text_chunks:
<mask> (8 December 1918 – 17 August 2004) was a French baritone, regarded as one of the very finest interpreters of mélodie (French art song) in the generation after Charles Panzéra and Pierre Bernac. Background and education
He was born <mask>, but later adopted the stage name of Souzay from a village on the river Loire, now part of the commune Souzay-Champigny. He came from a musical family in Angers, France. His parents had met at one of the first performances of Pelléas et Mélisande in 1902; his mother and two brothers were singers, and his sister, 15 years older, was the soprano Geneviève Touraine, who gave the first performance of Poulenc's Fiançailles pour rire in 1942. After his schooling at the Collège Rabelais in Chinon, he went to the Sorbonne in Paris to study philosophy, and while there he met the singer Pierre Bernac, who encouraged him to study singing. Souzay entered the Paris Conservatoire in 1940, studying with Claire Croiza and Jean-Emil Vanni-Marcoux. He actually began singing as a tenor, but in 1943, with advice from the leading operatic singer Henri Etcheverry, he became a baritone.He graduated from the Conservatoire in 1945 with two first prizes, the Prix de chant and the Prix de vocalise. While at the Conservatoire, he also tried his hand at composition and in 1942 three of his settings of poems by Paul Valéry were given a performance by Pierre Bernac. He went on to study voice with Bernac, although he subsequently expressed some differences with the latter's methods and ideas on pronunciation. He was eager not to limit himself to being a specialist in the French repertoire, and he made a detailed study of German lieder with Lotte Lehmann. Career
<mask> <mask>'s public appearances began in 1945 with recitals and concerts, including a performance of Fauré's Requiem in a centenary tribute to the composer at the Royal Albert Hall in London. He rapidly established an international career as a recitalist, admired not only in French music but also for his command of the German repertoire, especially Schubert and Schumann. In recital, his first accompanist was Jacqueline Bonneau (who had been his contemporary at the Paris Conservatoire), but she was reluctant to travel and from 1954 onwards he formed a close musical and romantic partnership with the American pianist Dalton Baldwin which continued for the rest of his career.The two completed three tours of Southern Africa (1958–1973) to wildly enthusiastic audiences

<mask>'s exceptional linguistic gifts enabled him to sing convincingly in 13 different languages including Hebrew, Portuguese and Russian. In contemporary music he performed in Honegger's La danse des morts and in the world première of Stravinsky's Canticum Sacrum. The composer Jacques Leguerney (1906–1997) wrote many songs for Souzay and for his sister. Souzay also sang Jocelyne Binet's Cycle de Mélodies on seven poems by Paul Éluard in a 1955 recital program. His operatic career began in 1947 in Cimarosa's Il matrimonio segreto at the Festival d'Aix-en-Provence, but it was not until the late 1950s that he extended his stage work – though even then it did not take precedence over his recitals. His roles included Monteverdi's Orfeo, Mozart's Don Giovanni and Almaviva in The Marriage of Figaro, Lescaut in Massenet's Manon, and Méphistophélès in Berlioz's La Damnation de Faust. One of his favorite and most successful roles was Golaud in Debussy's Pelléas et Mélisande.He did little operatic work after the 1960s, but continued his recital career, finally retiring from performance in the late 1980s. He spent the last years of his life giving master classes in the United States, Europe, and Japan: he was an inspiring teacher, preferring to work on phrasing and the mood of a song rather than French diction. He was a keen abstract painter, and in 1983 he published a book Sur mon chemin: pensées et dessins in which a selection of his paintings was accompanied by his written commentary, on art and life. He died at his home in Antibes in the south of France on 17 August 2004. Recordings
<mask> <mask>'s first recordings were made in 1944 with the sopranos Germaine Lubin and Geneviève Touraine. (These and some later ones with Elly Ameling were his only recorded duets.) He made other recordings in the 1940s for the small French company Boîte à Musique, and then signed a contract with English Decca.He subsequently recorded for Philips and EMI. A discography of his recordings has been published, listing over 750 titles He participated in complete recordings of the songs of Fauré and Poulenc. On three occasions he won the prestigious Grand Prix du Disque, including one for his recording of the songs of Ravel. Later in his career, he sought to disown his early recordings and to veto the radio from broadcasting them, preferring his later versions of some of the same works. Much to the relief of admirers of the smooth and beautiful quality of his younger voice, he was not widely heeded, and many of his early recordings have been re-released to considerable acclaim. Reputation
While critics agree the size of the voice was often found wanting, Souzay's musicianship, perfect diction, sense of style (particularly of the French mélodie) and detailed interpretation were never questioned, and found a perfect niche on the recital platform. When <mask> Souzay died he had only been a connoisseur's delight, being somewhat forgotten by audiences and younger singers.On the other hand, the obituary notices were quick in recognising the importance of his contribution to 20th century singing. The Daily Telegraph said that he "rivalled Dietrich Fischer-Dieskau for the title of the greatest lyrical baritone of his age." The New York Times described his voice as "not huge, but rich in color and tone, supple and sensual and lovely." Souzay was "a sensualist, reacting viscerally to the music and allowing it to carry him in new directions in a given concert." The Guardian judged that "the basis of his popularity in recital lay in his easily produced, vibrant, warm baritone. It was used by its owner with an innate sensibility and an unfaltering sense of style. His attractive art was founded, above all, on a very French approach, at once balanced and urbane, yet inwardly poetic."In the 1950s, <mask>'s style of singing became the object of some unexpected criticism when it was cited by Roland Barthes in one of his essays in Mythologies, "L'art vocal bourgeois". Referring to a recording of Fauré songs, Barthes complained that Souzay invested particular words with superfluous emotion by means of an exaggerated phonetic dramatisation, and that by imposing his own "signs" of emotion he stifled the meaning of the words and music. Not everyone has agreed with Barthes's description of the style, let alone with the force of his argument, but these are strictures which would attach to many other singers besides Souzay and go to the heart of how vocal performance should be approached. (Indeed, some years later, Barthes made similar criticisms against the singing of Dietrich Fischer-Dieskau.) Souzay regarded himself as a romantic. Never analytical or detached in his performances, he said: "For me music is limpid and speaks for itself. I can only offer my emotions when I sing".See also
 Debussy Mélodies (1980 recording)

References

Further reading
 J.B. Steane. The Grand Tradition. (London, Duckworth,1974), pp. 487–90. A. Blyth, ed. Song on Record 2. (Cambridge University Press, 1988).External links
http://www.bach-cantatas.com/Bio/Souzay-Gerard.htm A short biography with some photographs. Some programs, introductions and photos from his 3 highly successful Southern Africa tours, 1958–73
https://www.youtube.com/watch?v=rBrM1l290MY A recording of his masterclass given at the University of Texas at Austin, 1988. 1918 births
2004 deaths
People from Angers
French operatic baritones
20th-century French  male opera singers

masks:
Gérard Souzay
Gérard Marcel Trand
Gérard
Souzay
Souzay
Gérard
Souzay
Gérard
Souzay


text_chunks:
Princess <mask> of Orléans (<mask>gnès Catherine; born 11 December 1943) is a French princess of the House of Orléans. She is the former wife of Prince Amedeo, Duke of Aosta, a disputed head of the House of Savoy. Biography

Family
<mask> was born on 11 December 1943 in Larache, Morocco as the ninth child and fifth daughter of Henri, Count of Paris, Orléanist claimant to the French throne, and his wife Princess Isabelle of Orléans-Braganza. One of eleven siblings, <mask>’s eldest brother was Henri, Count of Paris, who succeeded their father as head of the Orléans family, and two of her sisters also became consorts of pretenders to abolished thrones; Anne, Duchess of Calabria and Diane, Duchess of Württemberg. Upon repatriation to France after the law of banishment against her father was repealed in 1950, her family moved from Sintra, on the Portuguese Riviera to France, where they grew up at the Manoir Cœur-Volant in the Louveciennes suburb of Paris. Education
She began school in Portugal, at Lisbon's Saint-Louis-des-Français. She then spent some time at the Mayfield School in East Sussex, England.In France, she and her sisters received private instruction, and she completed her studies at the Institut Sainte-Marie in Neuilly-sur-Seine. Marriage and issue
On 22 July 1964 in Sintra, Princess <mask> married her second cousin, Prince Amedeo of Savoy, Duke of Aosta. He was the only son of Prince Aimone, Duke of Aosta, second cousin-once-removed of Italy's last king, Umberto II. Aimone was briefly made nominal head of an Italian puppet state during World War II as King Tomislav II of Croatia. <mask> was the third Orleanist princess to hold the title Duchess of Aosta by marriage. At the time of their wedding, Amedeo was a student at the Morosini Naval College in Venice, which his father had also attended. The couple met while attending the wedding of Infante Juan Carlos of Spain and Princess Sophia of Greece and Denmark in May 1962 in Athens.They announced their engagement on 4 October 1963. The couple married in São-Pedro de Penaferrim, a parish church twelve miles from Lisbon. The wedding had been planned for earlier in the month, but was rescheduled when King Umberto (godfather of the groom) was hospitalized for an abdominal operation. A Savoy family council having met at King Umberto's residence in exile at Cimiez, France in the summer of 1963, another was held in London secretly at the king's hospital bedside to discuss the prospect of the king's only son Vittorio Emanuele, Prince of Naples, choosing to marry a commoner, Marina Doria, which had become the subject of much media speculation. In view of his illness, Amedeo's imminent marriage to a suitable princess, and his son's ongoing relationship with Doria, Umberto contemplated publicly abdicating (having left Italy for exile in 1946 pursuant to an anti-monarchy plebiscite, he had not formally renounced) and recognizing Amedeo as the successor to his claim to Italy's abolished throne. Present at this meeting, along with the princes Vittorio Emanuele and Amedeo, was Umberto's estranged consort, Queen Marie-José, whose objections dissuaded the king from issuing a declaration. Instead, Amedeo announced that he would postpone his wedding for the duration of Umberto's convalescence to ensure his presence at the nuptials, while Vittorio Emanuele issued a statement affirming that he remained his father's rightful heir and had no intention of marrying Marina Doria (nonetheless, he would do so, without his father's declared consent, in 1970).The wedding was attended by 300 guests, including King Umberto and the Prince and Princess of Spain. Two days later the newlyweds received a nuptial blessing during an audience with Pope Paul VI in the Vatican. After the duke completed his duties as a naval officer, the couple were given the Borro by Aimone's mother, a large estate in the Tuscan village of San Giustino Valdarno, near Fiesole, Italy, where they cultivated vineyards. Occasionally they undertook dynastic responsibilities as representatives in Italy of King Umberto, but largely raised their children in the countryside. They had issue:
 Princess Bianca of Savoy-Aosta (b. Florence, 2 April 1966), married on 11 September 1988 in San Giustino Valdarno, Giberto, Count Arrivabene-Valenti-Gonzaga (b. Rome, 5 July 1961), son of Leonardo, Count Arrivabene-Valenti-Gonzaga and Maria delle Grazie Brandolini d'Adda, and they have issue:
 Viola Arrivabene-Valenti-Gonzaga (b. Rome, 31 May 1991)
 Vera Arrivabene-Valenti-Gonzaga (b. Samedan, 18 August 1993)
 Mafalda Arrivabene-Valenti-Gonzaga (b. Conegliano Veneto, 27 December 1997)
 Maddalena Arrivabene-Valenti-Gonzaga (b. Conegliano Veneto, 24 April 2000)
 Leonardo Arrivabene-Valenti-Gonzaga (b. Conegliano Veneto, 5 October 2001)
 Prince Aimone of Savoy-Aosta (b. Florence, 13 October 1967); married in a civil ceremony on 16 September 2008, Princess Olga of Greece (b. Athens, 17 November 1971). The religious marriage took place on 27 September 2008 at Patmos, Greece, and they have issue:
 Prince Umberto of Savoy-Aosta (b. Paris, 7 March 2009)
 Prince Amedeo of Savoy-Aosta (b. Paris, 24 May 2011)
 Princess Isabella of Savoy-Aosta (b. Paris, 14 December 2012)
Princess Mafalda Giovanna Shams Maria Fiorenza Isabella (b. 20 September 1969); married, firstly 1994, Don Alessandro Ruffo di Calabria-Santapau dei principi di Palazzolo (nephew of Queen Paola of Belgium), divorced without issue.Mafalda married, secondly, Francesco Ferrante Carlo Napoleone, 10th Baron Lombardo di San Chirico and they have issue:
 Nob. Anna Lombardo di San Chirico (b. Milan, 11 April 2002)
 Nob. Carlo Lombardo di San Chirico (b. Milan, 28 January 2003)
 Nob. Elena Lombardo di San Chirico (b. Milan, 10 March 2004)

Divorce
Amedeo and <mask> officially separated 20 July 1976, obtained a civil divorce 26 April 1982, and received an ecclesiastical annulment from the Roman Rota 8 January 1987. Amedeo was remarried later that year to Silvia Paternò di Spedalotto. <mask> remarried twice: civilly on 27 April 1982 in Port-au-Prince, Haiti with Luigi Arnaldo La Cagnina (divorced in 1996), a television journalist in the United States and Canada, and both civilly and religiously with Enrico Gandolfi in 2006 in Oreno, Milan). Gandolfi died on 27 October 2015 in Laterina.Activities
During her second marriage <mask> lived in the United States (Colebrook, Connecticut, Charleston, West Virginia and New York), in The  Bahamas, and returned to Europe (Alsace and the Principality of Andorra). Beginning in 1992 their restaurant in Brussels, "Brook's Bar", became a popular gathering place for European Parliament officials, but closed in 1995. During her third marriage, she lived largely in Italy. Professionally, she has managed public relations for the Italian couture studio, Liolà, and her efforts in macrophotography have been displayed in several exhibits. Ancestors

References

1943 births
House of Orléans
Princesses of France (Orléans)
Duchesses of Aosta
Living people
People from Larache
Princesses of Savoy

masks:
Claude
Claude Marie A
Claude
Claude
Claude
Claude
Claude
Claude
Claude


text_chunks:
<mask> (born 24 September 1962) is a British born, award-winning international theatre director. He is the son of the academic <mask>. Career
Supple has directed and adapted theatre in London and the UK as well as across the world in a wide range of languages - including in Europe, India, North Africa and the near East, Iran, Turkey, China, Japan, South Korea, Australia, Russia and the post Soviet States, and North and South America. In the UK he has worked regularly at the Royal National Theatre and Royal Shakespeare Company and was Artistic Director of the Young Vic from 1993-2000 and founding co-Artistic Director of Dash Arts from 2005-2019, creating theatre with artists internationally. He launched his new company, Supple Productions, in 2020. UK Theatre work
At the Young Vic he directed A Servant to Two Masters (RSC co-production: national & international tour & West End), As I Lay Dying, Twelfth Night, Blood Wedding, The Jungle Book, Grimm Tales (& international tour), More Grimm Tales (& Broadway), The Slab Boys Trilogy, Oedipus; for the National Theatre: Haroun and the Sea of Stories, The Epic of Gilgamesh, Billy Liar (national tour), Accidental Death of an Anarchist (national tour), Whale, Romeo and Juliet, The Villains Opera; for the RSC: Midnight's Children(Barbican, national tour & Apollo Theatre, New York), Love in a Wood, Tales from Ovid (Young Vic), The Comedy of Errors (national/international tour & Young Vic), Spring Awakening; for Kenneth Branagh's Renaissance Theatre Company: Coriolanus (with Branagh, Judi Dench, Richard Briers and Iain Glenn) and Traveling Tales; The Cosmonauts Last Message... (Donmar Wharehouse); Oh, What a Lovely War!, Guys and Dolls (Haymarket Theatre, Leicester); Billy Budd (Crucible Theatre, Sheffield). As associate director at the Theatre Royal, York, Supple directed work by Kroetz, Arthur Miller, Willy Russell and Brecht.<mask> has worked outside the theatre on several occasions: his Opera includes Hansel and Gretel, The Magic Flute (Opera North); John Browne's Babette's Feast (Linbury Studio, ROH); Il ritorno d'Ulisse in patria (Grange Festival) and his film work includes: Twelfth Night (Projector/Channel 4), Rockabye (IWC/Channel 4). He is the recipient of a NESTA Invention and Innovation Award for experiments in film. In 2017, Supple created Freedom on the Tyne in collaboration with artists, organisations and citizens of Newcastle-Gateshead. With text by Roy Williams and Katie Ebner-Landy, the unique event took place on Sunday 29 October on the Tyne Bridge and in venues and streets across the city centre. Celebrating the Fiftieth anniversary of Dr Martin Luther King’s visit to Tyneside to receive an honorary degree from Newcastle University, Freedom on the Tyne dramatized epic narratives of historic civil rights battles in USA, India, South Africa and UK and was performed by hundreds of local participants. Supple's adaptations for the theatre include: Accidental Death of an Anarchist (with Dario Fo & Alan Cumming); Billy Budd (with David Holman); The Epic of Gilgamesh; Grimm Tales and More Grimm Tales (with Carol Ann Duffy); The Jungle Book; Haroun and the Sea of Stories (with Salman Rushdie & David Tushingham); Midnight's Children (with Rushdie & Simon Reade); Tales from Ovid (with Ted Hughes & Simon Reade); Beasts and Beauties (with Duffy & Melly Still); and One Thousand and One Nights (with Hanan Al Shaykh). International Theatre work
Includes: Beasts and Beauties, Too Clever By Half (Norwegian National Theatre, Bergen); Much Ado About Nothing (Maxim Gorki Theatre, Berlin); The Comedy of Errors (BBT, Istanbul); The Tempest (NCPA, Beijing)

In 2005, he launched Dash Arts with Josephine Burton to create new performance in collaboration with artists from abroad.His work for Dash Arts includes What We Did to Weinstein (Menier Chocolate Factory, 2005), As You Like It (Leicester Curve, 2009) and A Midsummer Night's Dream, commissioned by the British Council and created in India (2006-2008): an international success known widely as The Indian Dream, the production subsequently completed two tours of India, extensive tours of the UK, Australia and North America, two seasons at Stratford-upon-Avon and a season at the Roundhouse in London. The Guardian hailed it as "the most life-enhancing production of Shakespeare's play since Peter Brook's." In 2008 <mask> started work on a new theatrical adaptation of One Thousand and One Nights with the celebrated Lebanese author Hanan al Shaykh. Commissioned by Luminato Festival, Toronto, and produced by Dash Arts, the production was developed over two years of research and rehearsal in North Africa and the Middle East. Created with a cast and creative team drawn from the Arabic speaking world and performed in three languages over six hours, One Thousand and One Nights opened in June 2011 in Toronto and had its European premier at Edinburgh International Festival in August where the Independent hailed it as "an instant classic of engaged storytelling… a rediscovered literary masterpiece". Research Projects include: Peter Pan, international project on the classic tale researched with London’s Roundhouse in Argentina, Brazil, Cuba, India and China; Shahanmeh, the great Iranian epic with text translated by Dick Davis researched at National Theatre London and in Tehran; 1917, the Soviet and post-Soviet experience researched in Russia and across the post-Soviet States;  King Lear – International Theatre Laboratory, launched in 2015, a research and production process investigating the world’s great theatre traditions, so far in Japan, South Korea, Mexico and UK; The Devils Are Not Sleeping , exploring the ancient, historical and political story of European union with text by Katie Ebner-Landy and artists across Europe. Awards and Nominations
Awards: Time Out (Grimm Tales), TMA (A Midsummer Night's Dream), Herald Angel - EIF (One Thousand and One Nights), Dora- Toronto (A Midsummer Night's Dream), Yapi Krede Afifi - Istanbul (Comedy of Errors).Nominations: Olivier (Accidental Death of an Anarchist), BAFTA (Twelfth Night), Evening Standard (Grimm Tales, A Midsummer Night's Dream). External links
<mask> biography; accessed 24 August 2015. English theatre directors
English musical theatre directors
British opera directors
Alumni of Churchill College, Cambridge
Place of birth missing (living people)
Living people
1962 births

masks:
Timothy Supple
Barry Supple
Supple
Supple
Tim Supple


text_chunks:
<mask> was the pseudonym of <mask> (10 July 1872 – 14 July 1964), a British novelist and short story writer. Early life
Born in Crabwall Hall, in the village of Mollington, Cheshire, she was the third of eleven children of <mask> (a wealthy grain merchant and a JP who was appointed High Sheriff of Cheshire in 1895) and Eliza Smyth. She was christened 7 August at Backford. According to the Auckland Star, she ran away from home at the age of sixteen rather than enter a hated factory at Whitchurch, in Wales. Career
She married her cousin <mask>, (B. june 29 1867 in Caen Normandie France) at St. John's Anglican Cathedral in Buenos Aires on 15 November 1900. Their residence was Drumahoe, Londonderry. She won the 1916 Melrose prize for her debut novel Unhappy in Thy Daring.Set in Ireland, it tells of a husband and wife's growing estrangement which is being nurtured by the wife's sister. H. G. Wells, one of the competition adjudicators, said of it: "The book has real strength and a remarkable sense of character. Power of imagination and originality; the writer has borrowed from no one." Her book met with mixed reviews. A reviewer in The Bookman praised the novel for its realism but found it vulgar. "Here is your risky and almost fatal experiment of marriage, your linking of unequal natures, your development of the inevitable triangle, your cool but ruthlessly explicit presentment of sex in action. No blinking facts for us, or sentimentalising them: this is how men and women are made, and the only way we can get ahead is to admit it! .. . There are passages which violate,I do not say morals, but taste: they present ignoble things in a vulgar way." One reviewer felt the work had merits but was uneven. "It is a strange production, with all the signs of a first novel except an autobiographical strain. The title has practically no connection with the story, and the author's name is from the third page a transparent pretence, for the whole style is feminine! The story reflects the mournful side of the Irish character." Another contemporary review commented: "Her sense of character is remarkable—likewise distorted—and the book leaves one with a nasty taste in the mouth.  . . . the doings of Rupert Standish surely stand out as among the most despicable ever imagined by a young author."A New Zealand review concurred: "The husband is a pitifully weak, indeed quite contemptible character, and however a woman like Shelagh Lynch could have married—and forgiven—such a man passes my comprehension. Some of the minor characters, however, are more pleasing creations and the author’s style is so fresh and attractive that his (or her) future works will be looked forward to with pleasurable anticipation. A review in The Nation and Athenaeum was critical of her handling of psychology, commenting: “'<mask>'s' workmanship is too lazy and slipshod to carry out its adventurous and difficult task". <mask>'s second novel was Sins of the Mothers (Andrew Melrose, London, 1918). A review in The Spectator states: "This novel chiefly deals with the mental procurement of a family of children who are left motherless—though by no means fatherless.The clash of temperaments inherited respectively from the father and mother is the chief motive of the book." In his review, Stopford Brooke wrote: ". . . "Unhappy in Thy Daring" has gone on selling steadily, and finding its way into all corners of the British Empire and India.The new book is again a psychological study of temperament, of passion, and of tragedy, and is no less distinctive than the first, which brought the author a substantial money reward and no little literary fame." <mask>'s third novel was The Education of a Young Man: In Twelve Lessons (published by L.& V. Woolf at the Hogarth Press, 1926). A review in The Spectator described this as "A cleverly written story about a peculiar county family of great charm but considerable eccentricity and even unpleasantness. The tale is told in the first person and somewhat pretentiously. One will soon cease to believe in sinister families of high degree, so many have been described since Mr. Michael Sadleir paved the way." Her following novel was Out of Drawing (Gerald Howe, London,1928). The Spectator reviewer wrote: "Mr. <mask> presents us with a three-sided study of a young American artist of genius.We see Aloys Staine through her own eyes, and also through those of her Spanish husband and an Englishman who constitutes himself her sponsor when she visits this country. Many of the incidental scenes, ranging from London and Paris to Tangier and the Argentine, are vivid and piquant, and the story displays considerable powers of analysis. But Mr. <mask> is too diffuse and leisurely, and the total effect is consequently a little blurred." In 1932, she published a slim (46-page) hand-printed volume titled The Virgin: A Tale of Woe (designed by Christopher Sandford with a frontispiece engraved on wood by Lettice Sandford and printed at the Boar's Head Press, Manaton, Devon in an edition of 200 copies,1932). The story, originally titled "The Jewess", is a modern retelling of the story of Mary, mother of Jesus. Also published in 1932 was her short story "The Letter". <mask>'s final novel was That Child  (Fortune Press, London,1938)."This story of an unconventional middle-aged woman is rich in substance and implications, and the author's swift almost cinematic technique helps in present Amy Speer's life through the impact of many significant episodes and impressions. It is a vital and provocative book and marks a new and interesting stage in the development of a very interesting writer." <mask> was a contributor to transition, an experimental literary journal founded in 1927 by Eugene Jolas. Her contributions included "Feeling Out" (June 1929),  "How I Dreamed" (June 1930), "Second Draft of Fear" (March 1932), and "Scheme For Physical Improvement of Writers' Medium" (March 1932). In 1930, she contributed a poem "The Word Age" to the small magazine The Quarter, edited by Ernest Walsh. One critic has cited <mask>, along with Edouard Roditi, Charles Henri Ford and Harry Crosby, as a representative writer of the prose poem-dreamscape, which "displays a strong oratorical strain as well as a tendency to dwell on apocalyptic visions and various psychopathological states". Her transition essay Scheme for Physical Improvement of Writers' Medium ”succinctly summarizes the typographical effects and possibilities of the most analytical aspects of cubist literature".Death and legacy
Una Maud <mask> died in 1964. Her address was given as Oakpark, Ballymaleel, Letterkenny, Co. Donegal. The State Library of Victoria, Australia, holds two travel diaries dated 1905 to 1912 and 1927 belonging to Una Maud <mask>. References

External links
 Una Maud Smyth at Ancestry.com

1872 births
1964 deaths
British women novelists
People from Chester
Pseudonymous women writers
20th-century British novelists
20th-century British women writers
20th-century pseudonymous writers

masks:
Marius Lyle
Una Maud Lyle Smyth
Hugh Lyle Smyth
Hugh Lyle Waring Smyth
Marius Lyle
Lyle
Lyle
Lyle
Lyle
Lyle
Lyle
Lyle
Lyle Smyth
Lyle Smyth


text_chunks:
<mask> (born 9 October 1973), known professionally as <mask>, is an Italian singer and lyricist who has worked with many bands in the metal genre. He was known for being the singer of Italian power metal band Rhapsody of Fire for 21 years. He later formed his own band Turilli / Lione Rhapsody with former Rhapsody of Fire guitarist Luca Turilli. He is also the current lead vocalist of Angra, and was the original singer of Labyrinth and Vision Divine. Musical career
Lione was born in Pisa. His career started in 1990 at the age of 17 when he began to sing with a small rock and roll underground group who played classics of 1950s and 1960s similar to Elvis Presley's songs. He had a passion for groups such as Queensrÿche, Fates Warning, and Crimson Glory, which inspired him to form his own heavy metal band.His musical activities continued with a young group from Pisa, named Athena. They were a progressive metal band with their own unique style and challenged various expressions. Lione recorded a demotape with Athena and it was his first experience in a metal band. Lione did twenty shows with the band, but after two years, he left the band in 1994. Athena made their first album in 1995 (Inside the moon). At first his stage name was Joe Terry which was the combination of his favourite heroes' names in Japanese games (Joe Higashi and Terry Bogard from Fatal Fury). His first piece of musical equipment was a Shure SM 58 microphone.Labyrinth

Lione met the band Labyrinth, then going under the name of "Vision". Shortly after, in 1993 the band started to work on a demotape called Midnight Resistance , lyrics and vocal lines written by Lione. Before the album No Limits was released, Lione recorded a mini CD with Labyrinth , [Piece of Time] lyrics and vocal lines written by <mask> Lione. Lione created the album No Limits together with Olaf, a band member of Labyrinth. His lyrics were mainly based on his personal experiences and his emotions. He wrote vocal lines and lyrics for this record, all the lyrics in the album were connected as Lione did this as an experiment. Labyrinth's style was different from other bands because it was mixed with different music genres including thrash metal and progressive rock.<mask> was the singer of Labyrinth for just more than three years. Athena

He joined Athena in 1991 and in 1992 they recorded their first demotape. After several concerts he left the band in 1993 for a new collaboration, the one with Labyrinth. Athena called Lione again in '97 ..so they could start work on their second album A New Religion which was released in 1998. Lione wrote the lyrics and the vocal lines for ten songs; the lyrics used religious and philosophical words and had the tendency to reflect deep meanings on their music. Lione and the other members of Athena attended Axel Rudi Pell Tour 1998 with Dreamscape, another progressive metal band from Germany in December. Shortly after the tour the band decided to break up.Vision Divine

In 1999 he met Olaf Thorsen and to seal their newfound friendship, they decided to create what was originally supposed to be only a side-project: Vision Divine. Lione now found himself in the two groups: Rhapsody and Vision Divine, and this situation continued, with successes in both groups, until 2003. The first "Vision Divine" record in 1999 received excellent sales results and criticism (and took the band on tour in South America for the first time). The second album of Vision Divine Send me an angel was released in January 2002. Lione composed eight vocal lines for this album. Their expressions became more serious and deeper, close to the reality of divinity and humanity with progressive and heavy sounds. The album Beto Vazquez Infinity was released in February, including the song "The battle of the Past" in which Lione was singing as a guest vocalist for the Beto Vazquez project.In 2003 Lione sang at shows with Vision Divine at Gods of Metal 2003 (Milan) and at Heineken Jammin' Festival (Imola) in June. He then recorded four demo songs with Vision Divine in November and performed on an Italian Tour in December. Shortly after it was announced Lione had to leave the band, due to his other commitments making it too difficult front this band as well. He nevertheless spent most of the year writing and left the band nine new vocal lines for the "Stream of Consciousness" album, executed with a different singer. In 2008 Lione took part in some shows with Vision Divine to celebrate the ten years of the band, and on 28 May, they announced that <mask> had rejoined the band as the new singer. The band released the new CD "9 Degrees West of the Moon" in 2009 and did many shows supporting the record. In 2012 they released (with Edel/Ear music) what is probably considered their best work so far, "Destination Set To Nowhere", with many great reviews received.The band performed many shows in Italy, Spain and on a South-American tour supporting the record. <mask> departed from Vision Divine on 28 April 2018. Rhapsody of Fire

In 1997, the most important and longest running moment began: becoming the lead vocalist of the heavy metal/power metal band Rhapsody. Rhapsody first began negotiations with <mask> at Gate Pathway Studio in Wolfsburg, Germany after hearing him in the "Piece of Time" album from Labyrinth. Later that year, the first of many albums, Legendary Tales, was released with Lione as lead vocalist. The second album, Symphony of Enchanted Lands, would be released in 1998, followed by Dawn of Victory in 2000. The band participated in many concerts throughout their first years.Lione also recorded a new EP album Rain of a Thousand Flames with Rhapsody in Germany between April and August. The album was released in December 2001. Lione performed on stages with Rhapsody at Gods of Metal 2001 (Milan) in June, during South American Tour (Mexico, Colombia, Brazil and Chile) and at Rock Machina Festival (Spain) in July. After these concerts, <mask> and Rhapsody recorded their fifth album Power of the Dragonflame. The album was released in March 2002. Rhapsody travelled with Stratovarius and Sonata Arctica on a successful European tour in April and May 2000 when they also had a chance to join the Wacken Festival 2000 in Germany. Lione attended Rock Machina Festival in Spain in July.<mask> set out on Rhapsody's first headlining tour (Germany, France, Italy, Spain, the Netherlands, Belgium, Switzerland, Japan and Korea) and joined the summer festivals in Europe including the Bang Your Head Festival in Germany. In February 2004, he finished vocals for Rhapsody's new album Symphony of Enchanted Lands II: The Dark Secret. The band went promo tour for their new album throughout Canada, US, Germany, Sweden, Czech Republic, Greece, and the UK. On the album's release day, 27 September, the band had a signing session with Christopher Lee in London. <mask> also appeared with Christopher Lee on a TV music program in Germany. In 2005, because of copyright issues, the band officially changed its name to Rhapsody of Fire. Under the label Nuclear Blast, they released two more albums and one EP and did a worldwide tour as well as many festivals.Triumph or Agony was released in 2006, followed by The Frozen Tears of Angels and The Cold Embrace of Fear – A Dark Romantic Symphony in 2010 and From Chaos to Eternity in 2011. Rhapsody of Fire, with Lione at its helm, went back to the studio without long time guitarist and founding member Luca Turilli, to record a new album, Dark Wings of Steel , <mask> <mask> wrote all the lyrics for this record. The album was released in 2013. In 2016, the band released the album Into the Legend , all lyrics written by <mask> Lione. After a short tour promoting the album, <mask> announced on 28 September that he was parting ways with the band. From April 2017 to March 2018, he joined Turilli and his former bandmates to perform on Rhapsody's 20th Anniversary Farewell Tour. Turilli / Lione Rhapsody
In December 2018, <mask> <mask> and Luca Turilli announced that they have formed a new band: Turilli / Lione Rhapsody.They are joined by former members Alex Holzwarth, Patrice Guers and Dominique Leurqin. They released their debut album "Zero Gravity (Rebirth and Evolution)" on 5 July 2019. Kamelot
On 16 December 2010, the American power-metal band Kamelot announced that <mask> would take over lead vocal duties for Roy Khan for the Kamelot's tour supporting their "Poetry for the Poisoned" release due to Khan's eventual departure from Kamelot. 70000 Tons of Metal was the last of 49 shows with them, in January 2012. Angra

In January 2013, <mask> was again on the stage at 70000 Tons Of Metal, but this time with Brazilian progressive metal band Angra. The two shows were a great success and <mask> was again with them at the Live n' Louder Festival in São Paulo with Twisted Sister, Metal Church and Loudness. After that, the band decides to do a special tour, a commemorative one celebrating 20 years from the release of the first record "Angels Cry".They celebrate 20 years of career with 11 shows in Latin-America and the release of a new DVD, recorded in the last show in São Paulo. After that Angra played in Japan as co/headliner at the Loud Park festival 13 with Stone Temple Pilots and Europe and they had a very good response. The commemorative tour continues with another 14 shows in Latin America and 4 shows in Europe..where the band performed at Hellfest in France..with Black Sabbath, Soundgarden, Aerosmith and more ...after that, they enter in a studio in Sweden recording a new Cd. Angra announced that the band's new release, and the first album to feature vocalist <mask> Lione, entitled Secret Garden. The album was released by JVC in Asia on 17 December, via Universal Music in Brazil and Edel Music in Europe both on 16 January 2015, and then later in USA, Canada and Russia (date TBA). The album brings what the band has called "a true renewal in the style of the band." With production by legendary producer Roy Z (Judas Priest, Bruce Dickinson, Halford) and was recorded and produced in Sweden by Jens Bogren (Kreator, Arch Enemy, Opeth).Mastercastle
On 2021 Lione appears as guest singer of the single-videoclip "Who Cares for The Moon" released by the italian band Mastercastle

Eurobeat
Lione's first Eurobeat song Eye of the Tiger was released in Japan in 2000. His name for Eurobeat project was "J. Storm", deriving from Joey Tempest. He published thirteen Eurobeat songs (list below) under this name between 2000 and 2005 and has declared that he wouldn't be making any more Eurobeat in the future. However, by the end of 2013 a new song was released called "Dancing into fire". One of his songs, "Dancing in My Dreams", was also used in Initial D Battle Stage. Eurobeat Disney 003 – J.Storm – Ave Maria
 Euromach 013 – J. Storm – Rock The Universe
 Euromach 015 – J. Storm – We Are The Children of Rock
 Super Eurobeat 101 – J. Storm – Eye of the Tiger
 Super Eurobeat 105 – J. Storm – M.U.S.I.C. Super Eurobeat 106 – J. Storm – I Wanna Be Your Rainbow
 Super Eurobeat 109 – J.Storm – Born To Make Music
 Super Eurobeat 115 – J. Storm – The Power of the Dance
 Super Eurobeat 122 – J. Storm – Dancing in My Dreams
 Super Eurobeat 135 – J. Storm – Demolition
 Super Eurobeat 144 – J. Storm – Gettin' You Gettin' Me
 Super Eurobeat 153 – J. Storm – Shout
 Super Eurobeat 157 – J. Storm – Vision of Paradise
 Super Eurobeat 226 – J.Storm – Dance into The Fire

Discography
Rhapsody of Fire releases

Turilli / Lione Rhapsody releases
Zero Gravity (Rebirth and Evolution) (2019)

Labyrinth releases
No Limits (1996)

Athena releases
A New Religion?

masks:
Fabio Tordiglione
Fabio Lione
Fabio
Lione
Fabio
Fabio
Lione
Lione
Lione
Lione
Fabio
Lione
Fabio
Lione
Fabio
Lione
Lione
Fabio
Fabio
Fabio


text_chunks:
<mask> (also written Josef Csàky, Csáky József, József Csáky and <mask>) (18 March 1888 – 1 May 1971) was a Hungarian avant-garde artist, sculptor, and graphic artist, best known for his early participation in the Cubist movement as a sculptor. <mask> was one of the first sculptors in Paris to apply the principles of pictorial Cubism to his art. A pioneer of modern sculpture, <mask> is among the most important sculptors of the early 20th century. He was an active member of the Section d'Or group between 1911 and 1914, and closely associated with Crystal Cubism, Purism, De Stijl, Abstract art, and Art Deco throughout the 1920s and 1930s. <mask> fought alongside French soldiers during World War I and in 1922 became a naturalized French citizen. He was a founding member of l'Union des Artistes modernes (UAM) in 1929. During World War II, <mask> joined forces with the French underground movement (la Résistance) in Valençay.In the late 1920s, he collaborated with some other artists in designing furniture and other decorative pieces, including elements of the Studio House of the fashion designer Jacques Doucet. After 1928, <mask> moved away from Cubism into a more figurative or representational style for nearly thirty years. He exhibited internationally across Europe, but some of his pioneering artistic innovation was forgotten. His work today is primarily held by French and Hungarian institutions, as well as museums, galleries and private collections both in France and abroad. Biography

Early life

József Csáky was born in Szeged, Hungary, then part of the dual monarchy of the Austro-Hungarian Empire. A provincial southern city, Szeged is now the third-largest in the country. <mask> moved with his family to Budapest at an early age, where he frequented museums and galleries.In 1905, <mask> was accepted at the Academy of Applied Arts (Mintarajziskola) in Budapest, where he studied under the direction of the sculptor Mátrai Lajos, ifj. (1875–1945) for one and a half years. His interest centered around figure drawing, but, dissatisfied with the local traditional art training (which consisted of copying sculptures in plaster and modeling wild flowers out of clay), <mask> and fellow students left the school to study in the workshop of the photographer-painter László Kimnach, in Buda. In 1907, for six and a half months, he worked in the Zsolnay Factory in Pécs, making ceramic ashtrays and vases. He worked briefly as a metal founder in Budapest, and at one point with a taxidermist. Attracted by its reputation for lights and great artists, <mask> made the decision to move to Paris, France, and did so with only forty francs in his pocket. He traveled mostly by foot, walking fifty or sixty kilometers per day during the summer of 1908.In Paris a 'new world' opened up for him. He made a living by doing odd jobs: working as a peddler, stone cutter, and posing as a model for students at a local art school, making 20 francs a week. He later posed for individual artists in their own studios, making more money and leaving plenty of time free to pursue his own work. By autumn of 1908 he shared a studio space at Cité Falguière with <mask>, a Hungarian friend who had opened the Brummer Gallery with his brothers and was studying art. Within three weeks of <mask>'s arrival in Paris, Brummer showed the newcomer a sculpture he was working on: an exact copy of an African sculpture from the Congo. Brummer told Csaky that another artist in Paris, a Spaniard named Pablo Picasso, was painting in the spirit of 'Negro' sculptures. Shortly after, <mask> found a studio at the artists' collective La Ruche in Montparnasse.The building had been constructed by Gustave Eiffel, and was adapted as artists' studios by the sculptor Alfred Boucher. Among other émigré artists at La Ruche were Alexander Archipenko (who arrived in Paris the same year), Wladimir Baranoff-Rossine, and Sonia Delaunay (Terk). In the early years of the 20th century, other artists who lived there for a time included Guillaume Apollinaire, Ossip Zadkine, Moise Kisling, Marc Chagall, Max Pechstein, Fernand Léger, Jacques Lipchitz, Max Jacob, Blaise Cendrars, Chaïm Soutine, Robert Delaunay, Amedeo Modigliani, Constantin Brâncuși, and Diego Rivera, attracted to Paris from across Europe and Mexico. With his discovery of the work of Auguste Rodin laying the groundwork for an oeuvre characterized by a mastery of sculptural techniques, <mask>'s work in stone carving would evolve. <mask>'s work of this time is already distinguished by a Cubist understanding of volumetric and spatial relationships, with the integration of armature and open space, and the rhythmic use of geometry. Planes are faceted into abstract architectonic forms. His sculptural interpretation of Cubist painting is marked by elements employed in non-Western sculpture (Cycladic art, Oceanic art, the Art of ancient Egypt).Soon <mask> and his new Parisian girlfriend Jeanne moved into a studio together on rue Didot, near the Pasteur Institute and Montparnasse Cemetery. They married. "Thinking back on my life now," <mask> would later write, "I am amazed by the speed of the events. A few months before I had been a poor and helpless fellow who had found himself in a strange country all alone, not even speaking the language. And then, all of a sudden, from one minute to the next, I became a man with an orderly life, a place of his own and a wife, an honest, and good working woman." (<mask>)

This relationship did not last long. The two separated but continued a friendship.<mask> rented a small attic studio on rue Dalou. In 1910, <mask> won the Ferenc József Art Scholarship in Szeged, giving him enough money to attend l'Académie de La Palette, a private school in Paris where the painters Jean Metzinger, André Dunoyer de Segonzac and Henri Le Fauconnier taught. He was able to devote himself full-time to art. Cubism

"<mask>, after Archipenko, was the first sculptor to join the cubists, with whom he exhibited from 1911 on. They were followed by Duchamp-Villon [...] and then in 1914 by Lipchitz, Laurens and Zadkine." (Michel Seuphor)Robert Rosenblum, "Cubism", Readings in Art History 2, 1976, Seuphor, Sculpture of this Century, 29

The inspirations that led Csaky to Cubism were diverse, as they were for artists of the Bateau-Lavoir, on the one hand, or the Puteaux Group on the other. While art historians are divided on the influence of African art in the distillation of Cubism, they generally agree that Cézanne's geometric syntax was significant, as well as Seurat's approach to painting.Given a growing dissatisfaction with the classical methods of representation, and the contemporary changes—the industrial revolution, exposure to art from across the world—artists began to transform their expression. Archipenko and <mask>—along with the Cubist sculptors who would follow—stimulated by the profound cultural changes and their own experiences, contributed their own personal artistic language. <mask> wrote of the direction his art had taken during the crucial years:

"There was no question which was my way. True, I was not alone, but in the company of several artists who came from Eastern Europe. I joined the cubists in the Académie La Palette, which became the sanctuary of the new direction in art. On my part I did not want to imitate anyone or anything. This is why I joined the cubists movement."(<mask>)

Early in his artistic career, <mask> had understood that Cubism was a great liberating force. It was a means of reassessing the nature of sculpture as a four-dimensional continuum, with space, mass, plane and direction, dynamic and changing in time. It represented for him the departure from classicism, from the conventions of his predecessors. <mask> first met Picasso at the gallery of Daniel-Henry Kahnweiler. He had already met Guillaume Apollinaire but was never as close to either of them as to Archipenko, Henri Laurens, Jacques Villon, Raymond Duchamp-Villon, and Jean Metzinger. They often met at Henri Le Fauconnier's studio on rue Notre-Dame-des-Champs, near the boulevard du Montparnasse, as well as with the Montjoie ! publisher Ricciotto Canudo, Café de la Rotonde and La Closerie des Lilas in Montparnasse.<mask> exhibited his highly stylized 1909 sculpture, Tête de femme (Portrait de Jeanne), at the 1910 Salon de la Société Nationale des Beaux-Arts. The following year, he exhibited a proto-Cubist work entitled Mademoiselle Douell (1910). In 1911, <mask> exhibited his Cubist sculptures at the Salon des Indépendants (21 April – 13 June) with Archipenko, Duchamp, Gleizes, Laurencin, La Fresnaye, Léger, Picabia and Metzinger. This exhibition provoked an 'involuntary scandal' out of which Cubism, brought to the attention of the general public for the first time, emerged and spread throughout Paris and beyond. Four months later <mask> exhibited at the Salon d'Automne (1 October – 8 November) together with the same artists, in addition to Modigliani, Lhote, Duchamp-Villon, Villon and František Kupka. The following year <mask> showed with the Cubists at the 1912 Salon des Indépendants (20 March – 16 May): with Archipenko, Gleizes, La Fresnaye, Laurencin, Le Fauconnier, Léger, Lhote, Zadkine, Duchamp, Constantin Brâncuși, Wilhelm Lehmbruck, Robert Delaunay, Juan Gris, Piet Mondrian, Alfréd Réth, and Diego Rivera. <mask> participated in the Salon d'Automne of 1912 (1 October – 8 November) with the Cubists: Duchamp, Duchamp-Villon, Gleizes, La Fresnaye, Le Fauconnier, Léger, Lhote, Marcoussis, Metzinger, Picabia, Villon and Kupka.A rare photograph of the 1912 Salon d'Automne shows <mask>'s Groupe de femmes, a sculpture now lost, exhibited in front of Kupka's Amorpha: Fugue in Two Colours and next to sculptures by Amedeo Modigliani. In the same photograph can be seen Henri Le Fauconnier's vast composition Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears,) now at the Rhode Island School of Design Museum; and Francis Picabia's monumental La Source (The Spring), now at the Museum of Modern Art in New York. <mask> exhibited as a member of Section d'Or at the Galerie La Boétie (10–30 October 1912), with Archipenko, Duchamp-Villon, La Fresnaye, Gleizes, Gris, Laurencin, Léger, Lhote, Marcoussis, Metzinger, Picabia, Kupka, Villon and Duchamp. By this time, <mask>'s participation in the avant-garde milieu was complete. 1914–1918

"One could say that before the war, life in Paris had been like a summer day, and after the announcement of war the sky and life were darkened by weighty, heavy clouds" (<mask>ky)

<mask> enlisted as a volunteer in the French army and was expecting to be called in. Before joining his company, he married Marguerite Fétrié on 19 August 1914. She had become pregnant and had a child during their relationship, and <mask> wanted to become his daughter's legal father prior to his departure for what became known as World War I.1918–1928
Returning to Paris after the war, <mask> began a series of works derived in part from

masks:
Joseph Csaky
Joseph Alexandre Czaky
Csaky
Csaky
Csaky
Csaky
Csaky
Csaky
Csaky
Csaky
Csaky
Joseph Brummer
Csaky
Csaky
Csaky
Csaky
Csaky
Csaky
Joseph Csaky
Csaky
Csaky
Csaky
Csaky
Csaky
Joseph Csaky
Csaky
Csaky
Csaky
Csaky
Csaky
Csaky
Csaky
Csaky
Csaky
Csaky
Joseph Csa
Csaky
Csaky
Csaky


text_chunks:
 the machine aesthetic; streamlined with geometric and mechanical affinities. By this time <mask>'s artistic vocabulary had evolved: it was distinctly mature, showing a new, refined sculptural quality. Nothing in early modern sculpture in comparable to the revolutionary work <mask> produced in the years directly succeeding World War I. These were nonrepresentational free-standing objects, i.e., abstract three-dimensional constructions combining organic and geometric elements. "Csaky derived from nature forms which were in concordance with his passion for architecture, simple, pure, and psychologically convincing." (Maurice Raynal, 1929)

The scholar Edith Balas writes of <mask>'s sculpture following the war years:

"Csáky, more than anyone else working in sculpture, took Pierre Reverdy's theoretical writings on art and cubist doctrine to heart. "Cubism is an eminently plastic art; but an art of creation, not of reproduction and interpretation."The artist was to take no more than "elements" from the external world, and intuitively arrive at the "idea" of objects made up of what for him constant in value. Objects were not to be analyzed; neither were the experiences they evoked. They were to be re-created in the mind, and thereby purified. By some unexplained miracle the "pure" forms of the mind, an entirely autonomous vocabulary, of (usual geometric) forms, would make contact with the external world." (Balas, 1998, p. 27)

These 1919 works (e.g., Cones and Spheres, Abstract Sculpture) are made of juxtaposing sequences of rhythmic geometric forms, where light and shadow, mass and the void, play a key role. They allude, occasionally, to the structure of the human body or modern machines, but the semblance functions only as "elements" (Reverdy) and are deprived of descriptive narrative. <mask>'s polychrome reliefs of the early 1920s display an affinity with Purism—an extreme form of the Cubism aesthetic developing at the time—in their rigorous economy of architectonic symbols and the use of crystalline geometric structures.With this intense flurry of activity, <mask> was taken on by Léonce Rosenberg, owner of the Galerie de l'Effort Moderne, 19, rue de la Baume, Paris. By 1920 Rosenberg was the sponsor, dealer and publisher of Piet Mondrian, Léger, Lipchitz and Csaky. He had just published Le Néo-Plasticisme—a collection of writings by Mondrian—and Theo van Doesburg's Classique-Baroque-Moderne. Csaky's showed a series of works at Rosenberg's gallery in December 1920. For the following three years, Rosenberg purchased Csaky's entire artistic production. In 1921 Rosenberg organized an exhibit entitled Les maîtres du Cubisme, a group show that featured works by <mask>, Albert Gleizes, Metzinger, Mondrian, Gris, Léger, Picasso, Laurens, Georges Braque, Auguste Herbin, Gino Severini, Georges Valmier, Amédée Ozenfant and Léopold Survage. Csaky's works of the early 1920s reflect a collective spirit of the time,
"a puritanical denial of sensuousness that reduced the cubist vocabulary to rectangles, verticals, horizontals," writes Balas, "a Spartan alliance of discipline and strength" to which <mask> adhered in his Tower Figures."In their aesthetic order, lucidity, classical precision, emotional neutrality, and remoteness from visible reality, they should be considered stylistically and historically as belonging to the De Stijl movement." (Balas, 1998)

<mask> became a naturalized French citizen in 1922. He began to work with Marcel Coard, a dealer and gallery owner who from 1924 onward bought <mask>'s sculptures in order to cast them in bronze. The two created furniture in the Art Deco style, within which sculpted elements of marble, wood and glass were integrated. In 1927 <mask> collaborated with other artists, including Miklos, Jacques Lipchitz and Marcoussis, on the decoration of Studio House, rue Saint-James, Neuilly, owned by the French fashion designer Jacques Doucet. Doucet was also collecting Post-Impressionist and Cubist paintings; he bought Les Demoiselles d'Avignon directly from Picasso's studio. Csaky designed the staircase in Studio House.1928–1971, Toward figurativism
From 1928, while his fellow pioneers tended towards greater abstraction, <mask> moved away both from the faceted Cubism of his early Parisian epoch, and from the highly abstract or nonrepresentational intent of his post-war series. Turning towards figurative art, he no longer saw potential in abstraction. Waldemar George, the Polish-French art critic, writes in 1930 of <mask>'s departure from abstraction: "The cube, the polyhedron with right angles with its abrupt edges, are replaced by ovoids and spheres." Turning towards a more representational figuration—in a highly stylized, curvilinear and descriptive form—allowed <mask> the contact with reality, a reality that ran deeper than surface appearances. For the rest of his life, he was interested primarily in the female body in youth, a theme that expressed optimism, happiness and well-being. He was fascinated by the beauty and expressiveness of the human form in itself. He explored the subject to express his ideas and connotations attached to them.His monumental figures (although not always in sheer size) possess a timeless "amaranthine beauty, a fundamental essence relevant only to themselves." <mask> continued exhibiting from the 1930s onwards; he was shown internationally, with shows in France, Germany, the Netherlands, Brussels, Hungary, and Luxembourg. In 1935, he traveled in Greece, an experience that shaped his artistic exploration of nudes for the remainder of his life. He had an exhibit there in 1965. <mask> died in Paris 1 May 1971. Legacy

<mask> contributed substantially to the development of modern sculpture, both as a pioneer in applying Cubism to sculpture, and as a leading figure in nonrepresentational art of the 1920s. After fighting alongside the French underground movement against the Nazis during World War II, <mask> faced many difficulties: health issues, family problems and a lack of work-related commissions.Unlike many of his friends, whose names became widely known, <mask> was appreciated by fewer people (but they notably included art collectors, art historians and museum curators). "Today, however," writes Edith Balas, "in a postmodernist atmosphere, those aspects of his art that made Csáky unacceptable to the more advanced modernists are readily accepted as valid and interesting. The time has come to give Csáky his rightful place in the ranks of the avant-garde, based on an analysis of his artistic innovations and accomplishments." Art market
On 30 October 2017, a rock crystal and obsidian sculpture by <mask>, titled Tête (Head), was purchased at an auction at Sotheby's Paris for $1,077,004 (925,500 EUR), a world record for the artist. The 1923 work, formerly in the collection of fashion designer Jacques Doucet, had not appeared on the market since it was commissioned from the artist by Doucet. Pétrus Faure (1891–1985), Mayor from 1947 to 1971, had this monumental sculpture placed in the Parc du Bouchet, Le Chambon-Feugerolles (believed to be its current location). Rivoluzione e tradizione, 2004
 MODEM Centre for Modern and Contemporary Arts, Debrecen, Ninety-Nine Years – The Antal-Lusztig Collection in the Modem, 2006
 Galería Leandro Navarro, Madrid, Los tiempos del Cubismo, 2007
 MODEM Centre for Modern and Contemporary Arts, Debrecen, Body language – Antal-Lusztig collection II., 2007
 Janos Gat Gallery, New York City, Hungarian Modernism, 2010
 Hollis Taggart Galleries, New York City, Modernist Works from a California Collection, 2010

See also
 Crystal Cubism
 Multidimensional art

References

Further reading
In chronological order:
 Apollinaire, Guillaume, 1912, Art and Curiosity, the Beginning of Cubism, Le Temps
 Canudo, Ricciotto, 1914, Montjoie!text by André Salmon, 3rd issue, 18 March
 Reverdy, Pierre, 1917, Sur le Cubisme, Nord-Sud (Paris),  15, 5–7 March
 Apollinaire, Guillaume, Chroniques d'art, 1902–1918
 Pál, Bor, 1924, Az új művészet céljáról. Csáky József szobraihoz, Magyar Iparművészet, 65–68
 Tabarant, Adolphe, Le Bulletin de la vie artistique, December 1924 and January 1925
 Pál, Bor, 1926, Csáky József és szobrászata, Budapest (Corvina Kiadó, Budapest, 1972)
 Basler, Adolphe, 1928, La Sculpture Moderne en France, Paris
 Raynal, Maurice, 1929, A propos de Csaky, Montparnasse, no. 56
 George, Waldemar 1930, Csaky, Editions Ars, Paris
 Deutsche Kunst und Dekoration, 1930, Darmstadt, 247–250
 Sandor, Kemeri, 1931, Visage de Bourdelle, Paris
 Csáky József, 1931, Tiszta építészet és szobrászat, Magyar Iparművészet, 129–131
 Wilenski, Reginald Howard, 1932, The meaning of modern sculpture, AMS Press
 Laude, Jean, 1933, La Peinture Français et l'Art Negre, Paris
 Goldwater, R., 1938 (1967) Primitivism in Modern Art, New York
 Gide, André, 1947, The Journals of André Gide, Vol. 2 1889 – 1913 New York
 Seuphor, Michel, 1959, "La Sculpture de ce Siècle", Dictionnaire de la Sculpture Moderne, Edition du Griffon, Neuchâtel, Switzerland
 Dutka Mária, 1959, Csáky József szobrászművész kiállítása, Magyar Nemzet, 1 September
 Seuphor, Michel, 1960, The Sculpture of This Century, New York
 Lebel, Robert. Anthologie des Formes Inventées, Paris: Edition de la Galerie du Cercle, 1962
 Robbins, Daniel, 1963–1964, From Symbolism to Cubism: The Abbaye of Créteil, Art Journal 23
 Csáky József, 1964, Pályakezdése (Önéletrajzi részlet, I., II., III.,) Tiszatáj
 Le XXe Siècle, Chefs-D’Oeuvre de L’Art, 1965, Librairie Hachette, Paris, Musée National d’Art Modern, Paris
 Bowness, Alan, 1965, Modern Sculpture, London
 Lugano, 1967, Art International Vol. XI no. 747
 Gera György, 1975, A kubizmus, Gondolat Kiadó, Budapest
 Lévy, Pierre, 1976, Des artistes et un collectionneur, Paris
 Marcilhac, Felix, 1977, Josef Csaky 1888–1971, Encyclopedie Connaissance des Arts, no.309
 Jeanine Warnod, 1978, Les Artistes de Montparnasse, La Ruche, Edition Mayer-Van Wilder
 Szelesi Zoltán, 1978–79, Csáky József utolsó évtizede, Móra Ferenc Múzeum Évkönyv
 La Chronique des Arts, March 1980, Supplement a la Gazette des Beaux Arts, no. 1334
 Balas, Edith, 1981, The Art of Egypt as Modigliani's Stylistic Source, Gazette des Beaux-Arts
 Reichard, René, 1983, <mask>, 1888–1971, Einführung in das plastische werk, vol. II. Mémoire de René Reichard, Université Goethe, Frankfurt
 Purchases by the Hirshhorn Museum 1974–1983, Sculpture Newsletter (Mountainville, NY: Storm King Art Center, Fall 1983)
 Balas, Edith, 1987, Brâncuși and Romanian Folk Tradition. East European Monograph, no. Január, 4. oldal (Csernus Sándor: Szeged és Párizs kézfogása)
 Souren Melikian, 2006, International Herald Tribune, Discovering the many facets of Cubism, 28–29 October
 Marcilhac, Félix, 2007, <mask>, Du cubisme historique à la figuration réaliste, catalogue raisonné des sculptures, Les Editions de l'Amateur, Paris

External links

 Réunion des Musées Nationaux, Grand Palais, Agence photographique
 Ricciotto Canudo, 1914,

masks:
Csaky
Csaky
Csaky
Csaky
Csaky
Csaky
Csaky
Joseph Csaky
Csaky
Csaky
Csaky
Csaky
Csaky
Csaky
Joseph Csaky
Joseph Csaky
Csaky
Csaky
Csaky
Joseph Csaky
Joseph Csaky


text_chunks:
<mask> "<mask>" <mask> (March 24, 1930 – December 12, 1954) was an American heavyweight boxer who won an Olympic gold medal in 1952. Personal life
<mask> was the oldest male child of the family. His older sister, Winifred, died in a Scarlet Fever epidemic, in 1939. As a child, <mask> was very large for his age and physically strong. At age 12, he was recollected to be the size of a normal 18 year old. <mask> and his younger brother, Donald, collected coffee cans, filled them with cement and connected two of them with a steel bar to make a weight set for exercising. As "<mask>" grew bigger, faster and stronger, <mask> excelled in football and track and field at Jordan High School.Outside of the ring, <mask> was known as affable, gentlemanly and highly intelligent. On 11 December 1954, he faced Willie James for the New England heavyweight title. James knocked out <mask> in the 11th round and <mask> had to be carried from the ring. He never regained consciousness and died 18 hours later. On May 26, 2012, <mask>' son Russell presided over his posthumous induction into the Compton Community College Athletics Hall of Fame, under the category of boxing. He also was inducted into the Idaho State University Athletic Hall of Fame. Early life
After graduating from Jordan High School, <mask> attended Compton College, where he again excelled in football and a new sport, boxing.In 1950, at the National Junior College Boxing Championships in Ogden, Utah, the six-foot four-inch, 220 pound <mask> attracted the attention of Idaho State College boxing coach Dubby Holt and football coach Babe Caccia. "He had a good left hand, and for the big man that he was, he was a real orthodox, skilled boxer," Holt recalled. Shortly thereafter, <mask> was awarded an athletic scholarship to Idaho State College (now Idaho State University) in Pocatello, Idaho, where he boxed and played football. <mask> flourished at nearly all-white Idaho State. In his first collegiate bout, <mask> knocked out the Pacific Coast Heavyweight Champion. <mask> also set a record by never losing a bout in a collegiate dual meet. While attending Idaho State, <mask> fell in love with Pocatellan Mary LaRue, who was then a secretary at Idaho State's athletic department.She later became his wife. Amateur career
In 1951, <mask> was drafted into the U.S. Army to fight in the Korean War, but was convinced to join the Navy by his coaches. He then continued his boxing career as part of the U.S. Navy Boxing Team under G.E. “Moose” Detty. <mask> scored a string of major victories when he defeated the Navy Heavyweight Champion, Kirby Seals, in San Diego, California and won both the Los Angeles Golden Gloves and Chicago Golden Gloves Tournaments. He subsequently toured Europe, winning the Golden Gloves Tournament in Berlin, Germany, which enhanced his reputation as a dominant heavyweight. Upon his return to the United States, <mask> trained at Naval facilities in Maryland for his dream—the Olympics.Olympics
The Olympics, once a faraway dream, were suddenly within <mask>’ grasp, but the Olympic trials loomed as a major test, as stiff competition from around the country vied for the few coveted U.S Team spots. In the Mid-West Regional in Omaha, Nebraska, <mask> was defeated by Army Corporal Lloyd Willis, but still advanced to the finals because of his prior victory over Navy Champion Seals. <mask> and Willis met again in a bout in Kansas City, Missouri that decided the last spot on the Olympic boxing team. With a broken hand, <mask> knocked out Willis, dropping him with a smashing left hook in only one minute. The 1952 Summer Olympics in Helsinki turned out not to be much of a challenge for <mask>, as he knocked out his first three opponents and reached the final against Swede Ingemar Johansson. Their match was unremarkable. For the entire first round, Johansson avoided <mask> by circling along the edges of the ring.The crowd, growing impatient, called for Johansson to fight. In the second round, Johansson continued the same strategy. Finally, in the third minute of the second round, Johansson was disqualified for failure to fight by the referee. Johansson was ushered from the ring between policemen, and was subsequently refused the silver medal. <mask> later stood atop the prize dais with the place for the silver medallist vacant and a Swedish flag in its unfurled knot. Johansson maintained he was not fleeing <mask>, but rather was trying to tire his huge opponent for a planned third round onslaught but he was not awarded his silver medal for another 30 years. <mask>, the first African American Olympic Heavyweight Champion and the first American to win gold in the division since 1904, returned to the United States a national hero.The combination of his tenacious fighting style, deep sense of assurance and humble demeanor attracted constant media attention. The City of Los Angeles named a day in his honor, and he was inundated with requests for his attendance at athletic, social and religious events. After the Olympics, <mask>’ amateur status became a burden on his ability to provide for his wife and young son, Russell, who was born in 1953. <mask>’ Naval commitments took him to San Diego, where he trained with mentor and close friend Moose Detty. <mask> was transferred subsequently to Maryland and then Boston, where he rented a flat with his wife and son. As a Navy man, <mask> was prevented from boxing professionally, so he continued to box in the amateur ranks. <mask> reentered the 1953 Gold Gloves Tournament and fought future World Heavyweight Champion Sonny Liston in the 1953 Chicago Golden Gloves Championship fight.<mask> entered the fight with a broken thumb, which hampered what was still considered a good performance. Liston emerged victorious, though witnesses at the fight accused Liston of clutching <mask> illegally, and still others in the audience felt <mask> won the fight. <mask> was invited again to the Intercity Golden Gloves Tournament but turned down the opportunity due to the thumb injury. <mask> ended his amateur career with a record of 43 wins and only 4 losses. Professional career
After the Olympic victory, <mask>’ pro career became an intriguing prospect, but <mask> was still in the Navy, which did not allow active duty personnel to box professionally. Additionally, <mask>, now living near a Naval base in Boston, lacked a consistent trainer and heavyweight sparring partners. <mask> set out to become Heavyweight Champion.<mask> turned to many people for advice, including his Navy Captain. <mask> primary confidante was Detty, who in letters cautioned against turning pro. Though <mask> was an Olympic champion, he had only been boxing for 4 years and needed more seasoning before turning pro. <mask>, famous and holding a prized Olympic gold medal, faced immense pressure to turn pro from the boxing world and media. <mask> also needed to provide financially for his wife, Mary, and infant son, Russell. <mask> tried desperately but failed to obtain a discharge from the Navy, which considered him committed until at least 1955. Still, <mask> lacked experience.On June 17, 1954, <mask> attended the Rocky Marciano-Ezzard Charles fight in New York as a guest of the International Boxing Council, which courted <mask> heavily. Earlier that same day, <mask> attended a game between the Brooklyn Dodgers and the Boston Braves and witnessed Jackie Robinson hit two home runs. <mask> turned pro in February 1953, suspiciously acting as his own manager to satisfy Naval requirements. <mask>’ IBC advisors, Truman Gibson, Nuno Cam, Sam Silverman, Frankie Carbo and Johnny Dundee, were all allegedly connected to the boxing underworld - strange bedfellows for a man like <mask>, but perhaps unavoidable for success in boxing in Boston 1953–54. <mask>’ first pro fight took place on March 8, 1954 against Sonny Nichols, with <mask> winning in a first-round TKO. <mask> won his next two fights by knockout before being stunned in a five-round decision loss to Willie Wilson. In private correspondence to Detty, a shocked and saddened <mask> confided that he felt he lacked adequate trades and sparring partners other than highly regarded local heavyweight Willie James.<mask> also complained about intense shoulder pain, and mentioned in letters that it had been x-rayed. <mask> won a May 22, 1954 bout against Jack Flood and then avenged his earlier loss to Willie Wilson later that summer in August 1954, winning an eight-round decision. On October 5, 1954, <mask> fought to a draw with Bert Whitehurst. <mask> and Whitehurst fought a rematch only three weeks later on October 26, 1954, with <mask> winning a ten-round unanimous decision. Concluding a turbulent year, <mask> fought eight professional fights within only nine months, losing two fights in close decisions. Last fight and death
On Saturday, December 11, 1954, <mask> fought his sparring partner Willie James, the New England Heavyweight Champion at Boston Garden in Boston, Massachusetts. The fight was his last.James was a highly regarded heavyweight who in February 1954 had performed well in sparring matches against <mask>. <mask>, who had complained previously of headaches and had his shoulder X-rayed just a few weeks prior, was uncharacteristically listless in the opinion of some observers. James and <mask> traded heavy blows for ten rounds. In the eleventh round, <mask> appeared "tired", in James’ estimation, and was felled by a simple punch combination. <mask> dropped to the canvas and lost consciousness immediately, breathing laboriously while lying on his side. Ring personnel carried him out of the ring by stretcher. <mask> never regained consciousness and died after a long surgery to relieve pressure on the brain.The coroner concluded that <mask> likely aggravated a previous injury. Doctors and trainers concluded <mask> probably suffered a prior injury that was aggravated in the James fight. <mask> was laid to rest at Woodlawn Cemetery in Santa Monica, California, after a 21-gun military salute. References

External links

1930 births
1954 deaths
Deaths due to injuries sustained in boxing
African-American boxers
Olympic boxers of the United States
Olympic gold medalists for the United States in boxing
Sports deaths in Massachusetts
Boxers at the 1952 Summer Olympics
Idaho State Bengals football players
Medalists at the 1952 Summer Olympics
Boxers from Los Angeles
National Golden Gloves champions
Burials at Woodlawn Memorial Cemetery, Santa Monica
American male boxers
People from Watts, Los Angeles
Heavyweight boxers
20th-century African-American sportspeople

masks:
Hayes Edward
Big Ed
Sanders
Sanders
Sanders
Sanders
Big Ed
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders
Sanders


text_chunks:
<mask> (10 December 1873 – 29 December 1957) was an English policewoman. She was likely to have been the first documented woman to join a police force in England and Wales, and to be attested immediately as a Constable. Later she was to become the first attested woman officer holding the rank of Inspector, and the first woman police officer to receive a pension on retirement. Prior to joining the police force she was a teacher of English in Germany. She later returned to England and taught German, Italian and French at a school in Salisbury, Wiltshire, reaching a senior post. In 1914, aged 41, she moved to the Bath and Bristol city area to join a group of women who had started an unofficial Women's Police Volunteers unit. She returned to Salisbury in 1918 to join the Constabulary proper at the City of Salisbury.Seven years later she moved to the Birmingham City Police and rose to the rank of Inspector. She stayed with the Birmingham force until her retirement in 1937. Early life
<mask> <mask> was born on 10 December 1873 in the small town of Warminster, Wiltshire. She was the third child and second daughter of Charles Henry <mask> (b. 1845, in Beckington, Somerset) and <mask> (b. 1844, in Preston, near Weymouth, Dorset). <mask> was baptized in the Warminster Minister Church, St. Denys, on 8 March 1874.In 1881 the family lived in Warminster in a villa with a governess, a nurse and two housemaids. Her father was a cheese factor, or manufacturer of local and traditional cheeses. There were four children in the family noted in the census of 1881. After a local education her parents sent her to a private boarding School named Duncan House in Cleveden, Glasgow, and later to a finishing school, Clapham Park Ladies College, in south London. In 1892 she took a teaching post. From June 1898 until October 1903 she attended the Grand Ducal Victorian Pensionat in Karlsruhe, Germany as a teacher of English, Italian and French. She described herself as a 'Modern Language Mistress in large Schools'.In 1906 she returned to England and became a teacher at the prestigious Godolphin School in Salisbury. She is recorded as being a 'Boarder', aged 37 years and single, in the 1911 national census of England. She was an Assistant Mistress (Modern Languages). This group consisted of a Head, six female teachers, a housemaid and a cook. Three other female teachers came from South Africa, Russia and Austria respectively. She later became a Senior Language Mistress at the Godolphin school, where she remained until 1914. In 1914, <mask> left the Godolphin School; her departure was so sudden that the other teaching staff wrote in the next edition of the school magazine that they were sorry not to have had the opportunity of saying 'Goodbye' to her.In a School Year Book the Headmistress of the school at the time, Miss Douglas wrote:

Patrol Volunteer at Bristol and Bath
Apart from London's Metropolitan Police commissioning of a report by a "female on females in custody" in 1907, there was not any consideration given to women working within the Police Force. In 1910 five women got together as a group to draw the attention of the Police Authorities to the fact that there were no women Constables in the force, even though many women were arrested and were temporary prisoners in police custody. Matrons were employed as civilian staff to look after women and children only. They had been established for many years and were usually the wives of serving police officers. Two women in particular sought to point out this lack of a woman Constable presence was wrong. They each had a relative in political high office. One of these women was  Edith Tancred (1873–1957)  Tancred became a campaigner for the requirement of women police.The other was Dorothy Peto (1836–1974)  In 1912 Tancred, Peto and three other women campaigners started organising unofficial street patrols from an office in Bath, Somerset and later Bristol "to maintain public morality and decency". The creation of the Bath office in 1912 was considered to be the first in England. It was disbanded in the latter half of World War One. In 1914 Peto, as Chief, had joined the National Union of Women Workers and made patrols herself. <mask> abruptly left her teaching post at the Godolphin School in 1914 to live and work in the office of the group in Bath, where Peto had become the Assistant Patrols Organizer. <mask> stayed working under the supervision of Peto as a Patrol Officer in the city until May 1918. She was at this time 44 years old and is mentioned in an article  The Women Patrols – Miss I. Douglas, <mask> and Miss G. Bagnall and others spent many evenings, wet or fine, at this most difficult and exacting work.During the War (date unknown) <mask> <mask> acted as a prisoner’s friend at a Court Martial when she answered  a call for 'women of a special type’ to which she responded. As the end of the First World War was approaching there were several other groups of women's police Voluntary Patrols in other major cities in Great Britain. These consisted of 'well-bred' women patrolling the city streets to help women and children who needed assistance or who became involved in crime. Sir Leonard Dunning, (1861–1941) knighted on 14 February 1917, His Majesty's Inspector of Constabulary between 1912 and 1930, wrote an article in a police magazine in 1918. About two of the six pages of his annual Report concerned the employment of women into professional police work, including the possibility of them having the powers of arrest. Many Chief Constables saw the role of women as clerks and chauffeurs and thought women could possibly be employed as Special Constables. The Chief Constable of Wolverhampton wrote an article in Police Review and Parade Ground Gossip in which he listed a range of duties women could undertake within the Force.City of Salisbury Police Force
With the possible end in sight of World War One there was much discussion within the male dominated British police force about the role women were going to play. His Majesty’s Chief Inspector of Constabulary, Sir Leonard Dunning who seven years later would give <mask> <mask> a reference for a post within the Birmingham City Police, concluded that such employment was a matter for individual police authorities. <mask> <mask> moved to Salisbury to join the city Constabulary as its first female member. She worked at the police station in Endless Street which was purpose built in the 1880s as the third police station within the city; it housed all the offices needed for the City Force, a Parade ground in its centre and it had several stables at the back. The Chief Constable had his accommodation there. Like all Chief Constables, Frank Richardson employed the wives or close relatives of serving officers to accommodate the needs of women and children who came into police custody. He decided a dedicated  policewoman was best suited for this task in his force.Later, in June, at an important meeting in London, his decision was vindicated. Lady Nott-Bowes addressed the Chief Constables Association held at the Waldorf Hotel, London, on 23 May. She stated she hoped that those who tried the experiment of Women Police would do their best to get their full status recognised. On 26 May 1918 <mask> joined the Salisbury City Force and was attested immediately. Because she was attested she had the same rights as a male constable, thus setting a nationwide precedent. Her appointment was confirmed by the Salisbury Watch Committee and also by her new employer, The Birmingham Watch Committee, when she took up the appointment there in 1925. She joined as a Constable and was promoted rapidly.Her commencing salary on joining the Force was £210. per annum. On 3 April 1919 she was transferred to the same pay and allowances as that of ordinary (male) Constables of the Force  and she was  promoted to 11th Class Constable  with an increase in salary of £2 per week. On 22 May 1919 she was promoted  from 11th Class Constable to 10th Class Constable to take effect from 25 May 1919 at an increase of £2.1s.0d  per week. This was again revised when she was transferred from 10th Class Constable old scale to 12th Class Constable, new scale, back dated to 1 April 1919 with a salary increase of £3.12s 0d per week. By 1920 she was a sergeant. Her duties were plainclothes work in the mornings and city patrol work, in uniform, in the evenings.In February 1919 she attended a Salisbury City Court hearing as a prosecution witness at an alleged bigamy trial. Because she was attested she had the power of arrest; in contrast, Dorothy Peto remained an unattested Lady Enquiry Officer. Dorothy Peto maintained she would not accept a rank below Inspector, whereas <mask> did accept the lower rank. Most important of all to Constable and then Sergeant <mask> was the fact that she now could receive a pension like her male counterparts. Chief Constable Richardson took steps to ensure she would get her pension by clearing her with the Salisbury Watch Committee on appointment as someone who was superannuated, writing a letter to her Chief Constable at her next posting in 1925 stating "Miss <mask> is entitled to reckon the period between 26 May 1918 and 26 May 1925 as 'Approved Service' within the meaning of Section 8 (1) of the Police Pensions Act 1921." The Home Office in London set up the Baird Committee in 1920 on  selection, control on the future employment conditions and attesting of women in the Service. Two H.M.Inspectors of Constabulary gave evidence as did some thirteen others from various ranks and locations within the countrywide police force. Sergeant <mask> <mask> from the Salisbury City force attended as did Sergeant Gale of the Gloucestershire force. It was specifically pointed out to the Committee that Sergeant <mask> and Sergeant Gale were already attested female policewomen. Another who attended was Lillian Wyles who was to write a book later of her experiences. On 16 November 1921 the Metropolitan Commissioner of Police, Sir Nevil Macready, who was considered to be setting the standard throughout England, issued an order that with the possibility of women being appointed in the Police Service they would be in line with requirements for male officers; "a minimum height would be established, though at 5 feet 4 inches this was considerably lower than that for men." (<mask> was officially documented as being five feet five and one half inches tall so qualified in stature.) Macready added that women with dependent young children would be barred from service, women officers were not to be sworn in as constables, and they would not have the right to a pension.Salisbury, Gloucestershire, Liverpool and Glasgow had attested women Constables but it appears only <mask> of Salisbury paid into a pension and had equality with male constables. In 1925 Peto left the City of Birmingham Police Force, and <mask> applied to the City of Birmingham for Peto's post. The choice of force may have been coincidental with the Peto post becoming vacant, but the Richardson family had strong connections with Birmingham since Frank Richardson (Senior) (Chief Constable of Hereford from 1882–1920) started his police career in Birmingham in 1871. <mask> very quickly made contact with Sir Leonard Dunning (17 June 1860–8 Feb 1941), still the Chief Inspector of the Constabulary, asking him if he would give her a reference for the post in Birmingham. Dunning duly wrote to the Chief Constable of Birmingham City Police, Sir Charles Rafter (1857– 23 August 1935), from his home in Horsham. <mask> also wrote a letter to Chief Constable Rafter stating she would welcome getting experience from a larger force. Two weeks later <mask> sent her application for the post to Birmingham.This she did on Chief Constable Frank Richardson's office notepaper, adding she did so with his permission as well as his agreement that she should apply for the post. She also wrote another letter to Chief Constable C.H. Rafter in April 1925, reiterating the monetary conditions that she was expecting in her new position relating to her pay i.e. Salary, Detective Allowance, Plain Clothes Allowance, Boot Allowance, and she added five percent of Pensionable Pay being deducted towards the Superannuation Fund. Chief Constable Rafter replied with a personal letter to <mask> giving very precise details of what would be expected of her in her duties as a Lady Enquiry Officer in the Birmingham City Police Force. He added that his "Force needs a broad minded woman of the world" and noted that "If your Chief Constable approves of your joining this police force I would seek the approval of your Watch Committee about allowing you to count your previous police service in the Salisbury Force towards pension in this Force". <mask> often referred to her possible new position as being a Lady Enquiry Officer, a female detective.She could not be attested, as there was no provision for it in the Birmingham Force at the time; it was to be 1930 before the rules were changed in Birmingham. Two women, Evelyn Miles (1867–1939) who would become a Sergeant later and Rebecca Lipscombe were policewomen since 1918 but were not attested and therefore did not have the same powers or status as their male counterparts. <mask> journeyed from Salisbury to Birmingham on 23 April 1925 for an interview with the Chief Constable at the Chief Constable's Office in Corporation Street, Birmingham. <mask> was accepted for the post of Lady Enquiry Officer with the Birmingham Police Force, Detectives Office. She had to accept the title "Lady Enquiry Officer," as opposed to "Policewoman". Her previous attestation was held in abeyance. Peto was very pleased with the outcome: she wrote in her Memoirs that on her resignation she had the consolation of promoting

masks:
Florence Mildred White
Florence Mildred
White
White
Marion White
Florence Mildred
White
White
White
Miss White
Mildred
White
Mildred
White
Mildred
White
White
White
White
White
Mildred
White
White
White
White
White
White
White
White
White
White
White
White