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 should be rejected. Only by means of direct observation can an artist, through form and colour, represent nature in art. He advised artists in Modern Painters I to: "go to Nature in all singleness of heart... rejecting nothing, selecting nothing and scorning nothing." By the 1850s. <mask> was celebrating the Pre-Raphaelites, whose members, he said, had formed "a new and noble school" of art that would provide a basis for a thoroughgoing reform of the art world. For Ruskin, art should communicate truth above all things. However, this could not be revealed by mere display of skill, and must be an expression of the artist's whole moral outlook.Ruskin rejected the work of Whistler because he considered it to epitomise a reductive mechanisation of art. <mask>'s strong rejection of Classical tradition in The Stones of Venice typifies the inextricable mix of aesthetics and morality in his thought: "Pagan in its origin, proud and unholy in its revival, paralysed in its old age... an architecture invented, as it seems, to make plagiarists of its architects, slaves of its workmen, and sybarites of its inhabitants; an architecture in which intellect is idle, invention impossible, but in which all luxury is gratified and all insolence fortified." Rejection of mechanisation and standardisation informed <mask>'s theories of architecture, and his emphasis on the importance of the Medieval Gothic style. He praised the Gothic for what he saw as its reverence for nature and natural forms; the free, unfettered expression of artisans constructing and decorating buildings; and for the organic relationship he perceived between worker and guild, worker and community, worker and natural environment, and between worker and God. Attempts in the 19th century to reproduce Gothic forms (such as pointed arches), attempts he had helped inspire, were not enough to make these buildings expressions of what <mask> saw as true Gothic feeling, faith, and organicism. For <mask>, the Gothic style in architecture embodied the same moral truths he sought to promote in the visual arts. It expressed the 'meaning' of architecture—as a combination of the values of strength, solidity and aspiration—all written, as it were, in stone.For Ruskin, creating true Gothic architecture involved the whole community, and expressed the full range of human emotions, from the sublime effects of soaring spires to the comically ridiculous carved grotesques and gargoyles. Even its crude and "savage" aspects were proof of "the liberty of every workman who struck the stone; a freedom of thought, and rank in scale of being, such as no laws, no charters, no charities can secure." Classical architecture, in contrast, expressed a morally vacuous and repressive standardisation. Ruskin associated Classical values with modern developments, in particular with the demoralising consequences of the industrial revolution, resulting in buildings such as The Crystal Palace, which he criticised. Although <mask> wrote about architecture in many works over the course of his career, his much-anthologised essay "The Nature of Gothic" from the second volume of The Stones of Venice (1853) is widely considered to be one of his most important and evocative discussions of his central argument. <mask>'s theories indirectly encouraged a revival of Gothic styles, but <mask> himself was often dissatisfied with the results. He objected that forms of mass-produced faux Gothic did not exemplify his principles, but showed disregard for the true meaning of the style.Even the Oxford University Museum of Natural History, a building designed with <mask>'s collaboration, met with his disapproval. The O'Shea brothers, freehand stone carvers chosen to revive the creative "freedom of thought" of Gothic craftsmen, disappointed him by their lack of reverence for the task. <mask>'s distaste for oppressive standardisation led to later works in which he attacked laissez-faire capitalism, which he thought was at its root. His ideas provided inspiration for the Arts and Crafts Movement, the founders of the National Trust, the National Art Collections Fund, and the Society for the Protection of Ancient Buildings. <mask>'s views on art, wrote Kenneth Clark, "cannot be made to form a logical system, and perhaps owe to this fact a part of their value." Ruskin's accounts of art are descriptions of a superior type that conjure images vividly in the mind's eye. Clark neatly summarises the key features of <mask>'s writing on art and architecture:
 Art is not a matter of taste, but involves the whole man.Whether in making or perceiving a work of art, we bring to bear on it feeling, intellect, morals, knowledge, memory, and every other human capacity, all focused in a flash on a single point. Aesthetic man is a concept as false and dehumanising as economic man. Even the most superior mind and the most powerful imagination must found itself on facts, which must be recognised for what they are. The imagination will often reshape them in a way which the prosaic mind cannot understand; but this recreation will be based on facts, not on formulas or illusions. These facts must be perceived by the senses, or felt; not learnt. The greatest artists and schools of art have believed it their duty to impart vital truths, not only about the facts of vision, but about religion and the conduct of life. Beauty of form is revealed in organisms which have developed perfectly according to their laws of growth, and so give, in his own words, 'the appearance of felicitous fulfilment of function.'This fulfilment of function depends on all parts of an organism cohering and co-operating. This was what he called the 'Law of Help,' one of <mask>'s fundamental beliefs, extending from nature and art to society. Good art is done with enjoyment. The artist must feel that, within certain reasonable limits, he is free, that he is wanted by society, and that the ideas he is asked to express are true and important. Great art is the expression of epochs where people are united by a common faith and a common purpose, accept their laws, believe in their leaders, and take a serious view of human destiny. Historic preservation
<mask>'s belief in preservation of ancient buildings had a significant influence on later thinking about the distinction between conservation and restoration. He was a strong proponent of the former, while his contemporary, Eugène Viollet-le-Duc, promoted the latter.In The Seven Lamps of Architecture, (1849) <mask> wrote:

This abhorrence of restoration is in marked contrast to Viollet-le-Duc, who wrote that restoration is a "means to reestablish [a building] to a finished state, which may in fact never have actually existed at any given time." For Ruskin, the "age" of a building was crucially significant as an aspect in its preservation: "For, indeed, the greatest glory of a building is not in its stones, not in its gold. Its glory is in its Age, and in that deep sense of voicefulness, of stern watching, of mysterious sympathy, nay, even of approval or condemnation, which we feel in walls that have long been washed by the passing waves of humanity." Critique of political economy
Ruskin wielded a critique of political economy of orthodox, 19th-century political economy principally on the grounds that it failed to acknowledge complexities of human desires and motivations (broadly, "social affections"). He began to express such ideas in The Stones of Venice, and increasingly in works of the later 1850s, such as The Political Economy of Art (A Joy for Ever), but he gave them full expression in the influential and at the time of publication, very controversial essays, Unto This Last. At the root of his theory, was <mask>'s dissatisfaction with the role and position of the worker, and especially the artisan or craftsman, in modern industrial capitalist society. <mask> believed that the economic theories of Adam Smith, expressed in The Wealth of Nations had led, through the division of labour to the alienation of the worker not merely from the process of work itself, but from his fellow workmen and other classes, causing increasing resentment.(See The Stones of Venice above.) <mask> argued that one remedy would be to pay work at a fixed rate of wages, because human need is consistent and a given quantity of work justly demands a certain return. The best workmen would remain in employment because of the quality of their work (a focus on quality growing out of his writings on art and architecture). The best workmen could not, in a fixed-wage economy, be undercut by an inferior worker or product. In the preface to Unto This Last (1862), Ruskin recommended that the state should underwrite standards of service and production to guarantee social justice. This included the recommendation of government youth-training schools promoting employment, health, and 'gentleness and justice'; government manufactories and workshops; government schools for the employment at fixed wages of the unemployed, with idlers compelled to toil; and pensions provided for the elderly and the destitute, as a matter of right, received honourably and not in shame. Many of these ideas were later incorporated into the welfare state.Controversies

Turner's erotic drawings
Until 2005, biographies of both J. M. W. Turner and <mask> had claimed that in 1858 Ruskin burned bundles of erotic paintings and drawings by Turner to protect Turner's posthumous reputation. <mask>'s friend Ralph Nicholson Wornum, who was Keeper of the National Gallery, was said to have colluded in the alleged destruction of Turner's works. In 2005, these works, which form part of the Turner Bequest held at Tate Britain, were re-appraised by Turner Curator Ian Warrell, who concluded that <mask> and Wornum had not destroyed them. Sexuality
<mask>'s sexuality has been the subject of a great deal of speculation and critical comment. His one marriage, to Effie Gray, was annulled after six years owing to non-consummation. Effie, in a letter to her parents, claimed that Ruskin found her "person" repugnant:    He alleged various reasons, hatred of children, religious motives, a desire to preserve my beauty, and finally this last year he told me his true reason... that he had imagined women were quite different to what he saw I was, and that the reason he did not make me his Wife was because he was disgusted with my person the first evening 10th April [1848]. Ruskin told his lawyer during the annulment proceedings:   It may be thought strange that I could abstain from a woman who to most people was so attractive.But though her face was beautiful, her person was not formed to excite passion. On the contrary, there were certain circumstances in her person which completely checked it. The cause of Ruskin's "disgust" has led to much conjecture. Mary Lutyens speculated that he rejected Effie because he was horrified by the sight of her pubic hair. Lutyens argued that Ruskin must have known the female form only through Greek statues and paintings of nudes which lacked pubic hair. However, Peter Fuller wrote, "It has been said that he was frightened on the wedding night by the sight of his wife's pubic hair; more probably, he was perturbed by her menstrual blood." Ruskin's biographers Tim Hilton and <mask> also took the view that menstruation was the more likely explanation, though Batchelor also suggests that body-odour may have been the problem.There is no evidence to support any of these theories. William Ewart Gladstone said to his daughter Mary, "should you ever hear anyone blame Millais or his wife, or Mr. <mask> [for the breakdown of the marriage], remember that there is no fault; there was misfortune, even tragedy. All three were perfectly blameless." The fullest story of the Ruskins' marriage to date has been told by the scholar Robert Brownell. <mask>'s later relationship with Rose La Touche has led to claims that he started a correspondence with her when he met her at the age of nine. In fact, he did not approach her as a suitor until on or near her eighteenth birthday. She asked him to wait for her until she was 21.Receiving no answer, he repeated his proposal. <mask> is not known to have had any sexually intimate relationships. During an episode of mental derangement after Rose died, he wrote a letter in which he insisted that Rose's spirit had instructed him to marry a girl who was visiting him at the time. It is also true that in letters from Ruskin to Kate Greenaway he asked her to draw her "girlies" (as he called her child figures) without clothing:

Will you – (it's all for your own good – !) make her stand up and then draw her for me without a cap – and, without her shoes, – (because of the heels) and without her mittens, and without her – frock and frills? And let me see exactly how tall she is – and – how – round. It will be so good of and for you – And to and for me.In a letter to his physician <mask> on 15 May 1886, Ruskin wrote:

I like my girls from ten to sixteen—allowing of 17 or 18 as long as they're not in love with anybody but me.—I've got some darlings of 8—12—14—just now, and my Pigwiggina here—12—who fetches my wood and is learning to play my bells.Pigwiggina is a nickname Ruskin used for the girl as she looked after (lambs and) piglets; c.f. Ruskin's biographers disagree about the allegation of "paedophilia". Tim Hilton, in his two-volume biography, asserts that Ruskin "was a paedophile" but leaves the claim unexplained, while <mask> argues that the term is inappropriate because Ruskin's behaviour does not "fit the profile". Others point to a definite pattern of "nympholeptic" behaviour with regard to his interactions with girls at a Winnington school. However, there is no evidence that Ruskin ever engaged in any sexual activity with anyone at all. According to one interpretation, what Ruskin valued most in pre-pubescent girls was their innocence; the fact that they were not (yet) fully developed sexual beings is what attracted him. An exploration of this topic by James L. Spates declares that "whatever idiosyncratic qualities his erotic expressions may have possessed, when it comes to matters of sexual capability and interest, there is every reason to conclude that <mask> was physically and emotionally normal."Common law of business balance
Ruskin was not a fan of buying low and selling high. In the "Veins of Wealth" section of Unto This Last, he wrote: "So far as I know, there is not in history record of anything so disgraceful to the human intellect as the modern idea that the commercial text, 'Buy in the cheapest market and sell in the dearest,' represents, or under any circumstances could represent, an available principle of national economy." Perhaps due to such passages, Ruskin is frequently identified as the originator of the "common law of business balance"—a statement about the relationships of price and quality as they pertain to manufactured goods, and often summarised as: "The common law of business balance prohibits paying a little and getting a lot." This is the core of a longer statement usually attributed to Ruskin, although Ruskin's authorship is disputed among Ruskin scholars. Fred Shapiro maintains that the statement does not appear anywhere in Ruskin's works, and George Landow is likewise sceptical of the claim of Ruskin's authorship. In a posting of the Ruskin Library News, a blog associated with the Ruskin Library (a major collection of Ruskiniana located at Lancaster University), an anonymous library staff member briefly mentions the statement and its widespread use, saying that, "This is one of many quotations ascribed to Ruskin, without there being any trace of them in his writings – although someone, somewhere, thought they sounded like Ruskin." In an issue of the journal Heat Transfer Engineering, Kenneth Bell quotes the statement and mentions that it has been attributed to Ruskin.While Bell believes in the veracity of its content, he adds that the statement does not appear in <mask>'s published works. Early in the 20th

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 century, this statement appeared—without any authorship attribution—in magazine advertisements, in a business catalogue, in student publications, and, occasionally, in editorial columns. Later in the 20th century, however, magazine advertisements, student publications, business books, technical publications, scholarly journals, and business catalogues often included the statement with attribution to Ruskin. In the 21st century, and based upon the statement's applicability of the issues of quality and price, the statement continues to be used and attributed to <mask>—despite the questionable nature of the attribution. For many years, various Baskin-Robbins ice cream parlours prominently displayed a section of the statement in framed signs. ("There is hardly anything in the world that someone cannot make a little worse and sell a little cheaper, and the people who consider price alone are that man's lawful prey.") The signs listed <mask> as the author of the statement, but the signs gave no information on where or when <mask> was supposed to have written, spoken, or published the statement.Due to the statement's widespread use as a promotional slogan, and despite questions of <mask>'s authorship, it is likely that many people who are otherwise unfamiliar with <mask> now associate him with this statement. Definitions

The OED credits J<mask> with the first quotation in 152 separate entries. Some include:
 Pathetic fallacy: <mask> coined this term in Modern Painters III (1856) to describe the ascription of human emotions to inanimate objects and impersonal natural forces, as in "Nature must be gladsome when I was so happy" (Charlotte Brontë, Jane Eyre). Fors Clavigera: <mask> gave this title to a series of letters he wrote "to the workmen and labourers of Great Britain" (1871–84). The name was intended to signify three great powers that fashion human destiny, as Ruskin explained at length in Letter 2 (February 1871). These were: force, symbolised by the club (clava) of Hercules; Fortitude, symbolised by the key (clavis) of Ulysses; and Fortune, symbolised by the nail (clavus) of Lycurgus. These three powers (the "fors") together represent human talents and abilities to choose the right moment and then to strike with energy.The concept is derived from Shakespeare's phrase "There is a tide in the affairs of men/ Which, taken at the flood, leads on to fortune" (Brutus in Julius Caesar). <mask> believed that the letters were inspired by the Third Fors: striking out at the right moment.For a full and concise introduction to the work, see Dinah Birch, "Introduction", in <mask>, Fors Clavigera, ed. Dinah Birch (Edinburgh University Press, 2000), pp. xxxiii–xlix. Illth: Used by Ruskin as the antithesis of wealth, which he defined as life itself; broadly, where wealth is 'well-being', illth is "ill-being". Theoria: Ruskin's 'theoretic' faculty – theoretic, as opposed to aesthetic – enables a vision of the beautiful as intimating a reality deeper than the everyday, at least in terms of the kind of transcendence generally seen as immanent in things of this world. For an example of the influence of <mask>'s concept of theoria, see Peter Fuller.Modern Atheism: <mask> applied this label to "the unfortunate persistence of the clergy in teaching children what they cannot understand, and in employing young consecrate persons to assert in pulpits what they do not know." Excrescence: <mask> defined an "excrescence" as an outgrowth of the main body of a building that does not harmonise well with the main body. He originally used the term to describe certain gothic revival features also for later additions to cathedrals and various other public buildings, especially from the Gothic period. Fictional portrayals
 Ruskin figures as Mr Herbert in The New Republic (1878), a novel by one of his Oxford undergraduates, William Mallock (1849–1923). The Love of John Ruskin (1912) a silent movie about Ruskin, Effie and Millais. Edith Wharton's False Dawn novella, the first in the 1924 Old New York series has the protagonist meet <mask>. Ruskin was the inspiration for either the Drawling Master or the Gryphon in Alice's Adventures in Wonderland.Dante's Inferno (1967) Ken Russell's biopic for television of Rossetti, in which Ruskin is played by Clive Goodwin
 The Love School (1975) a BBC TV series about the Pre-Raphaelites, starring David Collings (Ruskin), Anne Kidd (Effie), Peter Egan (Millais). A novel about the marriage of <mask>in. Dear Countess (1983) a radio play by Elizabeth Morgan, with Derek Jacobi (Ruskin), Bridget McCann (Gray), Timothy West (Old Mr Ruskin) Michael Fenner (Millais). The author played Ruskin's mother. Peter Hoyle's novel, Brantwood: The Story of an Obsession (1986, ) is about two cousins who pursue their interest in Ruskin to his Coniston home. The Passion of <mask>in (1994), a film directed by Alex Chapple. Modern Painters (1995) an opera about Ruskin by David Lang.Parrots and Owls (1994) a radio play by <mask> about <mask>'s attempt to revive Gothic architecture and his connection to the O'Shea brothers. The Countess (1995), a play written by Gregory Murphy, dealing with Ruskin's marriage. A novel in which Ruskin makes his last visit to Amiens cathedral in 1879. The Order of Release (1998), a radio play by Robin Brooks about Ruskin (Bob Peck), Effie (Sharon Small) and Millais (David Tennant). Ruskin and the Hinksey diggings form the backdrop to Ann Harries' novel, Manly Pursuits (1999). A collection of short stories that includes Come, Gentle Nightabout Ruskin and Effie's wedding night. Mrs Ruskin (2003), a play by Kim Morrissey dealing with <mask>'s marriage."Sesame and Roses" (2007), a short story by Grace Andreacchi that explores Ruskin's twin obsessions with Venice and Rose La Touche. Desperate Romantics (2009), a six-part BBC drama serial about the Pre-Raphaelite Brotherhood. <mask> is played by Tom Hollander. Benjamin, Melanie (2010). Alice I Have Been. . A fictionalized account of the life of Alice Liddell Hargreaves, the inspiration for Lewis Carroll's Alice's Adventures in Wonderland and Through the Looking Glass. Mr. Turner (2014), a biopic of J. M. W. Turner with Ruskin portrayed as a precocious prig by Joshua McGuire. Effie Gray (2014), a biopic about the Ruskin-Gray-Millais love triangle, written by Emma Thompson and featuring Greg Wise (Ruskin), Dakota Fanning (Gray) and Tom Sturridge (Millais).Light, Descending (2014) is a biographical novel about <mask>in by Octavia Randolph. Gallery
Paintings

Drawings

Select bibliography
  It is the standard scholarly edition of <mask>'s work, the Library Edition, sometimes called simply Cook and Wedderburn. The volume in which the following works can be found is indicated in the form: (Works [followed by the volume number]). Works by Ruskin
 Poems (written 1835–46; collected 1850) (Works 2)
 The Poetry of Architecture (serialised The Architectural Magazine 1837–38; authorised book, 1893) (Works 1)
 Letters to a College Friend (written 1840–45; published 1894) (Works 1)
 The King of the Golden River, or the Black Brothers. A Legend of Stiria (written 1841; published 1850) (Works 1)
 Modern Painters (5 vols.) (1843–60) (Works 3–7)
 Vol. I (1843) (Parts I and II) Of General Principles and of Truth (Works 3)
 Vol.II (1846) (Part III) Of the Imaginative and Theoretic Faculties (Works 4)
 Vol. III (1856) (Part IV) Of Many Things (Works 5)
 Vol. IV (1856) (Part V) Mountain Beauty (Works 6)
 Vol. V (1860) (Part VI) Of Leaf Beauty (Part VII) Of Cloud Beauty (Part VIII) Of Ideas of Relation (1) Of Invention Formal (Part IX) Of Ideas of Relation (2) Of Invention Spiritual (Works 7)
 The Seven Lamps of Architecture (1849) (Works 8)
 The Stones of Venice (3 vols) (1851–53)
 Vol. I. The Foundations (1851) (Works 9)
 Vol. II.The Sea–Stories (1853) (Works 10) – containing the chapter "The Nature of Gothic"
 Vol. III. 1–7 covering annually 1871–1877, and vol. 8, Letters 85–96, covering 1878–84)
 Volume I. Letters 1–36 (1871–73) (Works 27)
 Volume II. Letters 37–72 (1874–76) (Works 28)
 Volume III. <mask>in) (1876–88) (Works 31–32)
 Laws of Fésole: A Familiar Treatise on the Elementary Principles and Practice of Drawing and Painting as Determined by the Tuscan Masters (arranged for the use of schools) (1877–78) (Works 15)
 St Mark's Rest (1877–84, book 1884) (Works 24)
 Fiction, Fair and Foul (serialised Nineteenth Century 1880–81, incorporated in On the Old Road (1885)) (Works 34)
 The Bible of Amiens (the first part of Our Fathers Have Told Us) (1880–85) (Works 33)
 The Art of England: Lectures Given in Oxford, During his Second Tenure of the Slade Professorship (delivered 1883, book 1884) (Works 33)
 The Storm-Cloud of the Nineteenth Century: Two Lectures Delivered at the London Institution, 4 and 11 February 1884 (1884) (Works 34)
 The Pleasures of England: Lectures Given in Oxford, During his Second Tenure of the Slade Professorship (delivered 1884, published 1884–85) (Works 33)
 Præterita: Outlines of Scenes and Thoughts Perhaps Worthy of Memory in My Past Life (3 vols.)(1885–89) (Works 35)
 Dilecta: Correspondence, Diary Notes, and Extracts from Books, Illustrating 'Praeterita''' (1886, 1887, 1900) (Works 35)

Selected diaries and letters
 The Diaries of <mask>in eds. Joan Evans and <mask> Whitehouse (Clarendon Press, 1956–59)
 The Brantwood Diary of <mask> ed. Helen Gill Viljoen (Yale University Press, 1971)
 A Tour of the Lakes in Cumbria. <mask>'s Diary for 1830 eds. Van Akin Burd and James S. Dearden (Scolar, 1990)
 The Winnington Letters: <mask>'s correspondence with Margaret Alexis Bell and the children at Winnington Hall ed. Van Akin Burd (Harvard University Press, 1969)
 The Ruskin Family Letters: The Correspondence of <mask> <mask>, his wife, and their son <mask>, 1801–1843 ed. Van Akin Burd (2 vols.)(Cornell University Press, 1973)
 The Correspondence of <mask> and Charles Eliot Norton ed. <mask> Bradley and Ian Ousby (Cambridge University Press, 1987)
 The Correspondence of Thomas Carlyle and <mask> ed. George Allen Cate (Stanford University Press, 1982)
 <mask>'s Correspondence with Joan Severn: Sense and Nonsense Letters ed. Rachel Dickinson (Legenda, 2008)

Selected editions of Ruskin still in print
 Praeterita [<mask>'s autobiography] ed. Francis O' Gorman (Oxford University Press, 2012)
 Unto this Last: Four essays on the First Principles of Political Economy intro. Andrew Hill (Pallas Athene, 2010)
 Unto This Last And Other Writings ed. Clive Wilmer (Penguin, 1986)
 Fors Clavigera: Letters to the Workmen and Labourers of Great Britain ed.Dinah Birch (Edinburgh University Press, 1999)
 The Storm-Cloud of the Nineteenth-Century preface by Clive Wilmer and intro. Peter Brimblecombe (Pallas Athene, 2012)
 The Nature of Gothic (Pallas Athene, 2011) [facsimile reprint of Morris's Kelmscott Edition with essays by Robert Hewison and Tony Pinkney]
 Selected Writings ed. Dinah Birch (Oxford University Press, 2009)
 Selected Writings (originally Ruskin Today) ed. Kenneth Clark (Penguin, 1964 and later impressions)
 The Genius of <mask>: Selections from his Writings ed. <mask>. Rosenberg (George Allen and Unwin, 1963)
 Athena: Queen of the Air (Annotated) (originally The Queen of the Air: A Study of the Greek Myths of Cloud and Storm) ed. Na Ding, foreword by Tim Kavi, brief literary bio by Kelli M. Webert (TiLu Press, 2013 electronic book version, paper forthcoming)Ruskin on Music ed Mary Augusta Wakefield (Creative Media Partners LLC, 2015)

See also

 <mask> Devereux
 <mask>, Nebraska
 Ruskin's diggers in Ferry Hinksey (1874)
 Ruskin's Ride, a bridleway in Oxford
 Trenton, Missouri, home of the first Ruskin College in the United States
 Charles Augustus Howell
 The English House Mount Ruskin

References

Sources
 Robert Hewison, "<mask>, <mask> (1819–1900)", Oxford Dictionary of National Biography (ODNB) Oxford University Press, 2004; online edition. Francis O'Gorman (1999) <mask> (Pocket Biographies) (Sutton Publishing)
 James S. Dearden (2004), <mask> (Shire Publications)

Further reading
General
Barringer, Tim.et al., ed. Unto This Last: Two Hundred Years of <mask>in. New Haven: Yale University Press, 2019. ISBN 978-0-300-24641-4. Conner, Patrick. <mask>. New York: Macmillan Press, 1979.Cook, E. T.  <mask>, <mask>. Dictionary of National Biography (1st supplement). London: Smith, Elder & Co, 1901. Dearden, James S. <mask>in's Bookplates. The Book Collector (1964) 13 no 3 (autumn): 335-339. Dearden, J. S. The Production and Distribution of <mask>'s Poems 1850. The Book Collector (1968)17 no 2 (summer): 151-167.Dearden, J. S. Wise and <mask>. The Book Collector (1969) 18.no.1 (spring): 45-56. Freeman, Kelly; Hughes, Thomas. et al. eds. <mask>’s Ecologies: Figures of Relation from Modern Painters to The Storm-Cloud. The Courtauld, 2021.ISBN 978-1-907485-13-8. Hanley, K; Hull, C. S. eds. <mask>'s Continental Tour 1835: The Written Records and Drawings. Cambridge: Legenda,  2016. ISBN 978-1-906540-85-2. Hewison, Robert. <mask>: The Argument of the Eye.Thames and Hudson, 1976. Hugh, Chriholm. ed. <mask>, <mask>. Encyclopædia Britannica (11th ed.). Cambridge University Press, 1911. Jackson, Kevin.The Worlds of <mask>. Pallas Athene, 2010. Quill, Sarah. Ruskin's Venice: The Stones Revisited. Ashgate, 2000. Quigley Carroll. Tragedy and Hope: A History Of The World In Our Time.GSG & Associates, 1966. Rosenberg, J. G. The Darkening Glass: A Portrait of <mask>'s Genius. Columbia University Press, 1961. Viljoen, Helen Gill. <mask>'s Scottish Heritage: A Prelude. University of Illinois Press, 1956. Waldstein, C. The Work of <mask>in
 W. G. Collingwood (1893) The Life and Work of <mask>in 1–2. Methuen. (The Life of <mask>in, sixth edition (1905).) – Note that the title was slightly changed for the 1900 2nd edition and later editions.E. T. Cook (1911) The Life of <mask>in 1–2. George Allen. (The Life of <mask>in, vol. 1 of the second edition (1912); The Life of <mask>in, vol. 2 of the second edition (1912))
 Derrick Leon (1949) <mask>: The Great Victorian (Routledge & Kegan Paul)
 Tim Hilton (1985) <mask>: The Early Years (Yale University Press)
 Tim Hilton (2000) <mask>: The Later Years (Yale University Press)
 <mask> (2000) <mask>: No Wealth But Life (Chatto & Windus)
 Robert Hewison (2007) <mask>'' (Oxford University Press)

External links
 Ruskin Today
 The Eighth Lamp, Ruskin Studies Today. Ruskin journal

Library collections
 UK Museum, Library and Archive collections relating to Ruskin at Cornucopia.org.uk. Retrieved
 <mask>in texts in the Baldwin Library of Historical Children's Literature Digital Collection.Retrieved 2010-10-19

Electronic editions

 Liverpool Museums audio files on Ruskin

Archival material
 <mask> letter to Brantwood at Mount Holyoke College
 <mask> letter to Simon at Mount Holyoke College

 Birmingham Museums & Art Gallery's online biography and gallery . Retrieved 2010-10-19
 Sources for the Study of <mask> and the Guild of St George. Produced by Sheffield City Council's Libraries and Archives. Archival material at
 Finding aid to <mask> letters at Columbia University. Rare Book & Manuscript Library. <mask> Ruskin Collection. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.1819 births
1900 deaths
19th-century British journalists
19th-century British philosophers
19th-century economists
19th-century English painters
Alumni of Christ Church, Oxford
Alumni of King's College London
Anti-consumerists
Architectural theoreticians
Arts and Crafts movement artists
British anti-capitalists
British male journalists
Burials in Cumbria
Conchologists
English architecture writers
English art critics
English environmentalists
English essayists
English male painters
English people of Scottish descent
English philosophers
English watercolourists
Guild of St George
Male essayists
Painters from London
People associated with Anglia Ruskin University
People associated with the Pre-Raphaelite Brotherhood
Romantic critics of political economy
Slade Professors of Fine Art (University of

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<mask> (born February 29, 1964) is an American film composer, record producer, music conductor, music arranger, lyricist, songwriter, pianist, and vocalist. <mask> is a five-time Grammy Award winner and a 10-time Grammy Award nominee. <mask> has written the underscore and songs for many feature and television films and has written countless arrangements in a variety of musical styles for producers Quincy Jones, David Foster, Arif Mardin, and dozens of popular recording artists, including extensive work on Jones' Back on the Block, Q's Jook Joint, and Q: Soul Bossa Nostra. <mask> has also produced numerous jazz, pop, R&B, contemporary Christian, and gospel artists, typically arranging those recordings, often performing on them (on piano, keyboards, or vocals), and often writing or co-writing the melodies and lyrics. <mask> is best known as an original member of the a cappella vocal group Take 6, for having composed the underscore to the number-1 film The Wedding Planner (2001), for producing and arranging songs for the hit film Sister Act 2 (1993), and for producing and arranging most of the soundtrack to the 1996 Whitney Houston film The Preacher's Wife—the best-selling Gospel album of all time. Early life and education
<mask> was born on a leap day (February 29) in Huntsville, Alabama. He is the son of <mask><mask>, a university administrator, professor and author, and Barbara J<mask>, a university professor who specialized in early childhood education.His mother taught him reading and math when he was three years old, which enabled him to complete the first and second grades in one year. Upon beginning the third grade, his classmates, thinking he had been "skipped" a grade, taunted and ostracized him for the next several years. During that time, he immersed himself in playing the piano, which he had begun under his mother's tutelage at the age of five. He took piano lessons briefly at the ages of six and 10 but lost interest, preferring improvising to memorization. Because his parents are Seventh-day Adventists, he was forbidden from listening to pop music or rhythm and blues. He was punished at the age of twelve when he got caught with a copy of the album Gratitude by Earth, Wind & Fire. Instead he listened to easy-listening, contemporary Christian, classical, choral music, the Mantovani Orchestra, Edwin Hawkins, and the Swingle Singers.He grew up near Oakwood University, where he saw ensembles perform. At fifteen, he enrolled in a summer program at Alabama A&M University for high school students who excelled at math and science. In 1981 he was valedictorian at Oakwood Adventist Academy, then a few months later entered Oakwood University. He graduated in 1985 with a degree in music. Two years later he received a master's degree in arranging from the University of Alabama, having studied with Steve Sample Sr. Early musical career
At the age of five, <mask> began playing the piano by ear, after being taught a few songs by his mother. For many years thereafter, he immersed himself at the piano—learning to play various styles by ear and creating new arrangements of existing pieces.As early as the age of seven, he was accompanying vocalists at the piano, for their performances at school or church. He soon became sought after as an accompanist in the community and continued to do so, frequently, throughout college and graduate school. At the age of 10, <mask> became the regular accompanist for a vocal group, composed of five of his female classmates, and they performed regularly at school and community events. Within weeks of becoming their accompanist, <mask> began creating original arrangements for the group. When he was 12, he was asked by a classmate if he had ever considered composing an original song. Though <mask> had not previously considered doing so, always having created arrangements of preexisting songs, the suggestion prompted him to begin composing original songs and lyrics, which he taught to the aforementioned vocal group and which they began to perform publicly. <mask> had an innate inclination toward jazz and complex harmony, which was evident in both his original songs and arrangements of existing songs.This inclination was met with disdain by some of the more conservative, Christian members of the Oakwood community, resulting in an ongoing struggle between figures of authority and <mask>, as he attempted to express his musical ideas. At the age of 13, <mask> expanded the five-voice, female vocal group to a nine-voice, mixed vocal group. This group, now called The Symbolic Sounds, sang his arrangements and compositions exclusively, and remained popular in the school and community through 1981. <mask>'s first, professional recording session was for a new version of "The Lord's Prayer", set to an original melody, which <mask> co-wrote with his friend Eric Todd. It was recorded by Blessed Peace, a popular gospel choir at Oakwood University, at Sound Cell Recording Studio in Huntsville, Alabama. <mask> created the vocal arrangement, played keyboards, and assisted Todd with the overall production. During that session, studio-owner Doug Jansen Smith took note of <mask>'s abilities.Soon thereafter, <mask> became a regular session-performer at Sound Cell, contributing arrangements, playing keyboards, and singing on various radio and TV jingles, as well as pop, rock, country, and contemporary Christian recordings. Many of those sessions included <mask>'s friend Mark Kibble, also an accomplished arranger, pianist, and vocalist (and future member of Take 6). As early as the age of 13, <mask> and Kibble, who were born five weeks apart, had performed concerts together, singing solos and duets, while taking turns providing accompaniment at the piano. One of the duets began with <mask> singing and Kibble at the piano; then, halfway through the song, <mask> would leave the stage and take over at the piano, seamlessly, at which point Kibble would take the stage to sing. In 1980, while both juniors in high school, <mask> and Kibble joined a preexisting, male, a cappella vocal quartet at Oakwood University, and the resulting sextet became known as Alliance. Alliance became known for its highly unique and complex vocal arrangements, primarily of well-known negro spirituals, but of some newer songs, as well. Most of Alliance's dazzling arrangements were created by Mark Kibble, but later, <mask> contributed a few, as well.Alliance was very popular and performed not only on the campus of Oakwood University, but in various cities across the United States. In 1983, Alliance recorded an album at Sound Cell Recording Studio, entitled Something Within for Legacy Records, a custom label founded by Henry Mosley, then-professor at Oakwood University. Mosley also served as the group's manager. Later, an unmarked, cassette copy of Something Within was given by recording artist Michael Martin Murphey to Jim Ed Norman at Warner Bros. Records in Nashville, Tennessee. Norman loved the recording but neither he nor Murphey knew the identity of the performers. In 1987, Norman finally discovered the group's identity and promptly signed Alliance to a recording contract with Reprise Records, a division of Warner Bros. Records. Upon discovering that a rock music band had already recorded under the name "Alliance", the vocal group Alliance was renamed Take 6, released the album Take 6, and went on to earn worldwide acclaim.In 1981, <mask> enrolled at Oakwood University and joined the highly regarded touring choir The Aeolians, under the direction of Professor Alma Blackmon. <mask> remained a member of The Aeolians throughout his four-year matriculation, later becoming the ensemble's stage director, assistant conductor, and alternate accompanist. With The Aeolians, <mask> toured extensively throughout the United States, Bermuda, The Bahamas, The Virgin Islands, England, Scotland, and Wales. In 1985, <mask> composed an upbeat choral piece entitled "I Ain't Got Long To Be Here" in the style of a negro spiritual. Blackmon allowed <mask> to teach the piece to The Aeolians, and it became part of their standard repertoire. Whenever they performed it, Blackmon introduced <mask>, who would then conduct the piece. "I Ain't Got Long To Be Here" is believed to be the first student composition ever to have been performed by The Aeolians.Blackmon was a pivotal figure in <mask>'s musical development. With her he studied music theory, piano performance, and techniques of choral conducting. By coincidence, as a teenager <mask> lived in his parents' home, directly across the street from the home of Blackmon and her daughter Brenda, now Brenda Wood. As of 2010, Wood is an NBC news anchor at WXIA-TV in Atlanta, Georgia. A Special Blend

Many members of The Aeolians also sang in other vocal groups and choirs at Oakwood University. However, because of The Aeolians' rigorous rehearsal and touring schedule, conductor Alma Blackmon had instituted a rule that no members of the ensemble could participate in extracurricular groups larger than a quartet. This was intended to limit the number of students who might collectively miss any given Aeolian performance.As such, <mask>'s nine-voice vocal group, The Symbolic Sounds, was disallowed. In response, in 1981 <mask> disbanded The Symbolic Sounds and formed the vocal group A Special Blend, consisting of two women and two men, accompanied by <mask> on piano or sometimes by a full rhythm section. He created innovative vocal arrangements for A Special Blend, whose repertoire consisted of new arrangements of familiar songs, as well as original compositions by <mask>. The group's core members were Joya Foster, Lori Bryan, Mark Kibble, and Claude V. McKnight, III. Like Alliance, A Special Blend became well-known and popular for its unique style, combining vocal jazz with contemporary Christian lyrics. A Special Blend performed many concerts throughout the United States, primarily on weekends, during the school year. <mask>, Kibble, and McKnight were members of both A Special Blend and Alliance.The groups' respective takes on vocal jazz complimented each other, and in fact they frequently concertized in tandem. At different points during A Special Blend's six-year continuance, vocalists Andraetta Huff, Sheryl Bihm, and Michelle Mayne each briefly served as members or alternate members. In reality, neither A Special Blend nor Alliance complied with Blackmon's "Rule of Four." However, she granted an exception for A Special Blend, since they were technically a quartet that <mask> accompanied at the piano. Alliance, on the other hand, was in clear violation, but <mask>, along with Mark Kibble and Claude V. McKnight, III, continued to perform with Alliance stealthily. Although Kibble and McKnight also sang with The Aeolians, they each did so for only one year or less. <mask> remained a member of The Aeolians throughout his four-year

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Mervyn Edwin Warren
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 matriculation.In 1982, A Special Blend won the first-place trophy at the Alabama State Fair's talent competition. In 1983, A Special Blend recorded a collection of several songs at Sound Cell Studio, to serve as a demo to help the group acquire a recording contract. Like Alliance, A Special Blend caught the attention of Henry Mosley, who became the group's manager. In 1984 A Special Blend recorded an album entitled Nowhere But Up, which <mask> produced. The album was recorded at a studio in Nashville, Tennessee, for release on Mosley's Legacy Records. To attend sessions, <mask> and the group and band members made the 100-mile trip many times—often departing for Nashville after the day's classes, recording for a few hours, then returning to Huntsville after midnight, in time for the next morning's classes. Despite Oakwood University's rich tradition of vocal groups, which had spanned decades, Nowhere But Up was the first student album to feature a full rhythm section plus orchestration, including a string ensemble, a big band, a pop horn section, synthesizers, and exotic percussion, all of which <mask> arranged, though at the time he had received no formal training in orchestral writing.Upon its release, Nowhere But Up caused quite a stir within Oakwood University's rather conservative community. While a small number of the most conservative faculty members expressed discontent with the album's decidedly jazzy style, the project was highly celebrated by students, other faculty, and enthusiasts, both within the Oakwood community and around the United States. Only a few thousand copies of Nowhere But Up were pressed, and it is today considered a collector's item. As of 2010, there are discussions of a possible re-release of the album on the iTunes Store in 2011, the 30th anniversary of the group's formation. A Special Blend often joined <mask> at Sound Cell Studio to sing on jingles or commercials or to provide background vocals for other artists' recordings. These recordings ran the gamut from country and pop to "easy listening" and contemporary Christian music. The group also performed background vocals on stage for recording artist Bob Bailey, during his live concert at Oakwood.In 1985, during a trip to California, A Special Blend performed at gospel-music legend Walter Hawkins' Love Center in Oakland. Aside from Hawkins and his brother, the equally celebrated Edwin Hawkins, the concert was attended by gospel-music legend Danniebelle Hall, who had been very influential upon <mask>. In fact, A Special Blend's repertoire included a unique arrangement of a Danniebelle Hall New Orleans jazz-styled piece entitled "Theme On The Thirty-Seventh", which A Special Blend performed, to Hall's delight. After the group's performance, Walter Hawkins took the stage and playfully expressed that he had not noticed A Special Blend performing any Walter Hawkins songs. From the audience, Hall replied—tongue firmly in cheek—"Well, if you'd write something decent, they would." In 1986, <mask> traveled to Toronto, to see the Manhattan Transfer in concert. Afterward, he waited at the backstage door, and upon the group's exit presented them with copies of Nowhere But Up.Over the years, A Special Blend had in fact been compared to the Manhattan Transfer. Some months later, while completing his master's degree at the University of Alabama, <mask> received a surprise phone call from Janis Siegel of the Manhattan Transfer, asking if he had heard from the Recording Academy. Siegel explained that members of the Manhattan Transfer had submitted Nowhere But Up for a Grammy Award nomination. Because the album was a small, independent release, it had not reached enough members of the Recording Academy to earn a Grammy nomination. However, <mask> and A Special Blend would remain forever grateful for the Transfer's magnanimous gesture. Years later, <mask> would write several arrangements for the Manhattan Transfer. Take 6
In 1980, <mask> became a member of the a cappella sextet Alliance, which in 1987 signed with Warner Bros. Records, moved to Nashville, Tennessee, changed its name to Take 6, and achieved worldwide fame in 1988.<mask> produced or co-produced most of their first two albums, Take 6 and So Much 2 Say; arranged and co-wrote many of the included songs; and with the group won his first of four Grammy Awards. <mask>'s years with Take 6 were characterized by a flurry of appearances, performances, recordings, and travel. Take 6 performed many concerts and embarked upon several concert tours, typically to sold-out audiences, both in the United States and abroad. In 1988, Take 6 toured approximately 12 U.S. cities, opening for singer Andy Williams. In 1989, Take 6 toured 40 U.S. cities, opening for jazz legend Al Jarreau. In subsequent years, Take 6 headlined their own concerts and tours throughout the United States, the UK, Europe, and Japan. Take 6 also performed at a number of well-known events, venues, and jazz festivals, including Radio City Music Hall, Carnegie Hall, The Hollywood Bowl, The Special Olympics, The Monterey Jazz Festival, and The Playboy Jazz Festival.Occasionally Take 6 shared billing with other, popular contemporary-Christian recording artists, such as BeBe & CeCe Winans, the Winans, and Commissioned. The popularity of Take 6 led to collaborations with many, established artists. In fact, it was through Take 6 that <mask> first met Quincy Jones, establishing a musical friendship that would last for decades. Take 6 performed on several songs and interludes on Jones' album Back on the Block. In addition to performing with the group and contributing to their vocal arrangements, <mask> is the featured voice on "Setembro (Brazilian Wedding Song)", and he penned the lyrics for "The Verb To Be (Introduction to Wee B. Dooinit)". Jones also invited <mask> to be a featured vocalist on the song "The Secret Garden (Sweet Seduction Suite)." At the time, for personal reasons, <mask> respectfully declined the invitation.Since then, <mask> has characterized it as "one of the very few decisions in my life that I truly regret." In the years since, <mask> has arranged, produced, or co-produced numerous songs for various Jones projects. In 1989, Take 6 recorded the song "Don't Shoot Me," for the Spike Lee film Do the Right Thing. <mask> produced the recording and co-wrote "Don't Shoot Me" with Lee and with group-members Claude V. McKnight, III and David Thomas. That same year, Take 6 recorded background vocals on the Don Henley album The End of the Innocence. The collaboration had been requested, as a personal favor, by Jim Ed Norman, then-president of Warner Bros. Records in Nashville. Norman and Henley were longtime friends, Norman having previously produced many recordings by Henley's band The Eagles.Other notable Take 6 collaborations during that period include recordings with k.d. lang, Johnny Mathis, Stephanie Mills, Melba Moore, Joe Sample, Dino Kartsonakis, and composer Steve Dorff. During <mask>'s tenure, Take 6 recorded music videos for three songs: "Spread Love," "I L-O-V-E U," and "Ridin' The Rails," their collaboration with k.d. lang, for the 1990 film Dick Tracy. During the same period, Take 6 also recorded theme music for the television show Murphy Brown, Oprah Winfrey's television miniseries The Women of Brewster Place, and commercials for Burger King and Mitsubishi. During this period, Take 6 performed live on numerous television shows, including the 31st Grammy Awards, Good Morning America, The Today Show, David Sanborn's Good Evening, The Arsenio Hall Show, The Tonight Show, Saturday Night Live, and Late Show with David Letterman. Take 6 also performed The National Anthem at the 1988 World Series.In 1991 <mask> left Take 6 to become a full-time record producer, songwriter, arranger and film composer. Music career in Nashville
Between recording sessions and tours with Take 6, <mask> produced and wrote songs and arrangements for other musicians. Producer Greg Nelson became a mentor to him. After leaving Take 6 in 1991, <mask> remained in Nashville, where he worked with Yolanda Adams,  First Call, Larnelle Harris, James Ingram, Babbie Mason, Cindy Morgan, Sandi Patty, The Richard Smallwood Singers, Thomas Whitfield, and Bebe & Cece Winans. In 1990, he produced two tracks on the Donna McElroy album Bigger World. The arrangement for "Come Sunday," was a collaboration with Cedric Dent of Take 6. <mask> and Dent received a Grammy Award nomination for the arrangement.Interpreting Handel
In 1991, <mask> was hired to arrange and produce an interpretation of the 1741 oratorio Messiah by George Frideric Handel that incorporated African-American music. He arranged and produced seven of the sixteen tracks of  Handel's Messiah: A Soulful Celebration, which included spirituals, blues, ragtime, swing, jazz fusion, rhythm and blues, gospel, and hip-hop. The album received the Grammy Award for Best Contemporary Soul Gospel Album and the Dove Award for Contemporary Gospel Album of the Year. Handel's Messiah: A Soulful Celebration has been officially recognized by Handel House, the George F. Handel museum in London, England. Film and music career in Los Angeles

In 1993 <mask> was hired to compose music for the film Sister Act 2: Back in the Habit. Although he intended to return to Nashville, job offers compelled him to remain in Los Angeles. He has composed and conducted orchestral scores for film and television; written, produced, and arranged songs for films and for Ron Fair, David Foster, and Quincy Jones; and has performed and recorded as a musician.He collaborated with Jeff Marx on "You Have More Friends Than You Know" for the It Gets Better organization. The song appeared on the television program Glee on April 18, 2013. Awards and honors

Grammy Awards and nominations

Soul Train Award

NAACP Image Award nominations

Dove Awards and nominations (10)

Stellar Awards

References

External links
 Mervyn <mask> <mask>siCodex Page
 https://mervynwarren.com/biography
 Alabama Hall of Fame Music Achievers

1964 births
Living people
African-American pianists
American film score composers
American male film score composers
American gospel singers
American jazz keyboardists
American jazz pianists
American male pianists
American jazz singers
American music arrangers
Record producers from Alabama
American rhythm and blues keyboardists
American contemporary R&B singers
Gospel musicians
Gospel music composers
Songwriters from Alabama
Grammy Award winners
American jazz composers
American male jazz composers
Musicians from Huntsville, Alabama
Urban contemporary gospel musicians
20th-century American pianists
Jazz musicians from Alabama
21st-century American pianists
20th-century American male musicians
21st-century American male musicians
African-American songwriters
20th-century African-American musicians
21st-century African-American musicians
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<mask> (Russian: Дмитрий Анатольевич Белик; born in 17 October 1969) is a Russian politician who is currently a member of parliament in the State Duma of the VII convocation, a member of the United Russia party, and a member of the State Duma committee on control and regulations and a member since 5 October 2016. He had been the acting head of Sevastopol from 4 March 2014 to 13 May 2014 as he was an active participant in the occupation of Crimea by Russia. Biography

<mask> was born in Kular, Russia on 17 October 1969. According to some other sources, they indicate that he was born on 1 January 1970. <mask> moved to Sevastopol from Kemerovo in 1990. From May 1995 to June 2013, he was director, then demoted to deputy director of the private enterprise Big Crimea in Sevastopol. In 2006, he graduated from the Modern Humanitarian Academy in Moscow with a degree in economics.In 2007, he founded the first private Orthodox general education school "Mariampol" in Sevastopol. Belyk was the member of the Sevastopol City Council of the IV, V and VI convocations. He was the chairman of the Land Commission; in the 5th convocation, and the chairman of the Standing Committee on Urban Development Policy, Regulation of Land and Water Relations. In the 6th convocation, he was the chairman of the standing commission on industry, agro-industrial complex, trade and entrepreneurship, and a member of the standing commission on social and humanitarian issues, as from 21 June 2013. He was a member of the Party of Regions. Simultaneously, from 21 June 2013, Belyk had become the deputy chairman of the Sevastopol City State Administration for Social Policy. From 4 March 2014 to 13 May 2014, <mask> served as the acting head of the administration of Sevastopol.He supported the beginning of the temporary occupation of Crimea, and took an active part in the work of the occupying government. Since 2014, he had been a deputy secretary of the Sevastopol Regional Branch and a member of the Regional Political Council of the Sevastopol Branch of the United Russia party. Since 2015, he has been wanted by the prosecutor's office of Ukraine on suspicion of high treason. On 22 May 2016, he won the preliminary party vote of the United Russia party, and was nominated as a candidate for the State Duma in Sevastopol at the 15th party congress. In the parliamentary elections of the State Duma on 18 September 2016, <mask>, as in Sevastopol single-mandate constituency No. 219, had won in a single-mandate constituency, gaining 46,960 votes (33.24%). In the VII convocation of the State Duma, he is a member of the United Russia faction, and is a member of the committee on budget and taxes.Since November 2016, <mask>, and among the 6 members of the State Duma elected in Crimea, has been subject to sanctions imposed by the European Union, with a ban on entry to the territory of the European Community and freezing of their accounts in the EU. Legislative activity

Between 2016 and 2019, during the term of office of a deputy of the State Duma of the VII convocation, <mask> co-authored 97 legislative initiatives and amendments to draft federal laws. Political activity

<mask> had been an author of more than 80 draft decisions of the Sevastopol City Council, including with regulation on public hearings, the concept of preserving the historical buildings in Sevastopol, on the limitation of the number of floors in the historical center of the city, and on the prohibition of the use of communal property for the implementation of the "methadone program". He also had initiated citywide public hearings, which includes, "City against drugs" in a call against the introduction of the methadone program in Sevastopol. “We speak Russian - we study in Russian”, with the Russian language, based on their results, a decision was made by the City Council session on the recognition of Russian as the language of regional communication, and “On the ways of development of KP“ Sevelektroavtotrans ”,  which is about the reorganization of the Sevastopol trolleybus system. Belyk had also been a delegate of the 1st Congress in Severodonetsk, the 2nd Congress of Deputies of all levels of the southeastern and the central Ukraine in Severodonetsk. In 2008, he was one of the initiators of the installation of the monument to Catherine II, opposed the installation on the Grafskaya pier of the plaque "90 years of the Ukrainian fleet", was one of the initiators of the proposal to award Yury Luzhkov the title of "Honorary Citizen of Sevastopol."On 30 December 2009, he initiated an extraordinary session of the Sevastopol City Council on the situation in Sevastopol from 26 December 2009. Then, the Svoboda party marched down Lenin Street, which the deputies demanded a ban on the activities of Svoboda members. In the 2012 elections to the Verkhovna Rada, Belyk ran from the Russian Bloc party in the 224th constituency of Sevastopol; gaining 27.8% of the votes, and became the second after Pavlo Lebedyev. He did not participate in the repeated elections in connection with the transfer of Lebedyev to the post of Minister of Defense of Ukraine, but supporting the oligarch Vadym Novynskyi. Since 26 December 2012, he headed the Coordination Council of Organizations of Russian Compatriots (KSORS) at the Consulate General of Russia in Crimea. On 16 July 2013, he announced his withdrawal from the Russian Bloc faction of the Sevastopol City Council. <mask> became the acting head of the Sevastopol Administration, on 7 March 2014, and issued an order banning the use of the state Ukrainian language in the Sevastopol City State Administration in office work and document flow and on the use of Russian as the official language for paperwork and document flow.Personal life

<mask> had also been a general producer of the documentary film about Stanislav Chyzh, who was the People's Artist of Crimea, the honorary citizen of Sevastopol, and creator of the monument to Catherine II. Family

He is married, and is raising three children (four, according to other sources)

References

External link

1969 births
Living people
21st-century Russian politicians
Seventh convocation members of the State Duma (Russian Federation)
Party of Regions politicians
United Russia politicians
Eighth convocation members of the State Duma (Russian Federation)

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Dmitry Anatolyevich Belik
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Former Lieutenant Colonel <mask><mask> (born ) is a former U.S. Army Reservist from Prince George, Virginia. He was charged with aiding the enemy and other breaches of military law, mostly in connection with his role as commander of the 451st Military Police Detachment and Camp Cropper, a holding facility for security detainees in Iraq. He was acquitted of aiding the enemy, but sentenced to 2 years confinement on other charges and was dismissed from the military. He was confined at the United States Disciplinary Barracks at Fort Leavenworth, Kansas. <mask> was only the second officer to be charged with aiding the enemy during Operation Iraqi Freedom, the other being Captain James Yee. <mask><mask> was the only field-grade officer to be charged with aiding the enemy during all of Operation Iraqi Freedom. Biography

Background
<mask> is originally from Frostburg, Maryland and a 1973 graduate of Beall High School.He is a former police officer from Anne Arundel County, Maryland and a former Hernando County, Florida sheriff’s deputy. Civilian legal incidents
After <mask> was charged with aiding the enemy, the press reported on two earlier incidents in which <mask> had been involved with the courts. In November 1993, he was charged with felony aggravated child abuse for his verbal and physical abuse of his 11-year-old stepson. From court records, "[The boy] was punched. He was thrown across the room for eating food without asking." <mask> was also charged with resisting an officer with violence, another felony. Both charges were dropped when he agreed to give up custody.In 2003, <mask> was charged with two misdemeanor offenses during a dispute with a contractor. The contractor, who was born in Lebanon, accused <mask> of saying: "You better get out of here or I'll blow your head off," and said that <mask> "accused him of working for al-Qaeda". <mask> was convicted on one count of threatening bodily harm, but upon appeal the charges were dismissed after <mask>
<mask> served as commandant of Camp Cropper from October 2005 to the end of October 2006, when he transferred to Camp Victory and served as a senior patrol officer with 89th Military Police Brigade. Camp Cropper is known to have held former Baath Party members, Al-Qaeda operatives, and members of the Iraqi insurgency. On April 26, 2007, it was announced that <mask> had been held in military detention since March, and that he had been charged with aiding the enemy and other violations of military law. After that he was held in pretrial confinement in Kuwait.Testimony at his Article 32 hearing indicated that the charge of aiding the enemy was based on the allegation that <mask> had allowed three juvenile detainees to use his cellphone to call their parents in violation of the prison's requirement that all prisoner phone calls be monitored. (<mask> had been previously reprimanded by Brigadier General Kevin McBride, commander of the 43rd MP Brigade, for "intimidating tower guards with a service pistol." He was later awarded the Bronze Star Medal by General McBride at the end of his tour of duty.) On June 10, 2007, the military dropped charges of fraternization with the daughter of a prisoner, and failure to oversee expenditure of government funds—allegedly used to purchase of hair dye and Cuban cigars for <mask> when he was held at Camp Cropper. At that time, Major General James E. Simmons referred the remaining charges for trial by general court-martial. <mask> was ordered confined pending trial. At a pre-trial hearing held at Camp Liberty, Iraq, on October 7, <mask> pleaded guilty to two charges relating to improper storage of classified materials and to one of possession of pornographic videos.<mask>'s trial before a military judge on charges of "aiding the enemy, possessing classified information, disobeying orders and conduct unbecoming an officer" began in Baghdad on October 15. On October 19, 2007, a military judge found <mask> not guilty on the charge of aiding the enemy, but guilty of "unauthorized possession of classified documents, behavior unbecoming an officer for an inappropriate relationship with an interpreter and failing to obey an order". <mask> was sentenced to 2 years confinement (of a possible maximum 6-year sentence for the charges to which he had previously plead guilty, as well as an additional 10 years for the charges for which he was convicted), credited with time served, loss of his military retirement, forfeiture of pay and allowances, and dismissal from the military. Charges against <mask>

Charge I: Violation of the UCMJ, Article 104
Specification: In that Lieutenant Colonel <mask><mask>, did, between on or about October 1, 2005 and October 31, 2006, aid the enemy by providing an unmonitored cellular phone to detainees. (Acquitted of charge on October 19, 2007)

Charge II: Violation of the UCMJ, Article 134
Specification: In that Lieutenant Colonel <mask><mask>, did, between on or about October 31, 2006 and February 22, 2007, having unauthorized possession of classified information, violate Title 18, United States Code, Section 793(e), by knowingly and willfully retaining the same and failing to deliver it to the officer or employee of the United States entitled to receive it. (Convicted of charge on October 19, 2007)

Charge III: Violation of the UCMJ, Article 133
Specification 1: In that Lieutenant Colonel <mask><mask>, did, between on or about October 20, 2005 and February 22, 2007, knowingly and wrongfully fraternize with the daughter of a detainee, wherein such acts constituted conduct unbecoming an officer in the armed forces. (This specification was not recommended for trial by court-martial and was dismissed on June 10, 2007.)Specification 2: In that Lieutenant Colonel <mask><mask>, did, between on or about December 1, 2005 and December 11, 2006, knowingly and wrongfully provide special privileges to and maintain an inappropriate relationship with an interpreter, wherein such acts constituted conduct unbecoming an officer in the armed forces. (Convicted of charge on October 19, 2007)

Charge IV: Violation of the UCMJ, Article 92
Specification 1: In that Lieutenant Colonel <mask><mask>, did, between on or about February 18, 2007 and February 21, 2007, violate a lawful general regulation, to wit: paragraph 7–4, Army Regulation 380–5, dated September 29, 2000, by wrongfully and knowingly storing classified information in his living space. (<mask> pleaded guilty to this specification on October 7, 2007.) Specification 2: In that Lieutenant Colonel <mask><mask>, did, between on or about September 1, 2006 and February 21, 2007, violate a lawful general regulation, to wit: paragraph 4–32, Army Regulation 380–5, dated September 29, 2000, by improperly marking classified information. (<mask> pleaded guilty to this specification on October 7, 2007.) Specification 3: In that Lieutenant Colonel <mask><mask>, having knowledge of a lawful order issued by the 89th Military Police Brigade Deputy Commander, did, at or near Camp Victory, Iraq, on or about February 22, 2007, failure to obey the same. (Convicted of charge on October 19, 2007)

Specification 4: In that Lieutenant Colonel <mask><mask>, did, between on or about February 18, 2007 and February 21, 2007, violate a lawful general order, to wit: paragraph 2e, Multi-National Corps-Iraq General Order Number 1, dated December 16, 2006, by wrongfully and knowingly possessing pornographic video files.(<mask> pleaded guilty to this specification on October 7, 2007.) Specification 5: In that Lieutenant Colonel <mask><mask>, between on or about October 1, 2005 and October 31, 2006, was derelict in the performance of his duties in that he willfully failed to fulfill his obligations as an approving authority in the expenditure of Field Ordering Officer funds. (This specification was not recommended for trial by court-martial and was dismissed on June 10, 2007.) References and notes

External links
Charges Announced News Release – United States Central Command – April 26, 2007
Trial Date Set For Officer Charged With Aiding Enemy News Release – United States Central Command – October 13, 2007
U.S. commander under investigation for allegedly aiding the enemy
US Iraqi prison commander detained
Army officer who commanded MPs at Iraq prison accused of aiding the enemy, faces death penalty

1950s births
Living people
American deputy sheriffs
United States Army personnel of the Iraq War
United States Army officers
People from Frostburg, Maryland
People from Prince George, Virginia

masks:
William H
. Steele
Steele
William H
. Steele
Steele
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Steele
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Steeleper
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Saddam Hussein
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William H
. Steele
William H
. Steele
William H
. Steele
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William H
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<mask>  (3 January 1819 – 21 February 1900) was an Italian-born British astronomer who was Astronomer Royal for Scotland from 1846 to 1888; he is known for many innovations in astronomy and, along with his wife <mask>, his pyramidological and metrological studies of the Great Pyramid of Giza. Astronomical career
<mask> (pronounced ) was born in Naples, Italy, to Captain (later Admiral) <mask> and his wife Annarella. He was named <mask> after his godfather, the Italian astronomer <mask>, whose acquaintance his father had made at Palermo when serving in the Mediterranean. His father subsequently settled at Bedford and equipped there an observatory, at which <mask> received his first lessons in astronomy. He was educated at Bedford School until the age of sixteen when he became an assistant to Sir Thomas Maclear at the Cape of Good Hope, where he observed
Halley's comet and the Great Comet of 1843, and took an active part in the verification and extension of Nicolas Louis de Lacaille's arc of the meridian. In 1846 he was appointed Astronomer Royal for Scotland, based at the Calton Hill Observatory in Edinburgh, and professor of astronomy in the University of Edinburgh. Shortly after his appointment, the observatory was placed under the control of Her Majesty's Treasury and suffered from a long series of under-funding.Because of this, most of his notable work in astronomy was done elsewhere. Here he completed the reduction, and continued the series, of the observations made by his predecessor, Thomas James Henderson. In 1853, <mask> was responsible for installing the time ball on top of Nelson's Monument in Edinburgh to give a time signal to the ships at Edinburgh's port of Leith. By 1861, this visual signal was augmented by the One O'Clock Gun at Edinburgh Castle. In 1704 Isaac Newton wrote in his book Opticks Book 1, Part 1:
"... [telescopes] ... cannot be so formed as to take away that confusion of the Rays which arises from the Tremors of the Atmosphere. The only Remedy is a most serene and quiet Air, such as may perhaps be found on the tops of the highest Mountains above the grosser Clouds." This suggestion fell on deaf ears until in 1856, Smyth petitioned the Admiralty for a grant of £500 to take a telescope to the slopes of Teide in Tenerife (which he spelt Teneriffe) and test whether Newton had been right or not.In South Africa he had spent many nights observing from mountain tops but when he moved to Edinburgh had been appalled by the poor observing conditions there. The Admiralty approved his grant and he was offered the loan of further equipment from many sources. Robert Stephenson loaned his 140-ton yacht "Titania" for the expedition. Mr. Hugh Pattinson loaned his refracting telescope of . This was a Thomas Cooke equatorial with setting circles and a driving clock. The Crimean War had recently concluded and the army offered to lend tents. This offer was declined as <mask> <mask> had already designed a tent with a sewn-in groundsheet based on his experience in South Africa.On this and all his subsequent trips he was accompanied by his wife whom he had married the year before. In 1856, on reaching Tenerife they first set up camp on Mount Guajara, a  peak about  south of Teide (all heights on Tenerife are those he derived barometrically). It was higher than all its neighbours and free from any volcanic activity. They took all their equipment up loaded on mules, except for the Pattinson telescope which was much too bulky. They stayed there a month making astronomical, meteorological and geological observations. He made observations of the steadiness and clarity of star images with the 3.6-inch (9 cm) Sheepshanks telescope and found both much better than at Edinburgh. He also made the first positive detection of heat coming from the Moon.However, they were annoyed by frequent dust incursions which frequently blotted out the horizon. Even when the dust was at its worst, the transparency at the zenith was better than at Edinburgh. The dust was evidently confined to individual layers, so he decided to move to Alta Vista at , on the eastern slope of Teide, the highest point that mules could reach. He was determined to use the larger Pattinson telescope and returned to La Orotava to fetch it. As the three boxes were too heavy, they were opened and the contents distributed among several smaller boxes which were loaded on to seven strong horses. The telescope was soon mounted and in action. The Airy Disc was clearly seen and he made many critical observations and fine drawings.They spent a month there during which they spent a day climbing to the summit of Teide at . The scientific results were described in reports addressed to the Lord Commissioners of the Admiralty, the Royal Society, and the "Astronomical Observations made at the Royal Observatory, Edinburgh Vol XII 1863", which were widely acclaimed. <mask> <mask> was the pioneer of the modern practice of placing telescopes at high altitudes to enjoy the best observing conditions. He wrote a popular account of the voyage in "Teneriffe, an astronomers Experiment". This was the first book ever illustrated by stereoscopic photographs ("photo-stereographs"). It included 20 stereoviews of Teneriffe taken by the author using the wet collodion process. A stereoscope could be purchased which allowed the pictures to be viewed in 3-D without removing them from the book.In 1871 and 1872 Smyth investigated the spectra of the aurora, and zodiacal light. He recommended the use of the rain-band for weather forecasting and discovered, in conjunction with Alexander Stewart Herschel, the harmonic relation between the rays emitted by carbon monoxide. In 1877–1878 he constructed at Lisbon a map of the solar spectrum for which he received the Makdougall Brisbane Prize in 1880. Smyth carried out further spectroscopic researches at Madeira in 1880 and at Winchester in 1884. In 1888 Smyth resigned as Astronomer Royal in protest at the chronic under-funding and age of his equipment. This brought events to a head and the Royal Observatory was almost closed when James Lindsay, Earl of Crawford made a donation of new astronomical instruments and the complete Bibliotheca Lindesiana in order that a new observatory could be founded. Thanks to this donation, the new Royal Observatory on Blackford Hill was opened in 1896.After his resignation, <mask> retired to the neighbourhood of Ripon, where he remained until his death. Pyramidological researches

Smyth corresponded with pyramid theorist John Taylor and was heavily influenced by him. Taylor theorized in his 1859 book The Great Pyramid: Why Was It Built? & Who Built It? that the Great Pyramid was planned and the building supervised by the biblical Noah. Refused a grant by the Royal Society, <mask> went on an expedition to Egypt in order to accurately measure every surface, dimension, and aspect of the Great Pyramid. He brought along equipment to measure the dimensions of the stones, the precise angle of sections such as the descending passage, and a specially designed camera to photograph both the interior and exterior of the pyramid.He also used other instruments to make astronomical calculations and determine the pyramid's accurate latitude and longitude. <mask> subsequently published his book Our Inheritance in the Great Pyramid in 1864 (which he expanded over the years and is also titled The Great Pyramid: Its Secrets and Mysteries Revealed). Smyth claimed that the measurements he obtained from the Great Pyramid of Giza indicated a unit of length, the pyramid inch, equivalent to 1.001 British inches, that could have been the standard of measurement by the pyramid's architects. From this he extrapolated a number of other measurements, including the pyramid pint, the sacred cubit, and the pyramid scale of temperature. Smyth claimed that the pyramid inch was a God-given measure handed down through the centuries from the time of Shem (Noah's Son), and that the architects of the pyramid could only have been directed by the hand of God. To support this Smyth said that, in measuring the pyramid, he found the number of inches in the perimeter of the base equalled one hundred times the number of days in a year, and found a numeric relationship between the height of the pyramid in inches to the distance from Earth to the Sun, measured in statute miles. He also advanced the theory that the Great Pyramid was a repository of prophecies which could be revealed by detailed measurements of the structure.Working upon theories by Taylor, he conjectured that the Hyksos were the Hebrew people, and that they built the Great Pyramid under the leadership of Melchizedek. Because the pyramid inch was a divine unit of measurement, <mask>, a committed proponent of British Israelism, used his conclusions as an argument against the introduction of the metric system in Britain. For much of his life he was a vocal opponent of the metric system, which he considered a product of the minds of atheistic French radicals, a position advocated in many of his works. <mask>, despite his bad reputation in Egyptological circles today, performed much valuable work at Giza. He made the most accurate measurements of the Great Pyramid that any explorer had made up to that time, and he photographed the interior passages, using a magnesium light, for the first time. <mask>'s work resulted in many drawings and calculations, which were soon incorporated into his books Our Inheritance in the Great Pyramid, the three-volume Life and Work at the Great Pyramid (1867), and On the Antiquity of Intellectual Man (1868). For his works he was awarded the Keith gold medal for 1865–67 by the Royal Society of Edinburgh, but in 1874, the Royal Society of London rejected his paper on the design of Khufu's pyramid, as they had Taylor's.The rejection of his ideas helped contribute to his resignation from his post as Royal Astronomer in 1888. Influence of <mask>'s pyramid theories
<mask>'s theories on pyramid prophecy were then integrated into the works and prophecies of <mask> Russell (such as his Studies in the Scriptures), who founded the Bible Student movement (who adopted the name Jehovah's Witnesses in 1931, though Russell's successor, Joseph F. Rutherford, denounced pyramidology as unscriptural). <mask>'s proposed dates for the Second Coming, first 1882 then many dates between 1892 and 1911, were failed predictions. The theories of Taylor and Smyth gained many eminent supporters and detractors in the field of Egyptology during the late 1800s, but by the end of the 19th century it had lost most of its mainstream scientific support. The greatest blow to the theory was dealt by the great Egyptogist William Matthew Flinders Petrie, who had initially been a supporter. When Petrie went to Egypt in 1880 to perform new measurements, he found that the pyramid was several feet smaller than previously believed. This so undermined the theory that Petrie rejected it, writing:"The theories of the widths and heights of the passages are all connected, as the passages are all of the same section, or multiples of that.The entrance passage height has had a curiously complex theory attached to it supposing that the vertical and perpendicular heights are added together, their sum is 100 so-called "Pyramid inches". This at the angle of 26º 31' would require a perpendicular height of 47.27, the actual height being 47.24 ± .02. But in considering any theory of the height of this passage, it can not be separated from the similar passages, or from the most accurately wrought of all such heights, the course height of the King's Chamber. The passages vary from 46.2 to 48.6, and the mean course height is 47.040 ± .013. So although this theory agrees with one of the passages, it is evidently not the origin of this frequently recurring height; and it is the more unlikely as there is no authentic example, that will bear examination, of the use or existence of any such measure as a "Pyramid inch," or of a cubit of 25.025 British inches." Marriage, family, and death

In 1855 Smyth married Jessica "Jessie" Duncan (1812–1896), daughter of Thomas Duncan. Jessie Duncan was a geologist who had studied with Alexander Rose in Edinburgh, and travelled on geological expeditions to Ireland, France, Switzerland and Italy.Smyth's brothers were Warington <mask> and Henry Augustus <mask>. His sisters were Henrietta Grace <mask>, who married Reverend Baden Powell and was mother of Robert Baden-Powell, 1st Baron Baden-Powell (founder of the world Scouting Movement), Georgiana Rosetta <mask>, who married William Henry Flower; and Ellen Philadelphia <mask>, who married Captain Henry Toynbee of the HEIC. Smyth died in 1900 and was buried at St. John's Church in the village of Sharow near Ripon. A small stone pyramid-shaped monument, topped by a Christian cross, marks his gravesite. Honours
He was elected a Fellow of the Royal Society of Edinburgh in 1846, and served on its council for a number of years. In June 1857 he was elected a Fellow of the Royal Society, but resigned in 1874. He was conferred with Honorary Membership of the Institution of Engineers and Shipbuilders in Scotland in 1859.The crater <mask> <mask> on the moon is named after him. Bibliography

  Full text available from Google Books

  Reprinted in many editions by many publishers, often entitled The Great Pyramid: Its Secrets and Mysteries Revealed. Full text available on the Internet Archive
   Full text available from Google Books
   Full text available from Google Books

See also
 Geographical centre of Earth

References

Critical comments on some of <mask>'s books, by Olin J. Eggen (1955). External links

 "<mask>zi Smythe" at History of Astronomy in South Africa

 Pyramidology – A Case of Science, Pseudo-science and Religion
 <mask> <mask>, Our Inheritance in the Great Pyramid (1877) Plate Index
 C. <mask> <mask>, <mask> Russell and the Great Pyramid of Gizeh
 Amazing Pyramid "Facts"
 B-P's Uncle: <mask> <mask>
 "<mask> Smith" at the Gazetteer for Scotland
 St. John's Church, Sharow: <mask> Smyth
 The Astronomical Society of Edinburgh: A Guide to Edinburgh's Popular Observatory
 Doomsday 1701–1970
 "<mask> <mask> – Teneriffe" at the George Eastman House Still Photograph Archive
 "The Sphinx and the Great Pyramid at Giza, 1865" photograph by Smyth
 The Royal Observatory, Edinburgh
 Astronomers Royal For Scotland: Summary of Archives

1819 births
1900 deaths
19th-century English writers
19th-century apocalypticists
19th-century writers on archaeological subjects
Academics of the University of Edinburgh
Alumni of the University of Edinburgh
19th-century British astronomers
British Israelism
19th-century Neapolitan people
Fellows of the Royal Astronomical Society
Fellows of the Royal Society
Fellows of the Royal Society of Edinburgh
People educated at Bedford School
Pyramidologists
Victorian writers

masks:
Charles Piazzi Smyth
Jessica Duncan Piazzi Smyth
Charles Piazzi Smyth
William Henry Smyth
Piazzi
Giuseppe Piazzi
Piazzi Smyth
Smyth
Piazzi
Smyth
Piazzi
Smyth
Smyth
Smyth
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Smyth
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Charles Taze
Smyth
Wilkinson Smyth
Smyth
Smyth
Smyth
Smyth
Piazzi
Smyth
Smyth
Charles Piaz
Charles Piazzi
Smyth
Piazzi
Smyth
Charles Taze
Charles Piazzi
Smyth
Charles Piazzi
Charles Piazzi
Charles Piazzi
Smyth


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<mask> or <mask> (Kampen, 4 May 1752 – Barneveld, New York, 1829) was one of the Dutch radical leaders of the Patriots, a minister and publicist who gave the Patriot movement a Christian tint in his blazing speeches. Having been a promising student in Groningen, Franeker and Amsterdam, he led the local militia (exercitiegenootschap) in Wijk bij Duurstede and ended up in captivity. <mask> was released on 9 December 1787 for a ransom of 45,000 guilder and emigrated to the U.S.A.

Life
Adriaan was the son of an army officer, his mother was related to Willem Jacob 's Gravesande, a scientist. He grew up in Zutphen and Zwolle, but in 1766 the family moved to 's-Hertogenbosch. Adriaan studied at the local grammar school and moved to the University of Groningen to study Oriental languages and botany under Petrus Camper. <mask> was offered a role as a civil servant in Elmina, now in Ghana, but did not go. Instead he went over to the Mennonites and studied theology in Amsterdam with Abraham Staal and Wybo Fijnje.<mask> <mask> refused an appointment in Goes and Makkum, but accepted one at Westzaan. In 1775 he moved to Leiden. From the pulpit <mask> <mask> proclaimed: "In America the Sun of Salvation has risen, which will also cast its rays upon us if we so wish: only America can teach us how to counter the degeneration of the national character, to curb the corruption of morals, to ward off bribery, to suffocate the seeds of tyranny and to restore to health our dying freedom. The supreme Being has ordained that America shall be Holland's last preacher of repentance". It is said <mask> <mask> was the author or ghostwriter of the "libel" "To the People of the Netherlands". Simon Schama notes he was the distributor of the pamphlet. <mask> <mask> wrote a series of anti-bailiff or droste pamphlets for Joan Derk <mask> Capellen tot den Pol under different pseudonyms.<mask> <mask> and <mask> Capellen argued that these feudal rights were arbitrarily applied and even unlawful, thus bringing them into conflict with the drosten and the Prince of Orange, who derived the rights of his noble position from such things. In 1782, he married Reinira Engelbartha Johanna Vos, a daughter of a mayor of Nijmegen. They were the parents of three children: John Jacob <mask> (1783-1855), Cuneira Englebertha <mask> (1785–1865) and Peter A. A. T<mask> (1789–1857). In 1783 <mask> <mask> moved to Wijk bij Duurstede and became the leader of the local patriots. The arrest of Princess Wilhelmina of Prussia at the end of June 1787 demanded a response, and so <mask> <mask> and <mask> de Nijs were taken prisoner on 5 July, near Wijk bij Duurstede by a regiment of soldiers from Baden-Durlach and taken to Amersfoort. After his release he emigrated to America.In his baggage was a portrait of <mask> Capellen. <mask> <mask> published <mask> Capellen's collected works in six parts and also contained, next to all <mask> Capellen's reasonings, official documents that had not been intended for actual publication. <mask> <mask> as immigrant
In 1788 <mask> <mask> arrived in New York. He bought a farm in Ulster County, New York in 1789, not far from Kingston and from 1777 the capital of New York. He had a house, a shed, a chicken coop, and a few slaves". In 1795, he was the founder of the Agricultural Society for the Western District of New York. <mask> <mask> was linked to and visited in Kempwick by various Founding Fathers: John Adams, with whom he had an extensive and fascinating correspondence, Thomas Jefferson, George Washington, Benjamin Franklin and <mask>.Mrs DeWitt Clinton, Hamilton and Tappan were all able to speak Dutch with his wife. He shared George Washington's interest in scientific agriculture after a visit to Mount Vernon. <mask>  <mask> withdrew from political life and threw himself into a new project at 'Nieuw Rotterdam', now called Constantia, in Oswego County. Constantia had a fantastic location and a fine nature, and there was sufficient game for hunting and fish in the lake. Also Marc Isambard Brunel lived in the neighborhood. However, the bears and Native Americans were never far away, and his friend Adam Gerard Mappa lived at a day's travel away. <mask> <mask> moved his family to Barneveld, now called Trenton.His house in Constantia was converted into a school. The Holland Land Company, that had taken into its service Gerrit Boon from Rotterdam, had meanwhile set up a proper village, planted ahorns and had a sugar mill built. On the national scene, <mask> <mask>'s opinions influenced many of the great leaders of America. John Adams credited him with a "vast view of civilization" and respected his advice. His warm friendship with John and Abigail Adams endured till their deaths, and John Quincy Adams continued the relationship. He persuaded Thomas Jefferson to anonymously publish his religious work a "Syllabus of an estimate of the doctrines of Jesus compared with those of others". He was elected a member of the American Philosophical Society in 1805 and a Fellow of the American Academy of Arts and Sciences in 1807.<mask> <mask> and Mappa wrote in an early stage (1807?) about digging a canal between Albany and Buffalo, the work on the Erie Canal started in 1817. The state received  from Holland Land Company. The governor of the state of New York, Dewitt Clinton, named him the most scholarly man in the U.S.A. In 1820 he received an honorary degree from Harvard University, and was elected a member of the American Antiquarian Society in 1822. <mask> <mask> started to translate the 17th century records in English, but his translation in the New York State Library went up in smoke in 1911. <mask> <mask> began to write his autobiography, but died of cholera on September 7, 1829 at the age 77 and is buried in the Olden Barneveldt cemetery Trenton, N.Y. Harvard University in Cambridge, Massachusetts received his library.Sources

External links
 An autobiography, together with extracts from his correspondence; (1903)
 Letter from George Washington to <mask> <mask> <mask>
 HSP.org

1752 births
1829 deaths
People from Kampen, Overijssel
Dutch emigrants to the United States
Fellows of the American Academy of Arts and Sciences
Members of the Dutch Patriots faction
People from Trenton, New York
Members of the American Antiquarian Society

masks:
François Adriaan van der Kemp
Francis Adrian Vanderkemp
Van der Kemp
Van der Kemp
Van der
Kemp
Van der
Kemp
Van der
Kemp
Van der
Kemp
van der
Van der
Kemp
van der
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Vanderkemp
. Vanderkemp
Van der
Kemp
Van der
Kemp
Adriaan
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Van der
Kemp
Van der
Van der
Van der
Kemp
Van der
Kemp
Van der
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Alexander Hamilton
Van der
Kemp
Van der
Kemp
Van der
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Van der
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Francis Adriaan
van der
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