost Rí. He arrived on the inter-county scene at the age of sixteen when he first linked up with the Cork minor team before later joining the under-21 side. He made his senior debut during the 1985 Oireachtas Cup. Cashman subsequently became a regular member of the starting fifteen and won two All-Ireland medals, three Munster medals and one National Hurling League medal. He was an All-Ireland runner-up on one occasion. As a member of the Munster inter-provincial team on a number of occasions, Cashman won one Railway Cup medal.At club level he is a two-time championship medallist with Blackrock. Cashman's father, <mask>, his uncle, <mask>, and his brother, <mask>, all played for Cork. Throughout his career Cashman made 29 championship appearances. His retirement came following the conclusion of the 1996 championship. In retirement from playing Cashman became involved in team management and coaching. At club level he has been involved in coaching at underage levels with Blackrock. Cashman is regarded as one of Cork's best players of his era.During his playing days he won two All-Star awards. Cashman was also chosen as one of the 25 best Cork players of the past 25 years in a 2013 poll. Playing career

Club

After enjoying little championship success in the minor and under-21 grades with Blackrock,

masks:
James Cashman
Cashman
Mick Cashman
Jimmy Brohan
Tom Cashman


texts:
 Cashman subsequently joined the senior team. In 1985 Blackrock faced Midleton in the championship decider. Cashman, in the company of his brother Tom, Michael Browne, Kilkennyman Frank Cummins, Éamonn O'Donoghue and Finbarr Delaney, gave a masterful display. A 1-14 to 1-8 victory gave Cashman, who also earned the man of the match award, a first championship medal. After failing to retain the title Blackrock went into a period of decline.After losing the 1998 decider to Imokilly, Cashman lined out in a fourth championship decider the following year. A 3-17 to 0-8 trouncing of University College Cork, with Cashman giving a man of the match display again, gave him a second championship medal. Inter-county

Cashman first played for Cork as a goalkeeper on the minor team on 16 May 1981 in a 2-6 to 0-6 Munster semi-final defeat by Clare. He was moved to centre-back the following year before being dropped to the substitutes' bench in his final year as a minor in 1983. In 1985 <mask> joined the Cork under-21 team, however, his two-year tenure in this grade ended without success. <mask> made his senior debut for Cork on 10 November 1985 in a 2-11 to 1-10 Oireachtas final defeat of Galway. He was a regular throughout the subsequent league campaign and was included in Cork's championship team in 1986.Cork made it five-in-a-row in Munster that year as they defeated Clare by 2–18 to 3–12 to take the provincial title. It was <mask>'s first Munster medal. This victory paved the way for an All-Ireland final meeting with

masks: Cashman Cashman Cashman


texts: Galway on 7 September 1986. The men from the west were the red-hot favourites against a Cork team in decline, however, on the day a different story unfolded. Four Cork goals, one from John Fenton, two from Tomás Mulcahy and one from Kevin Hennessy, stymied the Galway attack and helped the Rebels to a 4–13 to 2–15 victory. It was <mask>'s first All-Ireland medal. In 1990 Cork bounced back after a period in decline.He won his second Munster medal that year following a 4-16 to 2-14 defeat of Tipperary. The subsequent All-Ireland final on 2 September 1990 pitted Cork against Galway for the second time in four years. Galway were once again the red-hot favourites and justified this tag by going seven points ahead in the opening thirty-five minutes thanks to a masterful display by Cashman's opposite number Joe Cooney. Cork fought back with an equally expert display by captain Tomás Mulcahy. The game was effectively decided on an incident which occurred midway through the second half when Cork goalkeeper Ger Cunningham blocked a point-blank shot from Martin Naughton with his nose. The umpires gave no 65-metre free, even though he clearly deflected it out wide. Cork went on to win a high-scoring and open game of hurling by 5–15 to 2–21.As well as winning a second All-Ireland medal <mask> was later presented with a first All-Star. Cork surrendered their All-Ireland crown to Tipperary in 1991, however, in spite of an early championship exit <mask> finished the year with a second All-Star. In 1992 <mask> claimed a

masks: Cashman Cashman Cashman Cashman


texts:
 third Munster medal following a 1-22 to 3-11 of Limerick. On 6 September 1992 Cork faced Kilkenny in the All-Ireland decider. At half-time Cork were two points ahead, however, two second-half goals by John Power and Michael "Titch" Phelan supplemented a first-half D. J. Carey penalty which gave Kilkenny a 3-10 to 1-12 victory. <mask> won a National Hurling League medal in 1993 following a 3-11 to 1-12 defeat of Wexford. After unsuccessful championship campaigns over the following three years, <mask> retired from inter-county hurling following Cork's exit from the 1996 championship.Inter-provincial

<mask> was first picked for the Munster inter-provincial team in 1987, however, Munster's campaign ended at the semi-final stage. He made it onto the starting fifteen in 1991, however, Munster fell to an all-Galway Connacht team by 1-13 to 0-12 in the decider. In 1992 Cashman was at centre-back as Munster faced Ulster in the decider. A 3-12 to 1-8 victory gave Cashman a Railway Cup medal. Honours

Player

Blackrock
Cork Senior Hurling Championship (2): 1985, 1999

Cork
All-Ireland Senior Hurling Championship (2): 1986, 1990
Munster Senior Hurling Championship (3): 1986, 1990, 1992
National Hurling League (1): 1992-93
Oireachtas Tournament (1): 1985

Munster
Railway Cup (1): 1992

Individual

Honours
All-Star (2): 1990, 1991

References

1965 births
Living people
Blackrock hurlers
Cork inter-county hurlers
Munster inter-provincial hurlers
All-Ireland Senior Hurling Championship winners
People educated at Coláiste


texts:
Katharina "<mask><mask> (28 August 1859 – 11 March 1943) was a German women's rights activist and a pioneer of women's education. In 1895 she became the first woman in Germany to receive a doctorate for an academic dissertation. Life

Early life and education
Katharina <mask> was born in Munich, where her father, the distinguished jurist <mask>, taught at the university between 1858 and 1871. Her parents had married on 4 November 1858. Her mother was the artist Auguste Eleanore Charlotte "Lotte" Pochhammer (1830–1918). There were three younger siblings, including  (1862–1910) who would also become something of a pioneer in his chosen field: he was a neurologist. <mask> attended the Höhere Mädchenschule in Munich.Girls' secondary schools were still unusual in Germany; but when the family moved to Heidelberg (in 1871) and then to Leipzig (in 1874) (due to her father's work commitments) she pursued her education at equivalent schools in those cities. By 1882 she had stayed in London and Geneva (and/or, according to some sources, in France) in order to deepen her knowledge of English and French. By 1880 her father was 63, and although he was still a professor at Leipzig the family – including Katharina – lived in Berlin between 1880 and 1883. (Rail links from Berlin to Saxony had been significantly upgraded during the 1870s.) Käthe attended teaching seminars attached to Berlin's "Victoria-Lyzeum" (secondary school), and in 1882, she qualified as a language teacher for English and French. When the family returned to Leipzig in 1883 she worked for several months as a language teacher at the Höhere Mädchenschule which she had attended as a child. Thanks to the efforts of educationalists from Britain such as Georgina Archer and the known enthusiasm for

masks:
Käthe
" Windscheid
Charlotte Friederike Auguste Windscheid
Bernhard Windscheid
Katharina Windscheid


texts:
 modern ideas of the Kaiser's English-born daughter-in-law, Victoria, England was known (correctly) in liberal circles as a relatively progressive country in respect of women's education.In 1885 <mask> <mask> returned to London to study English literature at the University of London, which during the 1870s had become the first in England to accept women for degree courses. In 1887 she emerged from the teacher's training college (Lehrerinnenseminar) in Dresden – at that time the only such institution for women in the whole of Saxony – with a full German teaching qualification. In parallel with her studies she had already, since Easter 1886, been working as a teacher at the prestigious Teichmann'schen Teaching and Education Academy at its daughter school in Leipzig. She had also started to attend philology lectures as a Gasthörerin (literally, "(female) guest listener") at Leipzig University. Education for women
Around this time Windscheid became a member of the German Women's Association (Allgemeiner Deutscher Frauenverein, or ADF). Described in one source as "the oldest German women's rights organisation", the ADF had been founded in Leipzig by Louise Otto-Peters and Auguste Schmidt in 1865. Its major objectives included access for women to higher education and to gainful employment.Other leading ADF members included educators such as Henriette Goldschmidt, Josefine Friederici and Johanna Brandstetter. In 1888 <mask> <mask> was a co-founder of the Leipziger Lehrerinnen-Verein ("Leipzig female teachers' association"). She remained an active member of its governing committee until 1902, and stayed on as an honorary member after that. In 1892 she was elected to the national executive of the ADF. That same year she was a founding member of the

masks: Käthe Windscheid Käthe Windscheid


texts: Frauengewerbe-Verein (loosely, "women's vocational union") which was established at the instigation of the Leipziger Lehrerinnen-Verein. In 1902 she teamed up with her mother to create the Leipziger Verein der Kinderfreunde (Kinderschutz) e. V., which concerned itself with identifying and seeking to counteract cases of child mistreatment, moral hazard, child malnutrition and excessive use of child labour. In working with these welfare-oriented and campaigning organisations Windscheid did not restrict herself to "executive duties".She gave lectures and presentations covering a range of related topics such as care of the poor and of orphans, reading material, the women's movement and - a particular concern of Windscheid's: girls' education, as reported in the Neue Bahn, the ADF's house publication, available in the Louise-Otto-Peters-Archiv in Leipzig. While campaigning for (among other issues) better provision of education for women, <mask> <mask> also continued to invest time and talent in her own education. Probably it was her father's intervention with his friend, Frederick I, Grand Duke of Baden, that enabled Windscheid to study for a doctorate at Heidelberg University. She was awarded the certificate in 1895 for her dissertation submitted the previous year, entitled Die englische Hirtendichtung von 1579–1625 (loosely, "English Pastoral Poetry 1579–1625"). Until the early 20th century women in Germany were generally ineligible for university-level studies. Women with appropriate language skills and enough money and determination were obliged to go abroad for their higher education, as Käthe <mask> had done. Saxony was more progressive than some parts of Germany, however, in that as far back as 1870, women were able to attend university lectures as

masks: Käthe Windscheid Windscheid


texts:
 "guest listeners", with the permission of the professors.Windscheid had used that facility at Leipzig University between 1890 and 1894, but there had been no possibility of obtaining any sort of academic degree afterwards. Abitur
Thus in the 19th century there were no arrangements for girls wishing to study for the Abitur – the school final exams that were the gateway to a university education. Since its creation in 1865 the ADF had submitted a series of petitions demanding better school provision for girls, equal standards for female and male trainee teachers and admission of women to universities. Meanwhile, using a private foundation dedicated to provision of university-level studies and a girls' secondary school, the ADF was able, towards the end of the 19th century, to provide bursaries for a small number of women to attend universities abroad. A further milestone was reached at Easter 1894 when the first secondary school courses designed to prepare girls for the Abitur were introduced. This initiative had originated in Berlin, where Helene Lange had started providing equivalent courses (Realkurse) for secondary school girls in 1889: these prepared girls for the Swiss Abitur, as the opening up of German universities to women still seemed unthinkable, and at most Swiss universities the first language was a version of German. A further step forward was the establishment in 1893 of the first private girls' Gymnasium (pre-university secondary school) in Karlsruhe, although the school still operated under male leadership.Course fees for female students undertaking the ADF pre-university courses – set, in 1897, at 240 marks annually – were funded partly from the small income of the private foundation and partly from private donations. It was only in


texts: 1901 that the state added a contribution. In Leipzig the ADF courses were organised and headed up by Dr <mask> <mask>. She started out in the first year with ten students, whom she taught in her mother's apartment in the city. Due to demand, the courses had to be moved to larger premises in 1895. As numbers increased further, they moved again in 1900 and 1905. Windscheid enthused her pupils with her scholarship and with a friendly and at times less formal approach.There were "literary tea-parties" and other shared celebrations as well as school theatre visits. Windscheid gave many of the lessons herself. Increasingly, qualified teachers from secondary schools were also recruited to cover a remarkably broad curriculum that included German, French, English, History, Latin, Greek, Religion, Mathematics, Botany and Zoology, Chemistry, Physics and Geography. "Movement games" (Bewegungsspiele) and gymnastics were also part of the programme. All the teachers employed had been awarded doctorates as part of their university education. Between 1903 and 1910 a second female teacher was employed: Dr Frida Hansmann's educational career, like <mask> <mask>'s own, reflected the limited opportunities for women at that time. Hansmann had passed her Abitur not in Germany but in Zürich, before moving on to the Eidgenössische Technische Hochschule (university), also in Zürich, for her first degree.She had then attended lectures at Göttingen University as a "guest listener", but the university authorities there had rejected her doctoral dissertation. For that final qualification she had been obliged to return to Switzerland where, in 1902, she had received her doctorate in Chemistry from Bern University. In 1898 the first five female students in Saxony passed their Abitur


texts:
 before an independent royal commission in Dresden-Neustadt. It was only in 1902 that the first cohort of students from Käthe Windscheid's institution in Leipzig were allowed to take the exams at the Petrigymnasium (boys' school), and it was only in the summer term of 1906 that Leipzig University opened its degree courses to women. 27 women enrolled that year. One of those, Hannelore Rothenburg, subsequently achieved distinction as a biographer. They all went on to receive doctorates.Later years
The Saxony Girls' School Law was enacted in 1910, which introduced public Abitur (pre-university) courses for girls. The state authorities proposed that they should take over the by now well established ADF secondary school courses, but with the added provision that these should now operate under male leadership. Creation of the school courses by women for women had necessarily been a valued ADF tenet, and the idea that male leadership should now be superimposed on the existing structure was rejected. The courses were integrated into the programme at the Leipzig Girls' Secondary School under the leadership of a female head teacher. The ADF courses were therefore ended in 1914. Dr. <mask> <mask> moved as a teacher to the new Number 1 Girls' Secondary School ("I. Höhere Mädchenschule") into which the former Girls' Secondary School had been incorporated. By 1914 Dr. <mask> <mask> had taken 197 girls through the ADF courses to the Abitur.The school director (head), Prof. Groth, joined together with the municipal schools office and pupils at the school to apply to the Saxony Culture Ministry for Dr. <mask> <mask> to be granted the title of "professor", in recognition of her services to girls' secondary education. The application was rejected. Instead, however, in

masks: Käthe Windscheid Käthe Windscheid Käthe Windscheid


texts:
 1914 she was awarded the Order of Maria Anna 3rd class. She continued working at the school as an educator, in the first instance as a senior teacher and subsequently as a student counsellor, till 1924 when, having reached the age of 65, she retired. Dr. <mask> <mask> died in Leipzig on 11 March 1943. References

1859 births
1943 deaths
People from Leipzig
People from Munich
German women's rights activists
German educational theorists
German

masks: Käthe Windscheid


texts:
<mask> (born 19 September 1943) is a Brazilian pianist, arranger, composer and music producer. Biography
<mask> was born in São Paulo. In June 1957 the American trombone player Melba Liston invited thirteen-year-old <mask> to participate in her concert at a jazz club in Rio de Janeiro, and he appeared in a program on Rio's Globo Radio called "The Boy Prodigy Who Plays Jazz". Thar same year, <mask> met Johnny Alf, who went to live with <mask>'s family due to their great friendship. Together at the family home in São Paulo, <mask> became familiar with arranging, composing, and the arts of cinema and theatre, thanks to Johnny Alf's encouragement. Through his own instincts, tenacity and raw talent, <mask> formed amateur instrumental and vocal groups, when TV Record in São Paulo invited him for a special called "Passport to Stardom" (Passaporte para o Estrelato). In the early 1960s, a teenaged <mask> became famous for his ability to swing and for his legendary left hand.His ensembles of that era, notably Sambalanço Trio and Som Três, are regarded today as high points in Brazilian jazz; so for his 1981 album Samambaia, one of his thirty-plus instrumental albums. <mask>'s collaborations with some of Brazil's most important singers like Wilson Simonal and Elis Regina, brought him global acclaim, such as the historic 1973 album Elis e Tom, recorded with Antônio Carlos Jobim, that featured <mask> as producer, pianist, and musical director.

masks:
César Camargo Mariano
Mariano
Mariano
Mariano
Mariano
Mariano
Mariano
Mariano
Mariano
Mariano


texts:
 Since then, <mask> had worked with an international array of musical giants, from Yo-Yo Ma, to Blossom Dearie. He also composed a wealth of soundtrack music for film and TV. In April 1994, <mask> moved to the United States, where he lives with his wife until now. <mask> received the 2006 Latin Recording Academy Lifetime Achievement Grammy Award. From his first marriage with singer Marisa Vertullo Brandão, a.k.a.Gata Mansa, he had a son Marcelo <mask>, today an accomplished bass player. He was married to Brazilian superstar Elis Regina for 8 years and they had two children (<mask> and Maria Rita); today they are both established singers. From his third marriage of 30 years to Flavia Rodrigues Alves he has a daughter, Luisa <mask> (1986), a singer, vocal producer, music business professional and graduate from Berklee College of Music, who worked at Sony Music, Buddah Brown Entertainment, and currently works freelance as Tour Manager and Vocal Producer. Discography
Quarteto Sabá (1964) RGE
Sambalanço Trio (1964) RGE
Sambalanço Trio II (1965) RGE
Lennie Dale e o Sambalanço Trio (1965) Elenco
Raulzinho e o Sambalanço Trio (1965) RCA
Reencontro com Sambalanço Trio (1965) RGE
Octeto de César Camargo Mariano (1966) RGE
Som Três (1966) RGE
Som Três Show (1968)
Som Três Vol. II (1969) RGE
Som Três Vol. III - Um é Pouco, Dois é Bom (1970)
Som Três Vol. IV - Tobogã (1971) Odeon Brazil
São Paulo - Brasil (1978) RCA Brazil
César Camargo Mariano &

masks:
Mariano
Mariano
Mariano
Mariano
Pedro Mariano
Mariano


texts:
<mask><mask> (born February 7, 1946) is an American lawyer and former intelligence officer who served as Senior Counsel to the Director of the Central Intelligence Agency and General Counsel of the National Security Agency during the directorships of Michael Hayden. He is a professor of public policy at George Mason University's Schar School of Policy and Government. Early life
<mask> was born in 1946 in Philadelphia and raised in Gettysburg, Pennsylvania. He attended Middlebury College for his undergraduate degree in English, graduating cum laude, Phi Beta Kappa. Upon graduation he was drafted into the United States Army where he earned the Army Commendation Medal. After fulfilling his commitment as a soldier, <mask> left the service to earn his Master of Public Administration from Princeton University's Woodrow Wilson School, where he studied international politics and economics, before pursuing a Juris Doctor at Harvard Law School. At Harvard, <mask> was the Supreme Court Note and Note Editor of the Harvard Law Review and graduated magna cum laude.During law school he clerked for Supreme Court Associate Justice William O. Douglas and after Douglas' retirement, for Justices Potter Stewart and Byron White. Upon graduation, <mask> joined the Carter administration, serving as Special Assistant to Secretary of Health, Education and Welfare Joseph Califano and later then-Deputy Secretary of State Warren Christopher. After his first stint in public service, <mask> entered private practice. As a lawyer, he was admitted to the U.S. Supreme Court Bar, every Circuit of the United States Court of Appeals including the D.C. Circuit, U.S. Tax Court, the United States District Court for the District of Columbia, and United States District Court for the District of Maryland. Intelligence career
In September 1998, <mask> left a partner position in private practice at the Washington, D.C. office of international law firm Perkins Coie to return to public service to head the Office of the General Counsel, or D2 at the National Security Agency, responsible for representing the agency in all legal matters. During his stint at NSA, <mask> variously held concurrent dual-hat

masks:
Robert L
. Deitz
Deitz
Deitz
Deitz
Deitz
Deitz
Deitz
Deitz


texts:
 positions as acting General Counsel at the National Geospatial-Intelligence Agency and acting Deputy General Counsel, Intelligence, at the Department of Defense.While at NSA the agency's legal burdens were heavily focused on the warrantless surveillance programs later exposed by Edward Snowden in 2013.On Snowden's allegations that while at NSA officers "at any time can target anyone, any selector, anywhere,”  or "wiretap anyone from you or your accountant to a federal judge to even the president if I had a personal email”, <mask> called the claim a “complete and utter” falsehood. In the Los Angeles Times, <mask> said "First of all it’s illegal, there is enormous oversight. They have keystroke auditing. There are, from time to time, cases in which some analyst is [angry] at his ex-wife and looks at the wrong thing and he is caught and fired”

After the USA Freedom Act was signed into law by President Obama in 2014 as a compromise between civil libertarian demands and security hawk efforts to preserve certain spying tools, <mask> expressed skepticism that the legislation would offer much anything in the way of reform in either direction, saying "it’s being talked about like it’s the Declaration of Independence or something, these adjustments are marginal.”

<mask> left the NSA with Director Michael Hayden in September 2006 to follow his boss to the Central Intelligence Agency, where Hayden became Director, and <mask> served as Senior Counselor to the Director. At CIA, <mask> was Director Hayden's personal legal advisor, a role distinct from his previous position at NSA where he oversaw all legal affairs of the agency. <mask> has been a critic of journalistic standards for publication of classified information. At a meeting of the American Bar Association meeting in Washington, D.C. he delivered harsh criticism of industry practices saying “we need serious reviews by the editors of the newspapers about what they publish... giving more credit to people in these positions of authority, people such as the heads of NSA, CIA, DIA, and so forth — that these aren’t a bunch of corrupt pols who are trying to keep secrets simply to cover their careers, that these are

masks: Deitz Deitz Deitz Deitz Deitz Deitz Deitz


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 well-intended people who are deeply concerned about keeping the American people safe.”

Academia
Both Deitz and Hayden left public service at the end of the Bush Administration, retiring from the CIA in February 2009.Soon after their departure, both joined the faculty of George Mason University's Schar School of Policy and Government. For <mask> this was just a more permanent role as he had already been teaching at George Mason since 2006 as Distinguished CIA Officer-In-Residence while at the agency. <mask> also currently serves on the Faculty Advisory Board of the Michael V. Hayden Center for Intelligence, Policy, and National Security, a think tank at George Mason University's Schar School founded by his former boss Michael Hayden. Controversy
<mask>'s teaching at George Mason was the subject of criticism from Ken Silverstein of The Intercept, who argued that <mask> was unfit to teach courses on ethical challenges in public policy on accord of his legal work in defense of NSA warrantless surveillance programs and what Silverstein claimed was a politically motivated investigation <mask> conducted into former CIA Inspector General John Helgerson's review of the agency's extraordinary rendition, black sites, and enhanced interrogation practices at the behest of Director Michael Hayden. Political affiliations
In the 2016 presidential elections <mask> supported the campaign of Republican candidate Carly Fiorina, and contrasted her foreign policy positions with those of then-candidate Donald Trump in a debate with Trump Campaign surrogate Peter Navarro on CNBC. Personal life
<mask> is married to Martina Hofmann and resides in the Old Town neighborhood of Alexandria, Virginia. He is Lutheran.Published works
 "Congratulations – You Just Got Hired: Don’t Screw It Up", 2013. References

George Mason University faculty
Middlebury College alumni
Princeton School of Public and International Affairs alumni
Harvard Law School alumni
Living people
American lawyers
American spies
People of the Central Intelligence Agency
National Security Agency people
National Geospatial-Intelligence Agency people
United States Department of Defense officials
1946 births
People associated


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<mask><mask> (11 January 1943 – 20 August 2021) was a  professor at The Johns Hopkins University. He was also the Director of the Center for Civil Society Studies at The Johns Hopkins Institute for Health and Social Policy Studies. <mask> has written or edited over 20 books in addition to hundreds of articles, monographs and chapters that have appeared in Foreign Affairs, the New York Times, Voluntas, and numerous other publications. He was a pioneer in the empirical study of the nonprofit sector in the United States, and is considered by many experts in his field to be a leading specialist on alternative tools of government action and on the nonprofit sector in the U.S. and around the world. Education

<mask> graduated with a bachelor's degree in Economics and Policy Studies from Princeton University in 1964 and earned a Ph.D. in Government from Harvard University in 1971. <mask> was the Director for the Center for Civil Society Studies, Institute for Policy Studies at The Johns Hopkins University, and also a Professor at Johns Hopkins School of Arts and Sciences (1997 to present). The Institute for Policy Studies was a research and training center involving 14 full-time professionals focusing on issues related to nonprofit organizations, philanthropy, and civil society in the United States and throughout the world.From 1987 - 1997, <mask> was the Director of the Institute for Policy Studies, which he founded, and a professor at the School of Arts and Sciences, The Johns Hopkins University. He also conceived and established the Johns Hopkins Comparative Nonprofit Sector Project, the Johns Hopkins Master of Arts in Policy Studies Program, and related research and training programs. <mask> was the Director of the

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Lester M
. Salamon
Salamon
Salamon
Career Salamon
Salamon
Salamon


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 Center for Governance and Management Research at the Urban Institute in Washington, D.C.from 1980 to 1986 where he conceived, secured funding for, and managed the Urban Institute's Nonprofit Sector Project, a major inquiry into the scope and structure of the private, nonprofit sector. He was the Deputy Associate Director of the U.S. Office of Management and Budget in Washington, D.C. from 1977 - 1979. <mask> taught at Duke University (1977–1980), Vanderbilt University (1970–1973), and at Tougaloo College in Tougaloo, Mississippi (1966–1967). Professional Activities
<mask> holds the position of Chairman of the Board of the Community Foundation of the Chesapeake, and is on the Board of the Maryland Association of NPOs (Nonprofit Organizations). He is a member of the Social Science Research Council's Committee on Philanthropy and the Nonprofit Sector.He is also on the Editorial Boards of Voluntas, Administration and Society, Society, Public Administration Review, and Nonprofit and Voluntary Sector Quarterly. Honors, Prizes and Fellowships
In 1996 <mask> won the 1996 ARNOVA (Association for Research on Nonprofit Organizations and Voluntary Action) Award for Distinguished Book in the Nonprofit and Voluntary Action Research Writing Partners in Public Service: Government and the Nonprofit Sector in the Modern Welfare State. Another book of his, The Global Civil Society: Dimensions of the Nonprofit Sector, which was produced in association with a team of colleagues from around the world, won the Virginia Hodgkinson Award for best publication in the nonprofit field in 2001. He won the Distinguished Lifetime Achievement Award from ARNOVA in November 2003. In 1982, <mask> published his book, The Federal Budget and the

masks: Salamon Salamon Salamon Salamon


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 Nonprofit Sector, which was among the first to state the scale of the American nonprofit sector and talk about the extent of government support for it. Dr. <mask> later completed an empirical assessment of international nonprofits, and went on to publish his observations in several books. He is well known for writing America's Nonprofit Sector: A Primer, a book used commonly as a college textbook.Recent Publications
Books

Rethinking Corporate Social Engagement: Lessons from Latin America (Sterling, VA: Kumarian Press, 2010). Global Civil Society: Dimensions of the Nonprofit Sector (with S. Wojciech Sokolowski and Associates), Volume II, (Bloomfield, CT: Kumarian Press, 2004). - (Chinese edition published by Peking University Press, 2007)

Global Civil Society: An Overview (with S. Wojciech Sokolowski & Regina List), (Baltimore, MD: Johns Hopkins Center for Civil Society Studies, 2003). Hungarian edition published as: A Civil Társadalom:  Világnézetben (with S. Wojciech Sokolowski & Regina List), (Budapest, Hungary: Civitalis  Egyesület, 2003). The Resilient Sector: The State of Nonprofit America. (Washington, D.C.: Brookings Institution Press, 2003). The State of Nonprofit America, (ed.)(Washington, D.C.: Brookings Institution Press, 2002). The Tools of Government: A Guide to the New Governance. (New York: Oxford University Press, 2002). Global Civil Society: Dimensions of the Nonprofit Sector [Inaugural Edition] (with Helmut K. Anheier, Regina List, et al.) (Baltimore, MD: Johns Hopkins Center for Civil Society Studies, 1999). (Winner of the Virginia Hodgkinson Prize, Independent Sector, 2001)
Spanish edition published as: Sociedad Civil Global: Dimensiones del Sector sin Fines de Lucro, With Helmut K. Anheier,


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 Regina List, Stefan Toepler, S. Wojciech Sokolowski, and Associates (Madrid: Fundación BBVA, 2001). Chinese edition issued 2002

Recent Monographs and Articles: a Selection:

'MonographsImpact of the 2007-09 Economic Recession on Nonprofit Organizations with Stephanie Geller.Listening Post Project Communiqué #14: Baltimore:  The Johns Hopkins Center for Civil Society Studies, 29 June 2009.Report on the Nonprofit Advocacy Roundtable, with Stephanie Geller. Listening Post Project Communiqué #13. Baltimore:  The Johns Hopkins Center for Civil Society Studies,  22 April 2009. "Shovel-Ready" but Stalled: Nonprofit Infrastructure Projects Ready for Economic Recovery Support with Stephanie Geller. Listening Post Project    Communiqué # 12. Baltimore: Johns Hopkins Center for Civil Society Studies, 17 February 2009.Nonprofit Policy Priorities for the New Administration'' with Stephanie Geller. Listening Post Project Communiqué #11: Baltimore:  The Johns Hopkins Center for Civil Society Studies, 22 October 2008.Articles

“Survival Mode” by Greg Hanscom, Johns Hopkins Magazine, pp. 36–39, Fall 2009. “Volunteers and the Economic Downturn, Volunteering in America, August 2009. "How to Rally an Army of Nonprofit Volunteers," Chronicle of Philanthropy, 15 January 2009. "How to Finance Obama's Social-Innovation Fund," Chronicle of Philanthropy, 2 July 2009. “Third-Party Government: The New Normal in Government and Nonprofit Operations”, with Helmut Anheier and Stefan Toepler, Encyclopedia of Civil Society, February 2009. The Chronicle of Philanthropy Nonprofits to the Rescue, February 2009

References

 Panel on the Non-profit sector

1943 births
2021 deaths
Princeton University alumni
Harvard University alumni
Johns Hopkins


texts: Raffaello Sanzio da Urbino (; March 28 or April 6, 1483April 6, 1520), known mononymously as <mask>, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. <mask> was enormously productive, running an unusually large workshop and, despite his early death at 37, leaving a large body of work. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two popes and their close associates. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura.After his early years in Rome, much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when <mask>'s more serene and harmonious qualities were again regarded as the highest models. Thanks to the influence of art historian Johann Joachim Winckelmann his work became a formative influence on Neoclassical painting, but his techniques would later be explicitly and emphatically rejected by groups such as the Pre-Raphaelite Brotherhood. His father was court painter to the ruler of the small but highly cultured city of Urbino. He died when <mask> was eleven, and <mask> seems to have played a role in managing the family workshop from this point. He trained in the workshop of

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 Perugino, and was described as a fully trained "master" by 1500.He worked in or for several cities in north Italy until in 1508 he moved to Rome at the invitation of the pope, to work on the Vatican Palace. He was given a series of important commissions there and elsewhere in the city, and began to work as an architect. He was still at the height of his powers at his death in 1520. Background

<mask> was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by Pope Sixtus IV – Urbino formed part of the Papal States – and who died the year before <mask> was born. The emphasis of Federico's court was more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to demonstrate awareness of the most advanced North Italian painters, and Early Netherlandish artists as well.In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave <mask> the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when <mask> was no

masks: Raphael Raphael Raphael Raphael


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 longer based there but frequently visited, and they became good friends. <mask> became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would later be in Rome during <mask>'s period there.<mask> mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early life and work

<mask>'s mother Màgia died in 1491 when he was eight, followed on August 1, 1494, by his father, who had already remarried. <mask> was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that <mask> had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity.His father's workshop continued and, probably together with his stepmother, <mask> evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed; eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495. Most modern historians agree that <mask> at least worked as an assistant to Perugino from around 1500; the influence of Perugino on <mask>'s early work is very clear: "probably no

masks: Raphael Raphael Raphael Raphael Raphael Raphael Raphael Raphael Raphael


texts: other pupil of genius has ever absorbed so much of his master's teaching as <mask> did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop.Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. <mask> is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain.In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where <mask> confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of <mask> and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini


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 Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence

<mask> led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504.Although there is traditional reference to a "Florentine period" of about 1504–1508, he was possibly never a continuous resident there. He may have needed to visit the city to secure materials in any case. There is a letter of recommendation of <mask>, dated October 1504, from the mother of the next Duke of Urbino to the Gonfaloniere of Florence: "The bearer of this will be found to be <mask>, painter of Urbino, who, being greatly gifted in his profession has determined to spend some time in Florence to study. And because his father was most worthy and I was very attached to him, and the son is a sensible and well-mannered young man, on both accounts, I bear him great love..."

As earlier with Perugino and others, <mask> was able to assimilate the influence of Florentine art, whilst keeping his own developing style. Frescos in Perugia of about 1505 show a new monumental quality in the figures which may represent the influence of Fra Bartolomeo, who Vasari says was a friend of <mask>. But the most striking influence in the work of these years is Leonardo da Vinci, who returned to the city from 1500 to 1506. <mask>'s figures begin to take more dynamic and complex positions, and though as yet his painted subjects are still mostly tranquil, he made drawn studies of fighting nude men, one of the obsessions of the period in Florence.Another drawing is a portrait of a young woman that uses the three-quarter length pyramidal composition of the just-completed Mona Lisa, but still looks completely Raphaelesque. Another of Leonardo's compositional inventions, the pyramidal Holy Family, was repeated in a series of works that remain among his most famous easel paintings. There is a drawing by <mask> in the Royal Collection of Leonardo's lost Leda and the Swan, from which he adapted

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 the contrapposto pose of his own Saint Catherine of Alexandria. He also perfects his own version of Leonardo's sfumato modelling, to give subtlety to his painting of flesh, and develops the interplay of glances between his groups, which are much less enigmatic than those of Leonardo. But he keeps the soft clear light of Perugino in his paintings. Leonardo was more than thirty years older than <mask>, but Michelangelo, who was in Rome for this period, was just eight years his senior. Michelangelo already disliked Leonardo, and in Rome came to dislike <mask> even more, attributing conspiracies against him to the younger man.<mask> would have been aware of his works in Florence, but in his most original work of these years, he strikes out in a different direction. His Deposition of Christ draws on classical sarcophagi to spread the figures across the front of the picture space in a complex and not wholly successful arrangement. Wöllflin detects in the kneeling figure on the right the influence of the Madonna in Michelangelo's Doni Tondo, but the rest of the composition is far removed from his style, or that of Leonardo. Though highly regarded at the time, and much later forcibly removed from Perugia by the Borghese, it stands rather alone in <mask>'s work. His classicism would later take a less literal direction. Roman period

Vatican "Stanze"
In 1508, <mask> moved to Rome, where he resided for the rest of his life. He was invited by the new pope, Julius II, perhaps at the suggestion of his architect Donato Bramante, then engaged on St. Peter's Basilica, who came from just outside Urbino and was distantly related to <mask>.Unlike Michelangelo, who had been kept lingering in Rome for several months after his first summons, <mask> was immediately commissioned by Julius to fresco what was intended to become the Pope's private library at the Vatican Palace. This was a much larger and more important commission than any he had received before; he had only painted one altarpiece in Florence itself. Several other artists and their teams of


texts: assistants were already at work on different rooms, many painting over recently completed paintings commissioned by Julius's loathed predecessor, Alexander VI, whose contributions, and arms, Julius was determined to efface from the palace. Michelangelo, meanwhile, had been commissioned to paint the Sistine Chapel ceiling. This first of the famous "Stanze" or "Raphael Rooms" to be painted, now known as the Stanza della Segnatura after its use in Vasari's time, was to make a stunning impact on Roman art, and remains generally regarded as his greatest masterpiece, containing The School of Athens, The Parnassus and the Disputa. <mask> was then given further rooms to paint, displacing other artists including Perugino and Signorelli. He completed a sequence of three rooms, each with paintings on each wall and often the ceilings too, increasingly leaving the work of painting from his detailed drawings to the large and skilled workshop team he had acquired, who added a fourth room, probably only including some elements designed by <mask>, after his early death in 1520.The death of Julius in 1513 did not interrupt the work at all, as he was succeeded by <mask>'s last pope, the Medici Pope Leo X, with whom <mask> formed an even closer relationship, and who continued to commission him. <mask>'s friend Cardinal Bibbiena was also one of Leo's old tutors, and a close friend and advisor. <mask> was clearly influenced by Michelangelo's Sistine Chapel ceiling in the course of painting the room. Vasari said Bramante let him in secretly. The first section was completed in 1511 and the reaction of other artists to the daunting force of Michelangelo was the dominating question in Italian art for the following few decades. <mask>, who had already shown his gift for absorbing influences into his own personal style, rose to the challenge perhaps better than any other artist. One of the first and clearest instances was the portrait in The School of Athens of Michelangelo himself, as Heraclitus, which seems to draw clearly from the Sybils and ignudi of the Sistine


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 ceiling.Other figures in that and later paintings in the room show the same influences, but as still cohesive with a development of <mask>'s own style. Michelangelo accused <mask> of plagiarism and years after <mask>'s death, complained in a letter that "everything he knew about art he got from me", although other quotations show more generous reactions. These very large and complex compositions have been regarded ever since as among the supreme works of the grand manner of the High Renaissance, and the "classic art" of the post-antique West. They give a highly idealised depiction of the forms represented, and the compositions, though very carefully conceived in drawings, achieve "sprezzatura", a term invented by his friend Castiglione, who defined it as "a certain nonchalance which conceals all artistry and makes whatever one says or does seem uncontrived and effortless ...". According to Michael Levey, "<mask> gives his [figures] a superhuman clarity and grace in a universe of Euclidian certainties". The painting is nearly all of the highest quality in the first two rooms, but the later compositions in the Stanze, especially those involving dramatic action, are not entirely as successful either in conception or their execution by the workshop. Architecture

After Bramante's death in 1514, <mask> was named architect of the new St Peter's.Most of his work there was altered or demolished after his death and the acceptance of Michelangelo's design, but a few drawings have survived. It appears his designs would have made the church a good deal gloomier than the final design, with massive piers all the way down the nave, "like an alley" according to a critical posthumous analysis by Antonio da Sangallo the Younger. It would perhaps have resembled the temple in the background of The Expulsion of Heliodorus from the Temple. He designed several other buildings, and for a short time was the most important architect in Rome, working for a small circle around the Papacy. Julius had made changes to the street plan of Rome, creating several new


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 thoroughfares, and he wanted them filled with splendid palaces. An important building, the Palazzo Branconio dell'Aquila for Leo's Papal Chamberlain Giovanni Battista Branconio, was completely destroyed to make way for Bernini's piazza for St. Peter's, but drawings of the façade and courtyard remain. The façade was an unusually richly decorated one for the period, including both painted panels on the top story (of three), and much sculpture on the middle one.The main designs for the Villa Farnesina were not by <mask>, but he did design, and decorate with mosaics, the Chigi Chapel for the same patron, Agostino Chigi, the Papal Treasurer. Another building, for Pope Leo's doctor, the Palazzo Jacopo da Brescia, was moved in the 1930s but survives; this was designed to complement a palace on the same street by Bramante, where <mask> himself lived for a time. The Villa Madama, a lavish hillside retreat for Cardinal Giulio de' Medici, later Pope Clement VII, was never finished, and his full plans have to be reconstructed speculatively. He produced a design from which the final construction plans were completed by Antonio da Sangallo the Younger. Even incomplete, it was the most sophisticated villa design yet seen in Italy, and greatly influenced the later development of the genre; it appears to be the only modern building in Rome of which Palladio made a measured drawing. Only some floor-plans remain for a large palace planned for himself on the new via Giulia in the rione of Regola, for which he was accumulating the land in his last years. It was on an irregular island block near the river Tiber.It seems all façades were to have a giant order of pilasters rising at least two storeys to the full height of the piano nobile, "a grandiloquent feature unprecedented in private palace design". <mask> asked Marco Fabio Calvo to translate Vitruvius's Four Books of Architecture into Italian; this he received around the end of August 1514. It is preserved at the Library in Munich with handwritten margin notes by <mask>. Antiquity
In about 1510, <mask> was


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 asked by Bramante to judge contemporary copies of Laocoön and His Sons. In 1515, he was given powers as Prefect over all antiquities unearthed within, or a mile outside the city. Anyone excavating antiquities was required to inform <mask> within three days, and stonemasons were not allowed to destroy inscriptions without permission. <mask> wrote a letter to Pope Leo suggesting ways of halting the destruction of ancient monuments, and proposed a visual survey of the city to record all antiquities in an organised fashion.The pope intended to continue to re-use ancient masonry in the building of St Peter's, also wanting to ensure that all ancient inscriptions were recorded, and sculpture preserved, before allowing the stones to be reused. According to Marino Sanuto the Younger's diary, in 1519 <mask> offered to transport an obelisk from the Mausoleum of August to St. Peter's Square for 90,000 ducats. According to Marcantonio Michiel, <mask>'s "youthful death saddened men of letters because he was not able to furnish the description and the painting of ancient Rome that he was making, which was very beautiful". <mask> intended to make an archaeological map of ancient Rome but this was never executed. Four archaeological drawings by the artist are preserved. Other painting projects

The Vatican projects took most of his time, although he painted several portraits, including those of his two main patrons, the popes Julius II and his successor Leo X, the former considered one of his finest. Other portraits were of his own friends, like Castiglione, or the immediate Papal circle.Other rulers pressed for work, and King Francis I of France was sent two paintings as diplomatic gifts from the Pope. For Agostino Chigi, the hugely rich banker and papal treasurer, he painted the Triumph of Galatea and designed further decorative frescoes for his Villa Farnesina, a chapel in the church of Santa Maria della Pace and mosaics in the funerary chapel in Santa Maria del Popolo. He also designed some of the decoration for the Villa Madama, the work in both


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 villas being executed by his workshop. One of his most important papal commissions was the Raphael Cartoons (now in the Victoria and Albert Museum), a series of 10 cartoons, of which seven survive, for tapestries with scenes of the lives of Saint Paul and Saint Peter, for the Sistine Chapel. The cartoons were sent to Brussels to be woven in the workshop of Pier van Aelst. It is possible that <mask> saw the finished series before his death—they were probably completed in 1520. He also designed and painted the Loggie at the Vatican, a long thin gallery then open to a courtyard on one side, decorated with Roman-style grottesche.He produced a number of significant altarpieces, including The Ecstasy of St. Cecilia and the Sistine Madonna. His last work, on which he was working up to his death, was a large Transfiguration, which together with Il Spasimo shows the direction his art was taking in his final years—more proto-Baroque than Mannerist. Painting materials
<mask> painted several of his works on wood support (Madonna of the Pinks) but he also used canvas (Sistine Madonna) and he was known to employ drying oils such as linseed or walnut oils. His palette was rich and he used almost all of the then available pigments such as ultramarine, lead-tin-yellow, carmine, vermilion, madder lake, verdigris and ochres. In several of his paintings (Ansidei Madonna) he even employed the rare brazilwood lake, metallic powdered gold and even less known metallic powdered bismuth. Workshop
Vasari says that <mask> eventually had a workshop of fifty pupils and assistants, many of whom later became significant artists in their own right. This was arguably the largest workshop team assembled under any single old master painter, and much higher than the norm.They included established masters from other parts of Italy, probably working with their own teams as sub-contractors, as well as pupils and journeymen. We have very little evidence of the internal working arrangements of the workshop, apart from the works of art themselves, which are often very difficult to

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texts: assign to a particular hand. The most important figures were Giulio Romano, a young pupil from Rome (only about twenty-one at <mask>'s death), and Gianfrancesco Penni, already a Florentine master. They were left many of <mask>'s drawings and other possessions, and to some extent continued the workshop after <mask>'s death. Penni did not achieve a personal reputation equal to Giulio's, as after <mask>'s death he became Giulio's less-than-equal collaborator in turn for much of his subsequent career. Perino del Vaga, already a master, and Polidoro da Caravaggio, who was supposedly promoted from a labourer carrying building materials on the site, also became notable painters in their own right. Polidoro's partner, Maturino da Firenze, has, like Penni, been overshadowed in subsequent reputation by his partner.Giovanni da Udine had a more independent status, and was responsible for the decorative stucco work and grotesques surrounding the main frescoes. Most of the artists were later scattered, and some killed, by the violent Sack of Rome in 1527. This did however contribute to the diffusion of versions of <mask>'s style around Italy and beyond. Vasari emphasises that <mask> ran a very harmonious and efficient workshop, and had extraordinary skill in smoothing over troubles and arguments with both patrons and his assistants—a contrast with the stormy pattern of Michelangelo's relationships with both. However though both Penni and Giulio were sufficiently skilled that distinguishing between their hands and that of <mask> himself is still sometimes difficult, there is no doubt that many of <mask>'s later wall-paintings, and probably some of his easel paintings, are more notable for their design than their execution. Many of his portraits, if in good condition, show his brilliance in the detailed handling of paint right up to the end of his life. Other pupils or assistants include Raffaellino del Colle, Andrea Sabbatini, Bartolommeo Ramenghi, Pellegrino Aretusi, Vincenzo Tamagni, Battista Dossi, Tommaso Vincidor, Timoteo Viti (the Urbino painter),

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 and the sculptor and architect Lorenzetto (Giulio's brother-in-law).The printmakers and architects in <mask>'s circle are discussed below. It has been claimed the Flemish Bernard van Orley worked for <mask> for a time, and Luca Penni, brother of Gianfrancesco and later a member of the First School of Fontainebleau, may have been a member of the team. Portraits

Drawings

<mask> was one of the finest draftsmen in the history of Western art, and used drawings extensively to plan his compositions. According to a near-contemporary, when beginning to plan a composition, he would lay out a large number of stock drawings of his on the floor, and begin to draw "rapidly", borrowing figures from here and there. Over forty sketches survive for the Disputa in the Stanze, and there may well have been many more originally; over four hundred sheets survive altogether. He used different drawings to refine his poses and compositions, apparently to a greater extent than most other painters, to judge by the number of variants that survive: "... This is how <mask> himself, who was so rich in inventiveness, used to work, always coming up with four or six ways to show a narrative, each one different from the rest, and all of them full of grace and well done."wrote another writer after his death. For John Shearman, <mask>'s art marks "a shift of resources away from production to research and development". When a final composition was achieved, scaled-up full-size cartoons were often made, which were then pricked with a pin and "pounced" with a bag of soot to leave dotted lines on the surface as a guide. He also made unusually extensive use, on both paper and plaster, of a "blind stylus", scratching lines which leave only an indentation, but no mark. These can be seen on the wall in The School of Athens, and in the originals of many drawings. The "Raphael Cartoons", as tapestry designs, were fully coloured in a glue distemper medium, as they were sent to Brussels to be followed by the weavers. In later works painted by the workshop, the drawings are often


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 painfully more attractive than the paintings.Most <mask> drawings are rather precise—even initial sketches with naked outline figures are carefully drawn, and later working drawings often have a high degree of finish, with shading and sometimes highlights in white. They lack the freedom and energy of some of Leonardo's and Michelangelo's sketches, but are nearly always aesthetically very satisfying. He was one of the last artists to use metalpoint (literally a sharp pointed piece of silver or another metal) extensively, although he also made superb use of the freer medium of red or black chalk. In his final years he was one of the first artists to use female models for preparatory drawings—male pupils ("garzoni") were normally used for studies of both sexes. Printmaking
<mask> made no prints himself, but entered into a collaboration with Marcantonio Raimondi to produce engravings to <mask>'s designs, which created many of the most famous Italian prints of the century, and was important in the rise of the reproductive print. His interest was unusual in such a major artist; from his contemporaries it was only shared by Titian, who had worked much less successfully with Raimondi. A total of about fifty prints were made; some were copies of <mask>'s paintings, but other designs were apparently created by <mask> purely to be turned into prints.<mask> made preparatory drawings, many of which survive, for Raimondi to translate into engraving. The most famous original prints to result from the collaboration were Lucretia, the Judgement of Paris and The Massacre of the Innocents (of which two virtually identical versions were engraved). Among prints of the paintings The Parnassus (with considerable differences) and Galatea were also especially well known. Outside Italy, reproductive prints by Raimondi and others were the main way that <mask>'s art was experienced until the twentieth century. Baviero Carocci, called "Il Baviera" by Vasari, an assistant who <mask> evidently trusted with his money, ended up in control of most of the copper plates


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 after <mask>'s death, and had a successful career in the new occupation of a publisher of prints. Private life and death

From 1517 until his death, <mask> lived in the Palazzo Caprini, lying at the corner between piazza Scossacavalli and via Alessandrina in the Borgo, in rather grand style in a palace designed by Bramante. He never married, but in 1514 became engaged to Maria Bibbiena, Cardinal Medici Bibbiena's niece; he seems to have been talked into this by his friend the cardinal, and his lack of enthusiasm seems to be shown by the marriage not having taken place before she died in 1520.He is said to have had many affairs, but a permanent fixture in his life in Rome was "La Fornarina", Margherita Luti, the daughter of a baker (fornaro) named Francesco Luti from Siena who lived at Via del Governo Vecchio. He was made a "Groom of the Chamber" of the Pope, which gave him status at court and an additional income, and also a knight of the Papal Order of the Golden Spur. Vasari claims that he had toyed with the ambition of becoming a cardinal, perhaps after some encouragement from Leo, which also may account for his delaying his marriage. <mask> died on Good Friday (April 6, 1520), which was possibly his 37th birthday. Vasari says that <mask> had also been born on a Good Friday, which in 1483 fell on March 28, and that the artist died from exhaustion brought on by unceasing romantic interests while he was working on the Loggia. Several other possibilities for his death have been raised by later historians and scientists, such as a combination of an infectious disease and bloodletting. In his acute illness, which lasted fifteen days, <mask> was composed enough to confess his sins, receive the last rites, and put his affairs in order.He dictated his will, in which he left sufficient funds for his mistress's care, entrusted to his loyal servant Baviera, and left most of his studio contents to Giulio Romano and Penni. At his request, <mask> was buried in the Pantheon. <mask>'s funeral was extremely grand, attended by large crowds. According to


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 a journal by Paris de Grassis, four cardinals dressed in purple carried his body, the hand of which was kissed by the Pope. The inscription in <mask>'s marble sarcophagus, an elegiac distich written by Pietro Bembo, reads: "Here lies that famous <mask> by whom Nature feared to be conquered while he lived, and when he was dying, feared herself to die." Critical reception

<mask> was highly admired by his contemporaries, although his influence on artistic style in his own century was less than that of Michelangelo. Mannerism, beginning at the time of his death, and later the Baroque, took art "in a direction totally opposed" to <mask>'s qualities; "with <mask>'s death, classic art—the High Renaissance—subsided", as Walter Friedländer put it.He was soon seen as the ideal model by those disliking the excesses of Mannerism:the opinion ...was generally held in the middle of the sixteenth century that <mask> was the ideal balanced painter, universal in his talent, satisfying all the absolute standards, and obeying all the rules which were supposed to govern the arts, whereas Michelangelo was the eccentric genius, more brilliant than any other artists in his particular field, the drawing of the male nude, but unbalanced and lacking in certain qualities, such as grace and restraint, essential to the great artist. Those, like Dolce and Aretino, who held this view were usually the survivors of Renaissance Humanism, unable to follow Michelangelo as he moved on into Mannerism. Vasari himself, despite his hero remaining Michelangelo, came to see his influence as harmful in some ways, and added passages to the second edition of the Lives expressing similar views. <mask>'s compositions were always admired and studied, and became the cornerstone of the training of the Academies of art. His period of greatest influence was from the late 17th to late 19th centuries, when his perfect decorum and balance were greatly admired. He was seen as the best model for the history painting, regarded as the highest in the hierarchy of genres. Sir Joshua Reynolds in his


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 Discourses praised his "simple, grave, and majestic dignity" and said he "stands in general foremost of the first [i.e., best] painters", especially for his frescoes (in which he included the "Raphael Cartoons"), whereas "Michael Angelo claims the next attention.He did not possess so many excellences as Raffaelle, but those he had were of the highest kind..." Echoing the sixteenth-century views above, Reynolds goes on to say of <mask>:

The excellency of this extraordinary man lay in the propriety, beauty, and majesty of his characters, his judicious contrivance of his composition, correctness of drawing, purity of taste, and the skilful accommodation of other men's conceptions to his own purpose. Nobody excelled him in that judgment, with which he united to his own observations on nature the energy of Michael Angelo, and the beauty and simplicity of the antique. To the question, therefore, which ought to hold the first rank, Raffaelle or Michael Angelo, it must be answered, that if it is to be given to him who possessed a greater combination of the higher qualities of the art than any other man, there is no doubt but Raffaelle is the first. But if, according to Longinus, the sublime, being the highest excellence that human composition can attain to, abundantly compensates the absence of every other beauty, and atones for all other deficiencies, then Michael Angelo demands the preference. Reynolds was less enthusiastic about <mask>'s panel paintings, but the slight sentimentality of these made them enormously popular in the 19th century: "We have been familiar with them from childhood onwards, through a far greater mass of reproductions than any other artist in the world has ever had..." wrote Wölfflin, who was born in 1862, of <mask>'s Madonnas. In Germany, <mask> had an immense influence on religious art of the Nazarene movement and Düsseldorf school of painting in the 19th century. In contrast, in England the Pre-Raphaelite Brotherhood explicitly reacted against his influence (and that of his admirers such as Joshua Reynolds), seeking


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 to return to styles that pre-dated what they saw as his baneful influence.According to a critic whose ideas greatly influenced them, John Ruskin:
The doom of the arts of Europe went forth from that chamber [the Stanza della Segnatura], and it was brought about in great part by the very excellencies of the man who had thus marked the commencement of decline. The perfection of execution and the beauty of feature which were attained in his works, and in those of his great contemporaries, rendered finish of execution and beauty of form the chief objects of all artists; and thenceforward execution was looked for rather than thought, and beauty rather than veracity. And as I told you, these are the two secondary causes of the decline of art; the first being the loss of moral purpose. Pray note them clearly. In mediæval art, thought is the first thing, execution the second; in modern art execution is the first thing, and thought the second. And again, in mediæval art, truth is first, beauty second; in modern art, beauty is first, truth second. The mediæval principles led up to <mask>, and the modern principles lead down from him.By 1900, <mask>'s popularity was surpassed by Michelangelo and Leonardo, perhaps as a reaction against the etiolated Raphaelism of 19th-century academic artists such as Bouguereau. Although art historian Bernard Berenson in 1952 termed <mask> the "most famous and most loved" master of the High Renaissance, art historians Leopold and Helen Ettlinger say that the <mask>'s lesser popularity in the 20th century is made obvious by "the contents of art library shelves ... In contrast to volume upon volume that reproduce yet again detailed photographs of the Sistine Ceiling or Leonardo's drawings, the literature on <mask>, particularly in English, is limited to only a few books". They conclude, nonetheless, that "of all the great Renaissance masters, <mask>'s influence is the most continuous." Further reading
 The standard source of biographical information is now: V. Golzio, Raffaello nei documenti nelle testimonianze dei

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 contemporanei e nella letturatura del suo secolo, Vatican City and Westmead, 1971
 The Cambridge Companion to <mask>, Marcia B. Hall, Cambridge University Press, 2005, ,
 New catalogue raisonné in several volumes, still being published, Jürg Meyer zur Capellen, Stefan B. Polter, Arcos, 2001–2008
 <mask>. James H. Beck, Harry N. Abrams, 1976, ,
 <mask>, Pier Luigi De Vecchi, Abbeville Press, 2003.<mask>, Bette Talvacchia, Phaidon Press, 2007. <mask>, John Pope-Hennessy, New York University Press, 1970,
 <mask>: From Urbino to Rome; Hugo Chapman, Tom Henry, Carol Plazzotta, Arnold Nesselrath, Nicholas Penny, National Gallery Publications Limited, 2004,  (exhibition catalogue)
 The Raphael Trail: The Secret History of One of the World's Most Precious Works of Art; Joanna Pitman, 2006. <mask> – A Critical Catalogue of his Pictures, Wall-Paintings and Tapestries, catalogue raisonné by Luitpold Dussler published in the United States by Phaidon Publishers, Inc., 1971,  (out of print, but there is an online version here )
 Wolk-Simon, Linda. (2006). <mask> at the Metropolitan: The Colonna Altarpiece. New York: The Metropolitan Museum of Art. . External links

 Raphael Research Resource from the National Gallery, London
 V&A London online feature on the Raphael Cartoons
 Ten drawings and three paintings from the Royal Collection
 Web Gallery of Art
 Most of the <mask>mondi prints from the San Francisco Museums
 Raphael Project/Raffael Projekt
 Website of Teylers Museum on the provenance of the <mask> drawings in the museum's collection.Birthplace Museum of Raphael, Urbino, on the Artist's Studio Museum Network website
 Mobilier national (France) collection of tapestries
 <mask> at ColourLex. <mask> at the National Gallery of Art
Guide to the Raphael Spurious Letters undated at the University of Chicago Special Collections Research Center

Italian Renaissance architects
<mask>
Raphael
Italian portrait painters
Architects of Roman Catholic churches
Catholic painters
History painters
<mask>
Burials at the Pantheon, Rome
16th-century Italian

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<mask> (born 13 July 1975) is an Irish politician and author who has been the leader of the Labour Party since April 2020. He has been a Teachta Dála (TD) for the Tipperary constituency since the 2016 general election and a TD for the Tipperary North constituency from 2011 to 2016. He previously served as Minister for the Environment, Community and Local Government and Deputy leader of the Labour Party from 2014 to 2016 and Minister of State for Public and Commuter Transport from 2011 to 2014. He was a Member of the European Parliament for the South constituency from 2009 to 2011 and a Senator for the Agricultural Panel from 2007 to 2009. Early life
<mask> is from Portroe just outside Nenagh, County Tipperary. He is the son of Tom and <mask>. His parents' house burned down in 1974, the year before he was born.<mask> was raised on a small dairy farm. His father left farming following the introduction of milk quotas by the European Council in the 1980s and found employment working on the roads for the local county council. Educated at Nenagh CBS, he subsequently attended University College Cork (UCC), where he completed a BA in English and History in 1995. Two years later he completed a M.Phil in Political History. <mask> continued his education at Boston College, where he achieved a Certificate in Leadership in 1999. He returned to Ireland shortly after this and completed a MBS in eCommerce in 2002. <mask> subsequently worked as an eBusiness Manager with Bord Fáilte and Fáilte Ireland.Political career

Youth politics
<mask> is thought to have been politicised from an early age. In his final year of secondary school, he canvassed for the Labour Party during the 1992 general election. He remained

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 active in left-wing politics in university, firstly by establishing the Jim Kemmy Branch of the Labour Party in UCC. He then became involved in a number of by-elections, local election campaigns in Cork and in the wider Munster area. He has stated that he was “politically socialised in Cork.”

<mask> became Chair of Labour Youth in 2000, having previously served as co-chair. In 2001 he was a member of the General Council. In 2001 and 2002 he was director of the Tom Johnson Summer School and was also a member of the General Election Planning Committee in the period 2001–2002.Seanad Éireann: 2007–2009
In 2007, <mask> launched his own political career when he secured election to Seanad Éireann by the Agricultural Panel. He was the only Labour Party candidate in that grouping. After the election of Eamon Gilmore as leader of the Labour Party in 2007, <mask> was appointed as Labour Party Spokesperson on Tourism and was Seanad Spokesperson on Finance and Local Government. European Parliament: 2009–2011
<mask> was elected as a Member of the European Parliament for the South constituency, at the 2009 European Parliament election, taking the last seat in a tight battle between him, Sinn Féin's Toireasa Ferris and the Independent Kathy Sinnott. <mask> was a member of the European Parliament's Committee on Internal Market and Consumer Protection. He also served on the Delegation for Relations with the United States. Dáil Éireann: 2011–present

31st Dail & Junior Ministry
Though he promised he would see out his five-year term in the European Parliament, <mask> allowed his name to go forward as a Labour Party candidate at the 2011 general election.He ran in the Tipperary North constituency and was

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 successful, receiving 9,559 first preference votes (19.8%) and securing the third and final seat at the expense of Fianna Fáil's sitting TD, Máire Hoctor. Phil Prendergast replaced him as MEP for the South constituency. When the new coalition government was formed, <mask> joined the junior ministerial ranks as Minister of State for Public and Commuter Transport. <mask> began receiving death threats during this period. Labour Party deputy leadership and cabinet minister (2014–2016)
He was elected as deputy leader of the Labour Party on 4 July 2014. On 11 July 2014, he was appointed Minister of the Environment, Community and Local Government. New Labour leader Joan Burton originally considered appointing deputy Alex White to the role, however, she decided that the former barrister was better suited to the “legally orientated portfolio” of the Communications ministry.However she gave the Environment, Community and Local Government ministry to <mask>, who was described as “combative.” When <mask> was given his ministerial role, he initially believed that property tax would be the big issue, but within a week realised that it would be the matter of implementation of water charges and the Irish Water as required by the EU Water Framework Directive. <mask> claimed that his predecessor, Phil Hogan, had “designed the ditches” and that he now had to “drive the tractor through.” <mask> also complained of the position that he had been left with upon becoming accustomed to the role. The cabinet had previously been told by the ERSI that the cost-benefit analysis on water metering was “robust” and based on “realistic and achievable assumptions regarding the benefits.” However, by the time <mask> inherited the

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texts: ministry, “it had fallen apart,” according to Michael Brennan in his 2019 book In Deep Water: How People, Politics and Protests sank Irish Water. <mask> was appointed Labour's director of elections and chair of their national campaign committee ahead of the general election. His involvement in Irish Water was extremely controversial during his tenure as minister. He received death threats on a regular basis during his tenure as minister. As Minister, <mask> announced a two-year rent freeze to combat the housing crisis.He said that "blockages" had made solving the housing crisis difficult. A law brought in by <mask> was criticised by the Irish Planning Institute (IPI), who said that it would increase ministerial planning powers over local authorities and could significantly change how planning operates in Ireland. Councillors opposed to the law said that it was a "power grab", and claimed it could significantly limits the planning powers of local government. In November 2014, the Independent reported that <mask> had received death threats. Also in November 2014 he claimed that he had received four death threats from "anonymous warriors" in a single week. <mask>'s constituency office received a bomb threat in November 2014. In December 2014 it was reported that a staff member who answered a call was told "a bullet will be put in his head before the end of the day.And we'll come down and put a bullet in your head too, you rich f**k. We won't be paying water charges." A threatening letter sent to his office in 2015 containing a 'suspicious powder' was declared a hoax by the Gardai and the Defence Forces. EU Commissioner Phil Hogan moved to distance himself from the controversies with Irish Water by

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texts: stressing that <mask> was now in charge of water. Barry Cowen claimed in relation to a policy change that "the issue with the policy is that everytime <mask> picks up a phone to a journalist, his policy for Irish Water changes and it’s become absolutely farcical." In 2015, the Business Post claimed that <mask>  “ignored expert advice by giving €1.5 million in grants to towns in his new constituency,” stating that  was responsible for the active travel towns scheme, which provides funding for walking and cycling routes to get people to switch from their cars. He gave €1 million to Clonmel and more than €500,000 to Thurles under the scheme, even though projects from other towns “got significantly higher marks” in assessments. In December 2015 <mask> became emotional as he strongly denied claims that he had leaked information about the Labour Party to the media.A number of Labour TDs identified him as the source of a leak of an internal analysis which suggested that Labour would lose up to 20 seats at the upcoming general election. <mask> attracted further controversy following a January 2016 interview in the Sunday Independent headlined '<mask>: "Power is a drug . . . it suits me"'. He later clarified the context in a June 2020 interview with The Mirror, saying; “I did say those words, but everybody forgets about the dot, dot, dot in the middle. I’ve nothing against the journalist now, but if you read it, power is a drug, it suits me, there’s a dot, dot, dot in the middle. The conversation was about how some people are always in opposition and will never want to go into government. Some people, you know, being in government suits them.They’re able to handle it or deal with it, or whatever. That was

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 the conversation and I suppose power, being in power, being in government are interchangeable words, so that was the context of it. But when you’re explaining you’re losing". <mask> attracted controversy for his former association with John Delaney of the FAI and denied claims that Delaney was stopping people and asking them to vote for him during the 2016 general election campaign. Delaney had asked people to support <mask> on MidWest Radio. <mask> insisted that having Delaney support him was not a form of cronyism. Following the election, <mask> remained Minister for the Environment, Community and Local Government in an acting capacity during prolonged talks on government formation.Writing on <mask> in How Ireland Voted 2016: The Election Nobody Won, the authors claimed that Phil Hogan left “the controversy surrounding water charges remained for his successor, Labour's <mask>, to deal with.”

Opposition and leadership challenges (2016–2020)

In May 2016, <mask> announced his intention to seek leadership of the Labour Party. However, he failed to attract a nomination from his parliamentary colleagues, resulting in the unopposed appointment of Brendan Howlin as the new leader. <mask> was not present at the conference at which Howlin was announced as leader. One TD who was present described <mask>'s no-show as "childish" and "disrespectful". <mask> was adamant that Howlin "blocked" his leadership ambitions by warning colleagues that he would not stand if there was a contest. Later, <mask> tweeted an image of seven pints of Guinness lined up, ranging from full to half empty, with the cryptic message: "The seven stages of leadership". He was reportedly “considering his future in politics after being

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 left humiliated by his parliamentary party,” according to the Irish Independent.Sarah McInerney of The Times wrote an opinion piece supporting <mask> titled ‘The man we love to hate should be leading Labour.’

Grassroots efforts to put pressure on members of the parliamentary party were unsuccessful. The parliamentary party also decided not to nominate any candidates for the position of deputy leader, leaving <mask>'s previous position vacant. When asked by Hot Press if he felt 'shafted', he replied saying; "Yes. I was pretty annoyed about what happened. It was a difficult period but I’ve moved on. There are no issues. I don’t bear grudges.But you don’t forget. You put it inward and you use it for motivation – and you move on." In the same interview he said that it was 'wrong' that the grassroots membership couldn't have a say. In Spring 2017, <mask> was approached to join Fine Gael by the Tipperary organisation, which he declined. A source believed to be close to <mask> confirmed this to be true but said that "<mask> has time and time again said that Labour values are in his DNA and that's certainly true. He's always talking about workers and the value of work. He is certainly not one of those who just pander to the welfare or liberal agendas that Labour has become so associated with.His ambition is to drag the Labour Party back towards what he believes in rather than ever leave it". In September 2017, <mask> called for the HPV vaccine to be given to all schoolboys in Ireland. The vaccine's roll-out among girls had recently been subject to controversy over its alleged side effects. In November 2017, <mask> was criticised by his Labour colleagues after he warned leader Brendan Howlin that he has

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 less than six months to turn the party's fortunes around. However, the chair of the Association of Labour Councillors, Dermot Lacey, said: "If there had been an election [in 2016], I would have voted for <mask>. If there is an election, I will vote for him. At the moment there isn't a contest."In August 2018, <mask> challenged Howlin for the party leadership. His challenge failed due to lack of support from his parliamentary colleagues. The Irish Independent described his efforts to become leader as 'persistent'. In 2020, <mask> was re-elected to represent the Tipperary constituency during the February general election, obtaining 13,222 first preference votes (9.6%) and thus securing the fourth of five available seats. As of 2020, <mask> was Labour's spokesperson on health. Labour Party leader (2020–present)

After Brendan Howlin's intention to stand down as party leader following the 2020 general election, <mask> was nominated by two of the party's six TDs; Seán Sherlock and Duncan Smith. <mask> was also publicly supported by former Labour TDs Jan O'Sullivan and Willie Penrose.Launching his election bid, <mask> said that a complete rebuild of the Labour Party was needed. On 3 April 2020, he was announced as the new leader of the Labour Party, having won 55% of the vote. <mask> became noted for his outspoken style following his election as leader. In May 2020, he appeared to rule out going into a coalition government. He was named the Irish Times ‘TD of the Year’ for 2020 by Miriam Lord. Image

According to The Journal in 2016,  <mask>, described himself as being an ‘early achiever’, ‘ruthless’ and ‘extremely ambitious.’ The publication also claimed at that time that he was a “mere boy in the

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