document_title: List of players with 100 NRL tries

question_text: who has scored the most tries in the nrl

root

text: List of players with 100 NRL tries

text: There have been 68 players who have scored 100 or more tries in Australian top-level rugby league, i.e. the NRL and its predecessors, the NSWRL, ARL and SL premierships. Players still currently active are listed in bold.

tag: p

text:
Ranking
Tries
Player
Club/Clubs
Career span

1
212
Ken Irvine
North Sydney, Manly-Warringah
1958-1973

2
188
Billy Slater
Melbourne Storm
2003-2018

3
180
Steve Menzies
Manly-Warringah Sea Eagles, Northern Eagles
1993-2008

4
165
Andrew Ettingshausen
Cronulla-Sutherland Sharks
1983-2000

5
164
Terry Lamb
Western Suburbs Magpies, Canterbury-Bankstown Bulldogs
1980-1996

6
163
Brett Stewart
Manly-Warringah Sea Eagles
2003-2016

=7
159
Matt Sing
Penrith Panthers, Sydney Roosters, North Queensland Cowboys
1993-2006

=7
159
Hazem El Masri
Canterbury-Bankstown Bulldogs
1996-2009

9
154
Nathan Merritt
South Sydney Rabbitohs, Cronulla-Sutherland Sharks
2002-2014

=10
152
Harold Horder
South Sydney, North Sydney
1912-1924

=10
152
Manu Vatuvei
New Zealand Warriors
2004-2017

12
147
Bob Fulton
Manly-Warringah, Eastern Suburbs Roosters
1966-1979

=13
146
Frank Burge
Glebe, St. George
1911-1927

=13
146
 Greg Inglis
Melbourne Storm, South Sydney Rabbitohs
2005-

15
144
Benny Wearing
South Sydney
1921-1933

=15
144
Brett Morris
St. George Illawarra Dragons, Canterbury-Bankstown Bulldogs
2006-

17
143
Johnny King
St. George
1960-1971

18
142
Steve Renouf
Brisbane Broncos
1989-1999

19
140
Nigel Vagana
Auckland Warriors, Canterbury-Bankstown Bulldogs, Cronulla-Sutherland Sharks, South Sydney Rabbitohs
1996-2008

20
139
Anthony Minichiello
Sydney Roosters
2000-2014

21
138
Phil Blake
Manly-Warringah Sea Eagles, South Sydney Rabbitohs, North Sydney Bears, Canberra Raiders, St. George Dragons, Auckland Warriors
1982-1997

22
137
Eddie Lumsden
Manly-Warringah, St. George
1955-1966

23
136
Michael Jennings
Penrith Panthers, Sydney Roosters, Parramatta Eels
2007-

=24
130
Shaun Kenny-Dowall
Sydney Roosters, Newcastle Knights
2007-

=24
130
Matt Bowen
North Queensland Cowboys
2001-2013

=25
129
Rhys Wesser
Penrith Panthers, South Sydney Rabbitohs
1998-2011

=25
129
Akuila Uate
Newcastle Knights, Manly-Warringah Sea Eagles
2008-

28
128
Sid Goodwin
Balmain, Newtown
1933-1945

=29
127
Reg Gasnier
St. George
1959-1967

=29
127
Wendell Sailor
Brisbane Broncos, St. George Illawarra Dragons
1993-2001, 2008-2009

=31
124
Luke Burt
Parramatta Eels
1999-2012

=31
124
Matt Cooper
St. George Illawarra Dragons
2000-2013

=33
122
Steve Morris
St. George Dragons, Eastern Suburbs Roosters
1979-1990

=33
122
Brett Mullins
Canberra Raiders, Sydney Roosters
1990-2000, 2002

=33
122
Brad Fittler
Penrith Panthers, Sydney Roosters
1989-2004

=33
122
Darren Lockyer
Brisbane Broncos
1995-2011

=33
122
Jamie Lyon
Parramatta Eels,  Manly-Warringah Sea Eagles
2000-2004, 2007-2016

=38
121
Nathan Blacklock
Sydney City Roosters, St. George Dragons, St. George Illawarra Dragons
1995-2004

=38
121
Timana Tahu
Newcastle Knights, Parramatta Eels, Penrith Panthers
1999-2007, 2010-2014

=38
121
Josh Morris
St. George Illawarra Dragons, Canterbury-Bankstown Bulldogs
2007-

=41
120
Jarryd Hayne
Parramatta Eels, Gold Coast Titans
2006-2014, 2016-

=41
120
Michael Hancock
Brisbane Broncos
1988-2000

=41
120
Jason Croker
Canberra Raiders
1991-2006

44
119
Ian Moir
South Sydney, Western Suburbs
1952-1960

=44
119
Bob McCarthy
South Sydney, Canterbury-Bankstown Bulldogs
1963-1978

=44
119
Luke Lewis
Penrith Panthers, Cronulla-Sutherland Sharks
2001-2018

47
117
David Peachey
Cronulla-Sutherland Sharks, South Sydney Rabbitohs
1994-2007

48
116
Ricky Walford
Eastern Suburbs Roosters, North Sydney Bears, St. George Dragons
1982-1996

=49
115
Ray Preston
Newtown, Parramatta
1949-1959

=49
115
Darren Smith
Canterbury-Bankstown Bulldogs, Brisbane Broncos
1990-2002, 2004-2005

51
114
Jarrod Croker
Canberra Raiders
2009-

52
113
Matt Geyer
Western Reds, Melbourne Storm
1997-2008

53
112
Tom Mooney
South Sydney, Manly-Warringah Sea Eagles
1972-1981

54
111
Greg Alexander
Penrith Panthers, Auckland Warriors
1984-1999

=55
110
Jack Lindwall
St. George
1938-1949

=55
110
Brett Kenny
Parramatta Eels
1980-1993

=55
110
Jason Nightingale
St. George Illawarra Dragons
2007-2018

=58
109
Ryan Girdler
Illawarra Steelers, Penrith Panthers
1991-2004

=58
109
Colin Best
Cronulla-Sutherland Sharks, St. George Illawarra Dragons, Canberra Raiders, South Sydney Rabbitohs
1998-2012

60
107
Mat Rogers
Cronulla-Sutherland Sharks, Gold Coast Titans
1995-2001, 2007-2011

=61
106
John Ferguson
Newtown Jets, Eastern Suburbs Roosters, Canberra Raiders
1980-1990

=61
106
Amos Roberts
St. George Illawarra Dragons, Penrith Panthers, Sydney Roosters
2000-2008

63
104
Bill Mullins
Eastern Suburbs Roosters
1968-1978

64
103
David Simmons
Cronulla-Sutherland Sharks, Penrith Panthers
2003-2015

65
102
Ashley Graham
Parramatta Eels, North Queensland Cowboys
2002-2013

=66
100
Tim Brasher
Balmain Tigers, South Sydney Rabbitohs, North Queensland Cowboys
1989-2002

=66
100
Allan Langer
Brisbane Broncos
1988-1999, 2002

=66
100
Luke Patten
Illawarra Steelers, St. George Illawarra Dragons, Canterbury-Bankstown Bulldogs
1998-2010

98

Blake Ferguson

Sydney Roosters

2009-

Source:  Rugby League Tables / Try Scorers. Last updated: 06 August 2018, as of the conclusion of Round 21, 2018

tag: table


document_title: Rogue One

question_text: where was the beginning of rogue one filmed

text: Rogue One

text: Plot[edit]

text: Research scientist Galen Erso and his family are in hiding on the planet Lah'mu when Imperial weapons developer Orson Krennic arrives to press him into completing the Death Star, a space station-based superweapon capable of destroying entire planets. Galen's wife, Lyra, is killed in the confrontation while their daughter, Jyn, escapes and is rescued by rebel extremist Saw Gerrera.

text: Fifteen years later, cargo pilot Bodhi Rook defects from the Empire, taking a holographic message recorded by Galen to Gerrera on the desert moon Jedha. After learning about the Death Star from an agent at the trading outpost Ring of Kafrene, Rebel Alliance intelligence officer Cassian Andor frees Jyn from an Imperial labor camp at Wobani before bringing her to the Rebel leader Mon Mothma, who convinces her to find and rescue Galen so the Alliance can learn more about the Death Star. Cassian is covertly ordered to kill Galen rather than extract him.

text: Jyn, Cassian, and reprogrammed Imperial droid K-2SO travel to Jedha, where the Empire is removing kyber crystals from the holy city to power the Death Star while Gerrera and his partisans are engaged in an armed insurgency against them. With the aid of blind spiritual warrior Chirrut Îmwe and his mercenary friend Baze Malbus, Jyn makes contact with Gerrera, who has been holding Rook captive. Gerrera shows her the message, in which Galen reveals he has secretly built a vulnerability into the Death Star and directs them to retrieve the schematics from an Imperial data bank on the planet Scarif.

text: On the Death Star, Krennic orders a low-powered test shot which destroys Jedha's capital. Jyn and her group take Rook and flee the moon, but Gerrera remains to die with the city. Grand Moff Tarkin congratulates Krennic before using Rook's defection and security leak as a pretext to take control of the project. Rook leads the group to Galen's Imperial research facility on the planet Eadu, where Cassian chooses not to kill Galen. Jyn makes her presence known moments before Rebel bombers attack the facility. Galen is wounded and dies in his daughter's arms, before she escapes with her group on board a stolen Imperial cargo shuttle. Krennic is summoned by Darth Vader to answer for the attack on Eadu. Krennic seeks his support for an audience with the Emperor, but Vader instead orders him to ensure no further breaches occur.

text: Jyn proposes a plan to steal the Death Star schematics using the Rebel fleet but fails to gain approval from the Alliance Council, who feel victory against the Empire is now impossible. Frustrated at their inaction, Jyn's group lead a small squad of Rebel volunteers to raid the databank themselves. Arriving at Scarif on the stolen Imperial ship, which Rook dubs "Rogue One", a disguised Jyn and Cassian enter the base with K-2SO while the other Rebels attack the resident Imperial garrison as a diversion. The Rebel fleet learns of the raid from intercepted Imperial communications and deploy in support. K-2SO sacrifices himself so Jyn and Cassian can retrieve the data. Îmwe is killed after activating the master switch to allow communication with the Rebel fleet, and Malbus dies in battle shortly afterwards. Rook is killed by a grenade after informing the Rebel fleet that it must deactivate the shield surrounding the planet to allow the transmission of the schematics. Jyn and Cassian obtain the schematics, but they are ambushed by Krennic, who is eventually shot and wounded by Cassian. Jyn transmits the schematics to the Rebel command ship. The Death Star enters orbit above Scarif, where Tarkin uses another low-power shot to destroy the compromised base, killing Krennic, Cassian, and Jyn.

text: The Rebel fleet prepares to jump to hyperspace, but many of the fleet's ships are intercepted by Vader's flagship. Vader boards the Rebel command ship and attempts to regain the schematics, but a small starship escapes with the plans on board. Aboard the fleeing ship, Princess Leia declares that the schematics will provide hope for the Rebellion.

text: Cast[edit]

text:
Felicity Jones as Jyn Erso, a young renegade woman who is detained for her crimes against the Empire until she is freed by the Rebel Alliance.[4] She has used many aliases during her life such as Lianna Hallik, Tanith Pontha, and Kestrel Dawn,[5] while her father affectionately calls her "Stardust".
Beau and Dolly Gadsdon as a young Jyn Erso at different points in her life.
Diego Luna as Cassian Andor, a Rebel Alliance Captain and Intelligence officer.[6][7]
Ben Mendelsohn as Orson Krennic, the Director of Advanced Weapons Research for the Imperial Military.[6][8][9]
Donnie Yen as Chirrut Îmwe, a blind warrior who believes in the Force. He is said to be one of the Guardians of the Whills.[6][9][10]
Mads Mikkelsen as Galen Erso, Jyn's father and a research scientist.[9][11][12]
Alan Tudyk as K-2SO, a former Imperial enforcer droid who was reprogrammed by Cassian Andor to serve the Rebellion.[6][13][14][15]
Riz Ahmed as Bodhi Rook, a former Imperial cargo pilot who defects to the Rebels under the influence of Galen Erso.[16][17]
Jiang Wen as Baze Malbus, a longtime companion of Chirrut Îmwe and one-time devoted Guardian of the Whills, now a Rebel warrior and mercenary.[6][9]
Forest Whitaker as Saw Gerrera, a veteran of the Clone Wars and a friend of the Erso family who had mentored Jyn in her later childhood years.[9][18]

tag: ul

text: Jimmy Smits, Genevieve O'Reilly, and Anthony Daniels reprise their roles from previous films as Bail Organa, Mon Mothma, and C-3PO, respectively.[19][20][21] James Earl Jones also reprises his role from previous films as the voice of Darth Vader,[22] who is physically portrayed by Spencer Wilding and Daniel Naprous, replacing David Prowse who played the role in the original films.[23][24][25] Grand Moff Tarkin and Princess Leia Organa are played by Guy Henry and Ingvild Deila, respectively, with the digital likenesses of Peter Cushing and Carrie Fisher superimposed.[26][27] Henry also provides the voice for Tarkin, while archival audio of Fisher is used for Leia.[28] Angus MacInnes and Drewe Henley are featured as Gold Leader Dutch Vander and Red Leader Garven Dreis, respectively, via unused footage from A New Hope; MacInnes returned to record new dialogue for Vander, while new dialogue for the deceased Henley was assembled from archival material.[21][29][30][31] David Ankrum, who voiced Wedge Antilles in A New Hope, reprises his role in a vocal cameo.[30] Ian McElhinney, Michael Smiley, Andy de la Tour and Tim Beckmann play General Jan Dodonna, Dr. Evazan, General Hurst Romodi and Captain Raymus Antilles, respectively.[30] Warwick Davis plays Weeteef Cyubee, a member of Saw Gerrera's Partisans.[32] R2-D2 also makes a cameo appearance as a CGI character.

text: Additionally, Alistair Petrie plays General Davits Draven,[7] Ben Daniels plays General Antoc Merrick,[33] and Valene Kane plays Lyra Erso, Jyn's mother.[34] Jonathan Aris,[35] Fares Fares[36][37] and Sharon Duncan-Brewster appear as Senators Nower Jebel, Vasp Vaspar, and Tynnra Pamlo, respectively. Simon Farnaby plays a member of Blue Squadron.[21] Jordan Stephens appears as Rebel Alliance member Corporal Tonc.[21] Nick Kellington plays Bistan, the door gunner on a U-wing during the battle on Scarif.[38] Ian Whyte plays Moroff, a member of Saw Gerrera's Partisans.[39] Daniel Mays appears as Tivik. Rian Johnson and Ram Bergman, director and producer of Star Wars: The Last Jedi, respectively, cameo as two Death Star technicians.[40] Richard Franklin plays one of the Death Star engineers.[41]

text: Production[edit]

text: Development[edit]

text: Rogue One is the first film in the Star Wars Anthology series, a series of stand-alone spin-off films in the Star Wars franchise.[42] Kathleen Kennedy explained that the stand-alone films would not cross over with the films of the sequel trilogy, stating:

text: George was so clear as to how that works. The canon that he created was the Star Wars saga. Right now, Episode VII falls within that canon. The spinoff movies, or we may come up with some other way to call those films, they exist within that vast universe that he created. There is no attempt being made to carry characters (from the stand-alone films) in and out of the saga episodes. Consequently, from the creative standpoint, it's a roadmap that George made pretty clear.[43]

text: John Knoll, visual effects supervisor for the Star Wars prequel trilogy, pitched the idea for the film 10 years before its development; after the Disney acquisition he felt as if he had to pitch it again or forever wonder "what might've happened if I had".[44][45] In May 2014, Disney announced that Gareth Edwards would direct the film and Gary Whitta would write the script.[46] That October, cinematographer Greig Fraser revealed that he would work on the film.[47] In January 2015, it was revealed that Whitta had completed his work on the script, and would no longer be with the project.[48] Simon Kinberg was considered as a replacement.[49] Later in the month, it was announced that Chris Weitz had signed to write the script for the film.[50] In March 2015, the title was announced.[51]

text: In July 2016, discussing whether the film would feature an opening crawl, Kennedy said, "we're in the midst of talking about it, but I don't think these [Anthology] films will have an opening crawl." Edwards said: "The idea is this film is supposed to be different than the saga films... [however,] this film is born out of a crawl. The thing that inspired this movie was a crawl and what was written in that. There's this feeling that if we did a crawl, then it'll create another movie. And so the honest answer is you'll have to wait and see."[52] That same month, at the 2016 Star Wars Celebration, Edwards said the title had three meanings: "a military sign", referring to the Red Squadron from A New Hope; "the 'rogue' one" of the franchise, given that it is the first film to not be part of the main saga; and a description of Jyn Erso's personality.[53] In November 2016, Kennedy confirmed that the film would not feature an opening crawl, instead beginning in "a way that is traditional, with just the title."[54]

text: Edwards stated that the style of the film would be similar to that of a war film, stating, "It's the reality of war. Good guys are bad. Bad guys are good. It's complicated, layered; a very rich scenario in which to set a movie."[55][56]

text: Casting[edit]

text: In January 2015, The Hollywood Reporter stated that numerous actresses, including Tatiana Maslany, Rooney Mara, and Felicity Jones were being tested for the film's lead.[57] In February 2015, it was announced that Jones was in final talks to star in the film, while Aaron Paul and Édgar Ramírez were being eyed for the male lead role.[58] In March 2015, Jones was officially cast.[51] In March 2015, Deadline Hollywood reported a rumor that Ben Mendelsohn was being considered for a lead role.[59] The next month, TheWrap reported that Sam Claflin was being eyed for a role, while Riz Ahmed was in negotiations to join the film.[60] In May, Mendelsohn, Ahmed, and Diego Luna were added to the cast of the film, in the lead roles.[61] Forest Whitaker was added to the cast in June 2015.[62] In July 2015, Jonathan Aris was cast to play Senator Jebel.[63] Genevieve O'Reilly was cast as Mon Mothma, reprising her role from Star Wars: Episode III – Revenge of the Sith.[20] James Earl Jones was confirmed to return as the voice of Darth Vader in June 2016.[64]

text: Filming[edit]

text: Principal photography on the film began at Elstree Studios in Hertfordshire on August 8, 2015.[65][66][67] Much of the other photography was completed at or near Pinewood Studios[68] at Buckinghamshire, UK where huge sets were built to complement scenes filmed elsewhere in the world.[69] The film was shot using Ultra Panavision 70 lenses with Arri Alexa 65 large format digital 6K[70] cameras.[71]

text: Filming locations were used around the world. In Iceland, the crew shot in Reynisfjara, and around the mountains of Hjörleifshöfði and Hafursey at Mýrdalssandur, which were used to represent Lah'mu and Eadu.[72][73][74][75] Also used were the Krafla area with its volcanic crater[76] and around Lake Mývatn's rock formations.[77] The islands of Gan and Baresdhoo of the Laamu Atoll in the Maldives, as well as RAF Bovingdon, were used to represent Scarif.[78][79][80] Wadi Rum in Jordan was used to represent Jedha.[81][82][83] Pymmes Park in Edmonton, London was also used for location filming,[84] and scenes set on Yavin 4 were filmed at RAF Cardington.[73][80] Gareth Edwards selected the London Underground's Canary Wharf station[85] as a location for a chase scene in an Imperial base; the location shoot took place between midnight and 4 am, when the station was closed to the public.[86]

text:
The film spent a total of $265 million and received a $45 million subsidy from the United Kingdom's film incentive program.
[87]

text: Post-production[edit]

text: On February 11, 2016, Disney executives stated that the film was "virtually completed".[88] Several weeks of pre-scheduled reshoots began in mid-June 2016.[89] In August 2016, The Hollywood Reporter wrote that Tony Gilroy had spearheaded the reshoots, in lieu of Edwards, and that Gilroy would have just as much say in the final cut of the film as Edwards. Gilroy was initially brought on in order to retool the ending of the film, which was not coming together as hoped under Edwards's direction.[90] Fearing that Disney would require the survival of at least some of the new characters, an alternate, happier ending was conceived with characters Jyn and Cassian escaping the destruction of Scarif; when it became apparent that Disney would accept the deaths of those characters, the producers opted for the more tragic ending they had envisioned. At least some footage from the unused ending was produced and made it into early trailers.[90][91][92]

text: Industrial Light & Magic (ILM) produced the film's visual effects. ILM used CGI and digitally altered archive footage[93] to insert Peter Cushing's likeness over the body of actor Guy Henry. Lucasfilm secured permission from the late actor's estate to include him in the film.[94] The team reportedly searched through countless hours of Cushing footage in order to find suitable material to build from, then Henry provided the motion capture and voice work with the reference material augmented and mapped over his performance like a digital body mask. Cushing's family were heavily involved with the creation and had input right down to "small, subtle adjustments".[95][96][94] Cushing's mannerisms, including his manner of speaking and facial tics, were studied by the visual effects artists and applied to the digital Tarkin.[97] A similar process was used in the portrayal of Princess Leia; Carrie Fisher's appearance as Leia in the first film was superimposed over Norwegian actress Ingvild Deila's face and archival audio of Fisher saying "Hope" was used to voice the character.[26][27][98][28]

text: Post-production wrapped on November 28, 2016.[99]

text: Music[edit]

text:
It does borrow from traditions that both John Williams and George Lucas borrowed from when they made the original Star Wars, you know. George was looking at Flash Gordon, the old serials, and John was looking at Gustav Holst and different composers along the way to get a baseline for what he wanted to communicate. There is a wonderful musical language that John put together for the original films. I wanted to honor that vernacular but still do something new with it, something that was still me in a way.
—Michael Giacchino on balancing the musical traditions of Star Wars with his original music for Rogue One.[100]

tag: div

text: In March 2015, it was reported that Alexandre Desplat, who had worked with Edwards on Godzilla, would compose the score for Rogue One.[101] Despite rumors that a contract had not been initially set in place by Lucasfilm, Desplat confirmed in an April 2016 interview that he would serve as composer for the film.[102] Concerning the film, Desplat commented that "[Edwards and I] had a great partnership on Godzilla, and I can't wait to be starting with him. It will be in a few weeks from now, and it is very exciting and frightening at the same time because it's such a legendary project. To be called to come after John Williams... it's a great challenge for me."[102] However, in September 2016, it was announced that Michael Giacchino would be replacing Desplat as composer, after the film's reshoots altered the post-production schedule, and reportedly left Desplat no longer available.[103]

text: Giacchino only had four and a half weeks to compose the music for the film, beginning almost immediately after finishing production on Doctor Strange. In an interview with Entertainment Weekly in November 2016, Giacchino stated: "It is a film that is in many ways a really great World War II movie, and I loved that about it. But it also has this huge, huge heart at the center of it, and that was the one thing I just didn't want to discount. Yes, it's an action movie, and it's a Star Wars film, and it has all the things that you would come to expect and love about that, but I didn't want to forget that it was also an incredibly emotional movie as well. That was what really pulled me in."[100]

text: Giacchino incorporated John Williams' themes from previous films into the score.[100] The official soundtrack was released by Walt Disney Records on December 16, 2016.[104]

text: All music was composed by Giacchino except where noted. Giacchino, who has a history of using track titles that contain wordplay, shared his alternate list in the liner notes of the soundtrack release. These names are listed in the notes.[105][106]

text:
Rogue One: A Star Wars Story – Original Motion Picture SoundtrackFilm score by Michael GiacchinoReleased
December 16, 2016 (2016-12-16)Studio
Sony Scoring StageGenre
SoundtrackLength
1:09:18Label
Walt DisneyProducer
Michael GiacchinoMichael Giacchino chronology

Doctor Strange(2016)Doctor Strange2016

Rogue One(2016)

The Book of Henry(2017)The Book of Henry2017

Star Wars soundtrack chronology

The Force Awakens(2015) The Force Awakens2015

Rogue One(2016) Rogue One2016

The Last Jedi(2017) The Last Jedi2017

text: Professional ratingsReview scoresSourceRatingFilmtracksMovie-WaveMovie Music UKPositiveSoundtrack Geek

text: No.TitleLength1."He's Here for Us" ("A Krennic Connection")3:202."A Long Ride Ahead" ("Jyn and Scare It")3:563."Wobani Imperial Labor Camp" ("Jyncarcerated")0:544."Trust Goes Both Ways" ("Going to See Saw"; includes "The Force Theme" by John Williams)2:455."When Has Become Now" ("That New Death Star Smell"; includes "Death Star Motif" by John Williams)1:596."Jedha Arrival" ("Jedha Call Saw")2:487."Jedha City Ambush" ("When Ambush Come to Shove")2:198."Star-Dust" ("Erso-Facto")3:479."Confrontation on Eadu" ("Go Do, That Eadu, That You Do, So Well"; includes "Death Star Motif" by John Williams)8:0510."Krennic's Aspirations" ("Have a Choke and a Smile"; includes "Imperial Motif" and "The Imperial March" by John Williams)4:1611."Rebellions Are Built on Hope" ("Erso in Vain")2:5612."Rogue One" ("Takes One to Rogue One"; includes "The Force Theme" by John Williams)2:0413."Cargo Shuttle SW-0608" ("World's Worst Vacation Destination")3:5914."Scrambling the Rebel Fleet" ("Scarif Tactics"; includes "The Force Theme" and "Star Wars Main Theme" by John Williams)1:3315."AT-ACT Assault" ("Bazed and Confused"; includes "Rebel Fanfare" and "Imperial Walkers" by John Williams)2:5516."The Master Switch" ("Switch Hunt")4:0217."Your Father Would Be Proud" ("Transmission Impossible")4:5118."Hope" ("Live and Let Jedi"; includes "The Imperial March", "Death Star Motif", "Rebel Blockade Runner", and "The Force Theme" by John Williams)1:3719."Jyn Erso and Hope Suite"5:5120."The Imperial Suite"2:2921."Guardians of the Whills Suite"2:52Total length:69:18

text: Release[edit]

text: Rogue One premiered at the Pantages Theatre in Los Angeles on December 10, 2016.[107] The film was released in certain European countries on December 14, 2016, and was released in North America on December 16, with China getting the film on January 6, 2017.[108]

text: Marketing[edit]

text: Promotion of Rogue One was initially delayed by the release of the film Mission: Impossible – Rogue Nation in July 2015, because the titles are similar. Paramount Pictures registered and cleared the title with the Motion Picture Association of America in January 2015, well before Disney announced the title of its forthcoming Star Wars spinoff. Disney and Lucasfilm had to reach an agreement with Paramount over promotion in order to avoid any confusion in the public mind. Disney agreed to embargo promotion on Rogue One until after mid-2015, with the exception of a very short teaser which was screened at Star Wars Celebration in Anaheim that year.[109]

text: A teaser trailer for Rogue One, released by Lucasfilm on April 7, 2016, was praised by reviewers for its portrayal of strong female characters. The Daily Telegraph described Jyn Erso's character as "a roguish, Han Solo-style heroine", calling the film "progressive", while noting its painstaking faithfulness to the production design style of the original Star Wars trilogy.[110] The Hollywood Reporter also noted the visual nods to the original trilogy, and examined the film's possible narrative direction, considering that the outcome is to some extent already revealed in the opening crawl of A New Hope.[111] The Atlantic writer David Sims stated that the trailer brought "back some memorable pieces of architecture, from the lumbering AT-AT walkers to the Death Star itself, not to mention the glorious 70s costuming of Star Wars." He added that the trailer has "the look", blending the old with the new.[112] The trailer was viewed close to 30 million times in its first 29 hours, at a rate of 800,000 views per hour, from Facebook and YouTube, which is 200,000 views shy of what the first teaser trailer for Star Wars: The Force Awakens was receiving in November 2014.[113]

text: In June 2016, Rogue One was promoted at the Star Wars Celebration Europe III event in London. During the event, a new official poster was unveiled, which depicts a battle taking place on the tropical planet Scarif, with the Death Star looming large in a blue sky, above which is printed the tagline "A Rebellion Built on Hope". A second teaser trailer was also unveiled, screened exclusively for the Celebration audience, and not streamed online. This new trailer was reviewed favorably by critics; The Daily Telegraph noted that the trailer revealed new locations such as the planets Jedha and Scarif, and that its most significant revelation came in the final seconds of the teaser, with the appearance of Darth Vader, reflected in a computer screen and accompanied by his classic breathing sound effect.[86] Variety also hailed the Vader reveal, and noted that the emphasis of the production was much more on the kinetic depiction of large battle sequences and full-on warfare, comparing it to Francis Ford Coppola's 1979 Vietnam War epic Apocalypse Now. A showreel was also shown during the event, which featured footage from the film, cut with behind-the-scenes shots and interviews with the director and cast members.[114] The second trailer was shown publicly during a broadcast of the 2016 Summer Olympics and received favourable media reviews; Wired stated that the trailer was "littered with nostalgic throwbacks to the original trilogy", while Rolling Stone described the CGI landscape shots seen in the footage as "eye-poppingly gorgeous".[115][116]

text: A further trailer released in October 2016 prompted The Hollywood Reporter to comment that the newly revealed footage looked like "a trailer to a different movie than the one advertised earlier", remarking that Jyn Erso appeared to be portrayed as a more vulnerable character, and highlighting the appearance of Galen Erso as a protective father figure.[117] Vanity Fair also commented on the emphasis given to Jyn's relationship with her father, suggesting that Rogue One was drawing on "the Star Wars franchise's greatest natural resource: daddy issues".[118]

text: The film's publicity tour began in Mexico on November 23, 2016.[119]

text: In Asia, Disney focused marketing efforts on Donnie Yen, where his individual poster is used for marketing in territories including Japan, Singapore, Indonesia, Thailand, Hong Kong, China, Vietnam and Malaysia. The official Star Wars Facebook page of the respective Asian countries also featured clips and videos of Donnie Yen speaking various languages, greeting fans and telling them to support the film. In addition, Disney also released various versions of international trailers with more footage of Yen.[120][121]

text: Home media[edit]

text: Rogue One was released on Digital HD on March 24, 2017, and by Walt Disney Studios Home Entertainment on Blu-ray, Blu-ray 3D and DVD on April 4, 2017.[122]

text: Reception[edit]

text: Box office[edit]

text: Rogue One grossed $532.2 million in the United States and Canada and $523.8 million in other countries for a worldwide total of $1.056 billion.[1] On January 21, 2017, the film became Disney's fourth of 2016 to earn $1 billion in ticket sales, joining Captain America: Civil War, Zootopia and Finding Dory.[123] It is the second highest-grossing film of 2016, the third highest-grossing Star Wars film, and the 22nd highest-grossing film of all time, all unadjusted for inflation. It is also the third Star Wars film to gross over $1 billion worldwide, following The Phantom Menace and The Force Awakens. In the United States, it was the top-grossing film of 2016.[124][125] Deadline Hollywood calculated the net profit of the film to be $319.6 million, when factoring together all expenses and revenues for the film, making it the 3rd most profitable release of 2016.[126]

text: In late November 2016, box office projections for the United States and Canada had the film grossing $100–150 million during its opening weekend.[127][128] Disney chairman Bob Iger noted that Disney and Lucasfilm did not expect Rogue One to match The Force Awakens' total gross of $2.1 billion, nor its $248 million opening.[129] Pre-sale tickets for the film went on sale at 12:01 AM EST on November 28, 2016. Within 10 minutes, ticket sale sites such as Fandango crashed, much like they had in advance of The Force Awakens the year prior.[130] In its first 24 hours, the film had the second-highest number of pre-sale tickets ever sold, behind only The Force Awakens.[131] Worldwide, the film was expected to gross $280–350 million in its opening weekend.[132]

text: In the United States, the film made $29 million from its Thursday night previews, making it the highest grossing Thursday opening of 2016. On Friday, the film earned $71.1 million, earning the 12th highest grossing opening day of all time. The film grossed $46.3 million on Saturday, securing a total of $155.1 million in its opening weekend, the third biggest debut of 2016.[132] It topped the box office once again in its second weekend, grossing $64 million (down 58.7%) over the three day weekend, and $96.1 million over the four day weekend. On Christmas Day, it grossed $25.9 million.[133] It finished first at the box office again in its third weekend, grossing $49.6 million (-22.5%) over the three day weekend and $65.5 million over the four day weekend, becoming the seventh film of 2016 to top the box office three times, following Deadpool, Zootopia, The Jungle Book, Finding Dory, Suicide Squad, and Moana.[134] In its fourth weekend, Sunday projections had the film grossing $22 million, besting newcomer Hidden Figures' $21.8 million. However, final figures the following day revealed the film tallied a weekend total of $21.9 million, falling to second place behind Hidden Figures' $22.8 million.[135]

text: Critical response[edit]

text: On review aggregator Rotten Tomatoes, the film holds an approval rating of 85% based on 382 reviews, with an average rating of 7.5/10. The website's critical consensus reads, "Rogue One draws deep on Star Wars mythology while breaking new narrative and aesthetic ground — and suggesting a bright blockbuster future for the franchise."[136] On Metacritic, the film has a weighted average score 65 out of 100, based on 51 critics, indicating "generally favorable reviews".[137] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale, while PostTrak reported filmgoers gave the film a 91% overall positive score.[132][138]

text: IGN reviewer Eric Goldman gave the film 9/10, saying, "Rogue One is a movie crammed with fan service, but when fan service is done this well, there's little to complain about and much to adore."[139] Peter Travers of Rolling Stone gave the film 3.5 out of 4 stars, writing, "this spin-off/prequel has the same primitive, lived-in, emotional, loopy, let's-put-on-a-show spirit that made us fall in love with the original trilogy."[140] /Film gave Rogue One 8/10, writing that the film is enjoyable but does not have the emotional weight of The Force Awakens, because "no character in Rogue One was strongly compelling".[141] PopMatters wrote, "Rogue One seems to enjoy spending time on a whole new batch of moons and planets we haven't seen before, reveling in the clutter and clamor of far-flung settlements where anti-Imperial sentiments fester. But the film is bogged down in engineering the complex maneuverings of spy games, dogfights, and the most sprawling Rebel-versus-Empire land battle scene since the opening of The Empire Strikes Back."[142] Justin Chang, writing for the Los Angeles Times, called Rogue One "a swiftly paced, rough-and-ready entertainment."[143]

text: The New York Times wrote, "All the pieces are there, in other words, like Lego figures in a box. The problem is that the filmmakers haven't really bothered to think of anything very interesting to do with them. A couple of 9-year-olds on a screen-free rainy afternoon would come up with better adventures, and probably also better dialogue."[144] Richard Brody of The New Yorker called the film "lobotomized and "depersonalized", and wrote it "isn't so much a movie as a feature-length promotional film for itself; it's a movie that is still waiting to be made."[145] The Washington Post wrote "Rogue One represents an unobjectionable exercise in franchise extension. It's fine. It'll do. For now."[146]

text: IndieWire's David Ehrlich gave the film a C+ rating, calling it "a spirited but agonizingly safe attempt to expand cinema's most holy blockbuster franchise and keep the wheels greased between proper installments […] just a glorified excuse to retcon some sense into one of the silliest things about the original." While he praised the set design and visuals, calling them "gorgeous", he criticized a lack of interesting character development and a script that felt "completely constricted by its purpose."[147]

text: Peter Bradshaw, film critic of The Guardian says "Rogue One doesn't really go rogue at any stage, and it isn't a pop culture event like The Force Awakens, in whose slipstream this appears; part of its charm resides in the eerie, almost dreamlike effect of continually producing familiar elements, reshuffled and reconfigured, a reaching back to the past and hinting at a preordained future. There are some truly spectacular cameos from much-loved personae, involving next-level digital effects—almost creepily exact, so that watching feels at various stages like going into a time machine, back to the 80s and 70s".[148]

text: Rogue One introduced many new characters into the Star Wars mythology, with Chirrut Îmwe, played by Donnie Yen, and K-2SO, played by Alan Tudyk, being the most popular. Yen's performance, in particular, was also applauded by audiences worldwide. In a poll on the official Star Wars website in May 2017, in which more 30,000 people voted, Chirrut Îmwe was voted as the most popular Rogue One character.[149]

text: Views on CGI[edit]

text: While much of the computer-generated imagery (CGI) received plaudits, some news organizations published criticism about certain aspects, including the visual effects (VFX) that were used to revive Peter Cushing, who had died in 1994, as Grand Moff Tarkin.[150] The Guardian's Catherine Shoard described the "resurrection" as a "digital indignity".[151] Joseph Walsh of The Guardian raised legal and ethical issues about bringing a long-dead actor to life.[152] However, Lucasfilm had obtained permission from Peter Cushing's estate before deciding to use his likeness.[94] The Washington Times's Eric Althoff rejected the entire concept of using CGI to recreate a deceased actor: "Alas, what we get is, basically, not a simulation, but an approximation of a simulation—a dead character portrayed by a living actor inhabiting not the character, but imitating the dead actor."[153]

text: Some journalists also criticized the quality of the CGI that was used to represent a younger Carrie Fisher in order to portray Princess Leia at an earlier time, as well as its suitability in movie-making.[26][27] Eliana Dockterman of Time wrote that "there was something particularly plastic about this version of the young Carrie Fisher—so smooth and so perfect it couldn't be real—that pulled me out of the moment."[154] Kelly Lawler of USA Today said: "... while Tarkin is merely unnerving, the Leia cameo is so jarring as to take the audience completely out of the film at its most emotional moment. Leia's appearance was meant to help the film end on a hopeful note (quite literally, as 'hope' is her line), but instead it ends on a weird and unsettling one."[155] Michael Cavna of The Washington Post described the facial effect as feeling "distractingly artificial and nearly alien, like a plastered death mask robbed of authentic actorly effect, well beyond the usual artifice of Botox."[156] Nonetheless, Fisher was shown the CGI rendition of her younger self for the film by Kathleen Kennedy and "loved it."[157]

text: Accolades[edit]

text:
Award

Date of ceremony[N 1]

Category

Recipient(s) and nominee(s)

Result

Ref(s)

Academy Awards

February 26, 2017

Best Sound Mixing

David Parker, Christopher Scarabosio and Stuart Wilson

Nominated

[158][3]

Best Visual Effects

Neil Corbould, Hal Hickel, John Knoll and Mohen Leo

Nominated

British Academy Film Awards

February 12, 2017

Best Makeup and Hair

Amanda Knight, Neal Scanlan and Lisa Tomblin

Nominated

[159]

Best Special Visual Effects

Neil Corbould, Hal Hickel, John Knoll, Mohen Leo and Nigel Sumner

Nominated

Cinema Audio Society Awards

February 18, 2017

Outstanding Achievement in Sound Mixing for a Motion Picture – Live Action

Joel Iwataki, Nick Kray, David Parker, Frank Rinella, Christopher Scarabosio and Stuart Wilson

Nominated

[160]

Costume Designers Guild Awards

February 21, 2017

Excellence in Fantasy Film

David Crossman and Glyn Dillon

Nominated

[161]

Dragon Awards

September 3, 2017

Best Science Fiction or Fantasy Movie

Rogue One

Nominated

[162]

Empire Awards

March 19, 2017

Best Film

Rogue One

Won

[163]

Best Sci-Fi/Fantasy

Nominated

Best Actress

Felicity Jones

Won

Best Male Newcomer

Riz Ahmed

Nominated

Best Director

Gareth Edwards

Won

Best Costume Design

Rogue One

Nominated

Best Production Design

Nominated

Best Make-Up and Hairstyling

Nominated

Best Visual Effects

Nominated

Hugo Awards

August 11, 2017

Best Dramatic Presentation - Long form

Chris Weitz and Tony Gilroy

Nominated

[164]

Location Managers Guild Awards

April 8, 2017

Outstanding Locations in Period Film

Mark Somner and David O'Reily

Nominated

[165]

Outstanding Film Commission

"Jedha" - Royal Film Commission Jordan

Won

MTV Movie & TV Awards

May 17, 2017

Movie of the Year

Rogue One

Nominated

[166]

Best Hero

Felicity Jones

Nominated

Ray Bradbury Award

May 20, 2017

Outstanding Dramatic Presentation

Chris Weitz, Tony Gilroy and Gareth Edwards

Nominated

[167]

Saturn Awards

June 28, 2017

Best Science Fiction Film

Rogue One

Won

[168]

Best Director

Gareth Edwards

Won

Best Writing

Chris Weitz and Tony Gilroy

Nominated

Best Actress

Felicity Jones

Nominated

Best Supporting Actor

Diego Luna

Nominated

Best Music

Michael Giacchino

Nominated

Best Editing

John Gilroy, Colin Goudie and Jabez Olssen

Nominated

Best Production Design

Doug Chiang and Neil Lamont

Nominated

Best Costume Design

David Crossman and Glyn Dillon

Nominated

Best Make-up

Amy Byrne

Nominated

Best Special Effects

Neil Corbould, Hal Hickel, John Knoll and Mohen Leo

Won

Teen Choice Awards

August 13, 2017

Choice Sci-Fi Movie

Rogue One

Nominated

[169]

Choice Sci-Fi Movie Actor

Diego Luna

Nominated

Choice Sci-Fi Movie Actress

Felicity Jones

Nominated

Visual Effects Society Awards

February 7, 2017

Outstanding Visual Effects in a Photoreal Feature

Neil Corbould, Erin Dusseault, Hal Hickel, John Knoll and Nigel Sumner

Nominated

[170]

Outstanding Animated Performance in a Photoreal Feature

"Grand Moff Tarkin" – Cyrus Jam, Sven Jensen, Jee Young Park and Steve Walton

Nominated

Outstanding Created Environment in a Photoreal Feature

"Scarif Complex" – Enrico Damm, Yanick Dusseault, Kevin George and Olivier Vernay-Kim

Nominated

Outstanding Virtual Cinematography in a Photoreal Project

"Space Battle" – Steve Ellis, Barry Howell, Euising Lee and John Levin

Nominated

Outstanding Model in a Photoreal or Animated Project

"Princess Leia" – Paul Giacoppo, Gareth Jensen, James Tooley and Todd Vaziri

Nominated

"Star Destroyer" – Marko Chulev, Steven Knipping, Jay Machado and Akira Orikasa

Nominated

Outstanding Effects Simulations in a Photoreal Feature

"Jedha Destruction" – Luca Mignardi, Ciaran Moloney, Matt Puchala and Miguel Perez Senent

Nominated

text: Jump up ^ Each date is linked to the article about the awards held that year, wherever possible.

tag: ol

text: In other media[edit]

text: Television[edit]

text: Characters from the film appeared in the second half of the animated television series Star Wars Rebels, starting with Saw Gerrera in the Season 3 mid-season one-hour special episode "Ghosts of Geonosis".[171]  The Imperial Death Troopers appeared in that season's one-hour finale, "Zero Hour".  More characters and vehicles that were first introduced in the film appear in the series' fourth and final season, while the film's main antagonist, Orson Krennic, is mentioned by name.[172]

text: Tie-in novels[edit]

text: A tie-in novel to the film, Catalyst: A Rogue One Novel, was released on November 15, 2016.[173] Written by veteran Star Wars novelist James Luceno, the story is set some years before the events of Rogue One, and provides a backstory to the 2016 film.[174] Rogue One: A Star Wars Story was written by Alexander Freed, and was released on December 16, 2016.[175]

text: Months after the film was released, Disney Lucasfilm Press published another novel titled Star Wars: Rebel Rising on May 2, 2017.  Written by Beth Revis, the novel explains what happened to Jyn Erso between the time her mother died and the day when Rebel agents freed her from an Imperial labor camp, a time period that the film skips over in its opening minutes.[176]

text: On the same day Rebel Rising was released, the novel Guardians of the Whills was released as well by Disney Lucasfilm Press. Written by novelist and comic writer Greg Rucka, it focused on the characters Chirrut and Baze, telling their backstories as well as giving more context to the events that happened on Jedha prior to the film and even the Imperial occupation.

text: Comics[edit]

text: Months after the film was released, Marvel Comics adapted the film into a six-part comic book miniseries, which adds extra content.[177]  The miniseries' complete collection was released on December 12, 2017.

text: In August 2017, IDW Publishing announced that it would make a one-shot graphic novel adaptation of the film, which was released one day after the Marvel miniseries' collection was released.  Unlike the Marvel miniseries, this graphic novel will have slightly more cartoony visuals.[178][179]

text: On that same  month, Marvel Comics released the Star Wars: Rogue One – Cassian & K-2SO Special, a 40-page one-shot comic focusing on the first meeting between Cassian Andor and K-2SO. The comic was written by Duane Swierczynski and pencilled by Fernando Blanco.

text: Video games[edit]

text: A downloadable expansion pack was released for the Star Wars Battlefront reboot, titled Rogue One: Scarif, that allows players the ability to play through the various locations, characters and set pieces from the planet introduced in Rogue One.[180] A free virtual reality mission for PlayStation 4 was also released alongside the expansion.[181] Several characters and concepts from the film were also included in the mobile games Star Wars: Force Arena,[182] Star Wars Commander[183] and Star Wars: Galaxy of Heroes,[184] all available on iOS and Android.


document_title: Scrovegni Chapel

question_text: the frescos in the scrovegni chapel depict stories from

text: Scrovegni Chapel

text: Description[edit]

text: Giotto and his team covered all the internal surfaces of chapel with frescos, including the walls and the ceiling. The nave is 20.88 metres long, 8.41 metres wide, and 12.65 metres high. The apse area is composed of a square area (4.49 meters deep and 4.31 meters wide) and a pentagonal area (2.57 meters deep). The largest element is extensive cycles showing the Life of Christ and the Life of the Virgin.  The wall at the rear of the church, through which the chapel is entered, has a large Last Judgement.  There are also panels in grisaille (monochrome) showing the Vices and Virtues.

text: The church was dedicated to Santa Maria della Carità at the Feast of the Annunciation, 1303, and consecrated in 1305. Giotto's fresco cycle focuses on the life of the Virgin Mary and celebrates her role in human salvation. A motet by Marchetto da Padova appears to have been composed for the dedication on 25 March 1305.[1] The chapel is also known as the Arena Chapel because it was built on land purchased by Enrico Scrovegni that abutted the site of a Roman arena. The space was where an open-air procession and sacred representation of the Annunciation to the Virgin had been played out for a generation before the chapel was built.

text: History[edit]

text: Building and decoration[edit]

text: The Arena Chapel was commissioned to Giotto by the affluent Paduan banker, Enrico Scrovegni. In the early 1300s Enrico purchased from Manfredo Dalesmanini the area on which the Roman arena had stood. Here he had his luxurious palace built, as well as a chapel annexed to it. The chapel's project was twofold: to serve as the family's private oratory and as a funerary monument for himself and his wife. Enrico commissioned Giotto, the famous Florentine painter, to decorate his chapel. Giotto had previously worked for the Franciscan friars in Assisi and Rimini, and had been in Padua for some time, working for the Basilica of Saint Anthony in the Sala del Capitolo and in the Blessings's Chapel.

text: A number of 14th-century sources (Riccobaldo Ferrarese, Francesco da Barberino, 1312-1313) testify to Giotto's presence at the Arena Chapel's site. The fresco cycle can be dated with a good approximation to a series of documentary testimonies: the purchase of the land took place on 6 February 1300; the bishop of Padua, Ottobono dei Razzi, authorised the building some time prior to 1302 (the date of his transferral to the Patriarcato of Aquileia); the chapel was first consecrated on 25 March 1303, the feast day of the Annunciation; on 1 March 1304 Pope Benedict XI granted an indulgence to whoever visited the chapel; one year later on 25 March 1305 the chapel received its definitive consecration. Giotto's work thus falls in the period from 25 March 1303 to 25 March 1305.

text: Giotto, who was born around 1267, was 36–38 years old when he worked at Enrico Scrovegni's chapel. He had a team of about 40 collaborators, and they calculated that 625 work days (giornati) were necessary to paint the chapel. A "work day" meant that portion of each fresco that could be painted before the plaster dried and was no longer "fresh" (fresco in Italian ).

text: In January 1305, friars from the nearby Church of the Eremitani filed a complaint to the bishop, protesting that Scrovegni had not respected the original agreement. Scrovegni was transforming his private oratory into a church with a bell tower, thus producing unfair competition with the Eremitani's activities. We do not know what happened next, but it is likely that, as a consequence of this complaint, the monumental apse and the wide transept were demolished. Both are visible on a model of the church painted by Giotto on the counter-facade (the Last Judgement). The apse was the section where Enrico Scrovegni had meant to have his tomb. The presence of frescoes dating to after 1320 supports the demolition hypothesis proposed by Giuliano Pisani. The apse, the most significant area in all churches, is where Enrico and his wife, Lacopina d'Este, were buried.

text: This apse presents a narrowing of the space which gives a sense of its being incomplete and inharmonious. When one observes the lower frame of the triumphal arch, right above Saint Catherine of Alexandria's small altar piece, Giotto's perfect symmetry is altered by a fresco decoration representing two medallions with busts of female saints, a lunette with Christ in glory, and two episodes from the Passion (the prayer in the Garden of Gethsemane and the Flagellation of Christ, which together give an overall sense of disharmony. The artist who painted these scenes also painted the greater part of the apse, an unknown artist called "The Master of the Scrovegni Choir" who worked at the Chapel about twenty years after Giotto's work was completed. The main focus of the unknown artist's work is constituted by six monumental scenes on the side walls of the chancel that depict the last period of Mary's earthly life. This choice is in tune with the iconographic program inspired by Alberto da Padova and painted by Giotto.

text: Modern period[edit]

text: The chapel was originally connected with the Scrovegni palace, which was built on what remained of the foundations of the elliptical ancient Roman arena. The palace was demolished in 1827 in order to sell the precious materials it contained and to erect two condominiums in its place. The chapel was purchased by the Municipality of the City of Padua in 1881, a year after the City Council's deliberation of 10 May 1880 leading to a decision to demolish the condominiums and restore the chapel.

text: In June 2001, following a preparation study lasting over 20 years, the Istituto Centrale per il Restauro (Central Institute for Restoration) of the Ministry for Cultural Activities, in collaboration with Padua's Town Hall in its capacity of owner of the Arena Chapel, started a full-scale restoration of Giotto's frescoes under the late Giuseppe Basile's technical direction. In 2000 the consolidation and restoration of the external surfaces had been completed and the adjacent "Corpo Tecnologico Attrezzato" (CTA) had been installed. In this "equipped technological chamber" visitors wait for fifteen minutes to allow their body humidity to be lowered and any accompanying smog dust to be filtered out. In March 2002 the chapel was reopened to the public in its original splendor. A few problems remain unsolved, such as flooding in the crypt under the nave due to the presence of an underlying aquifer, and the negative effect on the building's stability of the cement inserts that replaced the original wooden ones in the 1960s.

text: Scholarly debates[edit]

text: The neutrality of this article is disputed. Relevant discussion may be found on the talk page. Please do not remove this message until conditions to do so are met. (May 2017) (Learn how and when to remove this template message)

text: Giuliano Pisani's studies argued that a number of commonly held beliefs concerning the chapel are groundless, among them, the notion that Dante inspired Giotto. Another claim was that the theological program followed by Giotto is based on St Thomas Aquinas, whereas Pisani claims it to be wholly Augustinian. Pisani also argued against the conjecture that the Frati Gaudenti fraternity, of which Enrico Scrovegni was a member, influenced the content of Giotto's fresco cycle.[2]   He also argued against the belief that Enrico Scrovegni required that the iconography program have no emphasis placed on the sin of usury. Giuliano Pisani pointed out that Dante's condemnation of Scrovegni's father, Reginaldo, as a usurer in Canto 17 of the Inferno dates to a few years after Giotto's completion of the chapel, so it cannot be regarded as a motive behind any theological anxieties on the part of Enrico Scrovegni.  It must be noted that Pisani's arguments have not yet been widely embraced by the scholarly community, and that debates persist regarding the impetus for the chapel's creation and the reasons behind its design.

text: According to Pisani,[3] Giotto painted the chapel's inner surface following a comprehensive iconographic and decorative project devised by the Augustinian theologian, Friar Alberto da Padova. Among the sources utilized by Giotto following Friar Alberto's advice are the Apocryphal Gospels of Pseudo-Matthew and Nicodemus, the Golden Legend (Legenda aurea) by Jacopo da Varazze (Jacobus a Varagine) and, for a few minute iconographic details, Pseudo-Bonaventure's Meditations on the Life of Jesus Christ, as well as a number of Augustinian texts, such as De doctrina Christiana, De libero arbitrio, De Genesi contra Manicheos, De quantitate animae, and other texts from the Medieval Christian tradition, among which is the Phisiologus.[4]

text: Most Giotto scholarship believes that Giotto had made a number of theological mistakes. For instance, Giotto placed Hope after Charity in the Virtues series, and did not include Avarice in the Vices series, due to the usual representation of Enrico Scrovegni as a usurer. Giuliano Pisani asserts that Giotto followed a careful and deliberate theological programme based on Saint Augustine and devised by Friar Alberto da Padova.  Avarice, far from being "absent" in Giotto's cycle, is portrayed with Envy, forming with it a fundamental component of a more comprehensive sin. For this reason Envy is placed facing the virtue of Charity, to indicate that Charity is the exact opposite of Envy, and that in order to cure oneself of the sin of Envy one needs to learn from Charity. Charity crushes Envy's money bag under her feet, while on the opposite wall red flames burn under Envy's feet.[5]

text: The depiction of the sacred stories, and the message of the vault[edit]

text: Giotto frescoed the chapel's whole surface, including the walls and the ceiling. The fresco cycle is organised along four tiers, each of which contains episodes from the stories of the various protagonists of the Sacred History. Each tier is divided into frames, each forming a scene. The chapel is asymmetrical in shape, with six windows on the longer south wall, and this shape determined the layout of the decoration. The first step was choosing to place two frames between each double window set on the south wall; secondly, the width and height of the tiers was fixed in order to calculate the same space on the opposite north wall.

text: Cycles of scenes showing the Life of Christ and the Life of the Virgin were the grandest form of religious art in the period, and Giotto's cycle is unusually large and comprehensive, showing the ambition of the commission.  Allowing for this, the selection and iconography of the scenes is broadly comparable to other contemporary cycles; Giotto's innovation lies in the monumentality of his forms and the clarity of his compositions.

text: The cycle recounts the story of salvation. It starts from high up on the lunette of the triumphal arch, with the uncommon scene of God the Father instructing the Archangel Gabriel to perform the Annunciation to Mary.[6]  The narrative continues with the stories of Joachim and Anne (first tier from the top, south wall) and the stories of Mary (first tier from the top, north wall). After a return to the triumphal arch, the scenes of the Annunciation and the Visitation follow. The stories of Christ were placed on the middle tier of the south and north walls. The scene of Judas receiving the money to betray Jesus is on the triumphal arch. The lower tier of the south and north walls shows the Passion and Resurrection; the last frame on the north wall shows the Pentecost. The fourth tier begins at ground level with the monochromes of the Vices (north wall) and the Virtues (south wall). The west wall (counter-façade) presents the Last Judgment.

text: The scenes depicted are as follows:

text: Sacred stories:

text: Triumphal arch (lunette):

text: The mission of the Annunciation to Mary;

text: Upper tier, south wall:

text:
The Expulsion of Joachim
Joachim amongst the shepherds
An angel comes to Anna in prayer announcing the birth of Mary
Joachim sacrifices a kid goat to the Lord
Joachim's dream
Joachim meets Anna at the Golden Gate

text: Upper tier, north wall:

text:
Nativity of Mary and bathing the infant Jesus
Presentation of Mary at the Temple
The bringing of the branches
Prayer for the blossoming of the branches
The marriage of the Virgin
The nuptial cortege

text: Triumphal arch:

text:
The Annunciation
Visitation

text: Middle tier, south wall:

text:
The Nativity of Jesus
The Adoration of the Magi
The Presentation of Jesus at the Temple
The Flight into Egypt
The Massacre of the Innocents

text: Middle tier, north wall:

text:
The Finding in the Temple (Jesus among the doctors)
The Baptism of Jesus
The Wedding at Cana
The Resurrection of Lazarus
Christ enters Jerusalem
Casting out the money changers

text: Triumphal arch:

text: Judas's betrayal

text: Lower tier, south wall:

text:
The Last Supper
The washing of the feet
The Kiss of Judas
Jesus before Caiaphas
Flagellation of Christ

text: Lower tier, north wall;

text:
The ascent to Calvary
Crucifixion
Lamentation of Christ
The Resurrection of Jesus — Noli me tangere
Ascension
Pentecost

text: Bottom tier, north wall: Vices:

text:
Stultitia
Inconstantia
Ira
Iniustitia
Infidelitas
Invidia
Desperatio

text: Bottom tier, south wall: Virtues:

text:
Prudentia
Fortitudo
Temperantia
Iustitia
Fides
Caritas
Spes

text: Counter-façade:

text: The Last Judgment

text: The vault presents the eighth day, the time of eternity, God’s time, with eight planets (the tondos which enclose the seven great prophets of the Old Testament plus John the Baptist) and two suns (which show God and the Madonna and Child), while the blue sky is studded with eight-point stars (8, sideways, symbolises infinity).

text: The monochrome allegories of Vices and Virtues[edit]

text: The bottom tiers of the longer walls feature 14 allegories, in monochrome, symbolising Vices on the north wall and Virtues on the south wall. The Vices are Stultitia, Inconstantia, Ira, Iniusticia, Infidelitas, Invidia, and Desperatio. The Virtues are grouped as follows: the four cardinal virtues: Prudentia, Iustitia, Temperantia, Fortitudo, followed by the three theological ones: Fides, Karitas, Spes. Each virtue and vice is embedded within a mirror-like marble frame. The name of the vice or the virtue is written in Latin on top of each figure, indicating what these figures represent, namely, the seventh day (the time between Jesus’s birth and the Final Judgement).

text: According to the controversial theory of Giuliano Pisani, the  Vices and Virtues read starting from the altar’s side, going towards the counter-façade (Final Judgement), and the sequence is not "Vices first, then Virtues" as was long believed. It rather proceeds from Vice 1 (Stultitia) (north wall, right hand side) to Virtue 1 (Prudencia) (south wall, left hand side), to Vice 2 (Inconstantia) (north wall) to Virtue 2 (Fortitudo) (south side), and so on. Vices and Virtues symbolise humanity’s progress toward bliss (heavenly happiness). With the aid of Virtues, humanity can overcome obstacles (Vices). This is the philosophical-theological itinerary designed by Giotto’s theologian, a learned theologian who drew his inspiration from Saint Augustin. The Vice-Virtue section of the Arena Chapel illustrates the philosophical-theological message underlying the overall project and is key to clarifying several points previously considered to be either obscure or the result of Giotto’s only approximate theological knowledge.[7] For instance, in the Arena Chapel the vices are not the traditional capital vices or deadly sins (Pride, Envy, Wrath, Sloth, Greed, Gluttony and Lust), just like the "corresponding" virtues do not reflect the traditional order, consisting in four "cardinal virtues" (Prudence, Justice, Fortitude and Temperance) and three "theological virtues" (Faith, Hope and Charity).

text: A twofold therapeutic path leading to salvation is presented. The first, composed of four virtues, brings a cure by means of the opposing force provided by the cardinal virtues. The arrival point in this first part of the itinerary is Justice, Iusticia, who makes peace possible and therefore ensures Paradise on earth and earthly happiness. The first Vice in this first section is Stultitia, namely the incapacity to distinguish good and evil. Its cure (opposite wall) is Prudencia, Prudence, which in classical and theological terms is not "cautiousness" but "moral intelligence" or the capacity to distinguish good and evil. The viewer is in the sphere of Knowledge. Next comes the pair Inconstantia, Inconstancy, (north wall) and Fortitudo, Fortitude, (south wall). Fortitude (moral and mental strength) triumphs over Inconstancy’s lewd oscillations by means of will. "Inconstancy" is literally "the lack of a stable seat"; it is a mix of light-headedness, volubility, and inconsistency. "Inconstancy" is portrayed as a young woman rolling over a ball, ready to fall, on a motley marble floor signifying the lack of "unity" ("constancy") which characterises an inconstant mind. Here is the sphere of Will. Wrath, the third vice, is "tempered" by Temperantia, Temperance. According to Saint Augustine, Temperantia is the inner balance which ensures the will’s stable dominion over instincts and keeps human desires within the boundaries of honesty. It is the therapy necessary to prevail over passions, which are symbolised by Wrath, because Wrath is the most perilous of all the passions: it is sudden and destructive, even against own’s dearest ones, and is therefore the passion that human beings first need to learn how to control. This notion is a tenet of ancient Greek and (in its footprints) Roman philosophy, which Saint Augustin made his own and Giotto’s theologian transmitted to him, fusing together a number of Saint Augustin’s writings.

text: Prudence, Fortitude and Temperance pertain to each individual’s ethical sphere of action and have as their goal the cure of each individual "self". Ethical virtue takes form in practical application, through action and behaviour that pertain both to the personal and the social sphere and affect human relations. The notions of Justice and Injustice, the central "pair" in Giotto’s Arena Chapel, emanate from this notion. Justice’ perfect centrality is visually emphasized by an architectural "die", a small cube that runs above each of the various personifications in a slightly slanted way, pointing either toward the apse or the counter-façade, everywhere but above the head of Justice (south wall) and Injustice (north wall), where the small die falls in a perpendicular line, marking at the same time the exact physical half of the chapel as well as Justice’s curing function from a theological-philosophical viewpoint, without forgetting that Justice is what cures the soul of the sickening effects of Injustice (on the chapel’s other side).

text: Those who have successfully progressed in their therapeutic path have attained Justice. Those who have not, have attained Injustice. Those who have attained Justice have practiced a soul’s therapy that can be defined as "human" and that led them to earthly happiness. They used as their therapy the "medicina animi", the "soul’s medicine" provided by the cardinal virtues (in the sequence Prudence-Fortitude-Temperance-Justice), namely the moral and intellectual virtues with whose "medicine" human beings can be cured of, and are able to prevail over, the opposing vices.

text: Next come the theological virtues. In order to be able to aspire to heavenly Paradise one needs divine teaching, the revelation of truth, with which one overcomes and transcends human reason, and to practice the theological virtues. The "divine therapy" begins with the rejection of false beliefs (Infidelitas) through Faith in God (Fides). Only with the "medicine" of Charity (Karitas) can man overcome Selfishness and Envy (Invidia), which lead him to look with malevolent eyes (Latin in-vidēre) at his neighbour, who is also made by God in His likeness. Finally, with the aid (the medicine), Hope (Spes) can be contrasted with Lack of Hope, or Desperation (Desperatio). Hope is an attitude consisting in actively waiting for God’s future blessings which descend from trust in God and in His word, and also consisting in love, through the love of God, of the whole of humankind.

text: The sources of this extraordinary program were identified by Pisani in a number of passages of Saint Augustine’s works. Everything finds a perfect correspondence with something else. It is the theme of the "therapy of opposites", the sequential order of the cardinal and theological virtues, and the centrality of Justice.

text: Images[edit]

text:
Image

Name

Size (cm)

Image

Name

Size (cm)

The Expulsion of Joachim
200x185

The Birth of the Virgin
200x185

Joachim among the Shepherds
200x185

Presentation of Mary at the Temple
200x185

Annunciation to St Anne
200x185

The Bringing of the Rods to the Temple
200x185

Joachim's Sacrificial Offering
200x185

The Suitors Praying
200x185

Joachim's dream
200x185

Marriage of the Virgin
200x185

Joachim and Anne Meeting at the Golden Gate
200x185

Wedding Procession
200x185

Annunciation - The Angel Gabriel Sent by God
150x195

Annunciation - The Virgin Receiving the Message
150x195

text: The life of Christ[edit]

text:
Image

Name

Size (cm)

Image

Name

Size (cm)

Visitation
150x140

Judas' Betrayal
150x140

Nativity - Birth of Jesus
200x185

Last Supper
200x185

Adoration of the Magi
200x185

Washing of Feet
200x185

Presentation of Christ at the Temple
200x185

The Arrest of Christ (Kiss of Judas)
200x185

Flight into Egypt
200x185

Christ before Caiaphas
200x185

Massacre of the Innocents
200x185

Christ mocked
200x185

Christ among the Doctors
200x185

Road to Calvary
200x185

Baptism of Christ
200x185

Crucifixion
200x185

Marriage at Cana
200x185

Lamentation (The Mourning of Christ)
200x185

Raising of Lazarus
200x185

Resurrection (Noli me tangere)
200x185

Entry into Jerusalem
200x185

Ascension
200x185

Expulsion of the Money-changers from the Temple
200x185

Pentecost
200x185

Coretto
150x140

Coretto
150x140

text: Vices and Virtues[edit]

text:
Image

Name

Size (cm)

Image

Name

Size (cm)

Prudence
120x60

Foolishness
120x55

Fortitude
120x55

Inconstancy
120x55

Temperance
120x55

Wrath
120x55

Justice
120x60

Injustice
120x60

Faith
120x55

Infidelity
120x55

Charity
120x55

Envy
120x55

Hope
120x60

Desperation
120x60

text:
Image

Name

Size (cm)

Vault

The mission of the Annunciation to Mary
230x690

Last Judgment
1000x840

Circumcision
200x40

The crucifix
223x164

text:
External video
 Giotto's Arena (Scrovegni) Chapel - Part 1 Overview (4:57), Smarthistory[8]
 Part 2 Narrative Cycle (10:14)
 Part 3 The Lamentation (5:42)
 Part 4 The Last Judgment (6:23)

text: Notes[edit]

text:
Jump up ^ Anne Robertson 'Remembering the Annunciation in Medieval Polyphony' Speculum70 (1995), 275-304

Jump up ^ Jacobus, Laura (2008). Giotto and the Arena Chapel: Art, Architecture and Experience. Harvey Miller.

Jump up ^ Giuliano Pisani, I volti segreti di Giotto. Le rivelazioni della Cappella degli Scrovegni (Rizzoli, 2008)

Jump up ^ Giuliano Pisani, La concezione agostiniana del programma teologico della Cappella degli Scrovegni, in Alberto da Padova e la cultura degli agostiniani, a cura di F. Bottin, Padova University Press 2014, pp. 215-268

Jump up ^ Alberto da Padova e la cultura degli agostiniani, a cura di F. Bottin, Padova University Press 2014, pp. 1-322

Jump up ^ Schiller, I, 47

Jump up ^ Giuliano Pisani, I volti segreti di Giotto. Le rivelazioni della Cappella degli Scrovegni

Jump up ^ "Giotto's Arena (Scrovegni) Chapel". Smarthistory at Khan Academy. Retrieved March 26, 2013.

text: Bibliography[edit]

text:
Bokody, Péter. "Justice, Love and Rape: Giotto’s Allegories of Justice and Injustice in the Arena Chapel, Padua." In The Iconology of Law and Order, ed. Anna Kerchy and others, 55-66. Szeged: JATE Press, 2012.
Derbes, Anne, and Mark Sandona.  The Usurer's Heart:  Giotto, Enrico Scrovegni, and the Arena Chapel in Padua.  Pennsylvania State University Press, 2008.
Derbes, Anne, and Mark Sandona, eds.  The Cambridge Companion to Giotto.  Cambridge University Press, 2004.
Frugoni, Chiara L'affare migliore di Enrico: Giotto e la cappella Scrovegni Einaudi, 2008
Jacobus, Laura Giotto and the Arena Chapel: Art, Architecture and Experience Brepols/Harvey Miller Publications, 2008
Ladis, Andrew Giotto's O Pennsylvania State University Press, 2008
Giuliano Pisani, L'ispirazione filosofico-teologica nella sequenza Vizi-Virtù della Cappella degli Scrovegni, «Bollettino del Museo Civico di Padova», XCIII, 2004, Milano 2005, pp. 61–97 (https://www.academia.edu/4102442/L_ispirazione_filosofico-teologica_nella_sequenza_Vizi-Virt%C3%B9_della_Cappella_degli_Scrovegni).
Giuliano Pisani, Terapia umana e divina nella Cappella degli Scrovegni, in «Il Governo delle cose», dir. Franco Cardini, Firenze, n. 51, anno VI, 2006, pp. 97–106.
Giuliano Pisani, L'iconologia di Cristo Giudice nella Cappella degli Scrovegni di Giotto, in «Bollettino del Museo Civico di Padova», XCV, 2006, pp. 45–65 (https://www.academia.edu/4162139/Liconologia_di_Cristo_Giudice_nella_Cappella_degli_Scrovegni).
Giuliano Pisani, Le allegorie della sovrapporta laterale d'accesso alla Cappella degli Scrovegni di Giotto, in «Bollettino del Museo Civico di Padova», XCV, 2006, pp. 67–77.
Giuliano Pisani, Il miracolo della Cappella degli Scrovegni di Giotto, in Modernitas – Festival della modernità (Milano 22-25 giugno 2006), Spirali, Milano 2006, pp. 329–57.
Giuliano Pisani, Una nuova interpretazione del ciclo giottesco agli Scrovegni, in «Padova e il suo territorio», XXII, 125, 2007, pp. 4–8.
Giuliano Pisani, I volti segreti di Giotto. Le rivelazioni della Cappella degli Scrovegni, Rizzoli, Milano 2008, pp. 1–366. ISBN 978-88-17-02722-9; Editoriale Programma, Treviso, 2015, pp. 1–366 ISBN 978-88-6643-353-8.
Giuliano Pisani, Il programma della Cappella degli Scrovegni, in Giotto e il Trecento, catalogo a cura di A. Tomei, Skira, Milano 2009, I – I saggi, pp.  113–127 (https://www.academia.edu/6608705/Giotto._Il_programma_della_Cappella_degli_Scrovegni).
Giuliano Pisani, La fonte agostiniana della figura allegorica femminile sopra la porta palaziale della Cappella degli Scrovegni, in «Bollettino del Museo Civico di Padova», XCIX, 2010 (2014), pp.  35-46 (https://www.academia.edu/5178881/La_fonte_agostiniana_della_figura_allegorica_femminile_sopra_la_porta_palaziale_della_Cappella_degli_Scrovegni).
Stokstad, Marilyn; Art History, 2011, 4th ed., ISBN 0-205-79094-1
Giuliano Pisani, La concezione agostiniana del programma teologico della Cappella degli Scrovegni, in Alberto da Padova e la cultura degli Agostiniani, a cura di F. Bottin, Padova University Press, Padova 2014, pp. 215–268 (https://www.academia.edu/11613902/La_concezione_agostiniana_del_programma_teologico_della_Cappella_degli_Scrovegni).
Giuliano Pisani, Il capolavoro di Giotto. La Cappella degli Scrovegni, Editoriale Programma, Treviso, 2015, pp. 1–176 ISBN 978-88-6643-350-7 (https://www.academia.edu/24989584/Il_capolavoro_di_Giotto._La_Cappella_degli_Scrovegni)
Schiller, Gertud, Iconography of Christian Art, Vol. I, 1971 (English trans from German), Lund Humphries, London, ISBN 0853312702


document_title: Martin JRM Mars

question_text: how much water does the mars bomber hold

text: Martin JRM Mars

text: Design and development[edit]

text: The Glenn L. Martin Company scaled up their PBM Mariner patrol bomber design to produce the prototype XPB2M-1 Mars.[1] The XPB2M-1 was launched on 8 November 1941. After a delay caused by an engine fire during ground runs, the aircraft first flew on 23 June 1942. After flight tests with the XPB2M between 1942 and 1943, she was passed on to the Navy. The original patrol bomber concept was considered obsolete by this time, and the Mars was converted into a transport aircraft designated the XPB2M-1R. The Navy was satisfied with the performance, and ordered 20 of the modified JRM-1 Mars.[1] The first, named Hawaii Mars, was delivered in June 1945, but with the end of World War II the Navy scaled back their order, buying only the five aircraft which were then on the production line.[2] Though the original Hawaii Mars was lost in an accident on Chesapeake Bay a few weeks after it first flew, the other five Mars were completed, and the last delivered in 1947.

text: Operational history[edit]

text: U.S. Navy service[edit]

text: Named the Marianas Mars, Philippine Mars, Marshall Mars, Caroline Mars, and a second Hawaii Mars, the five production Mars aircraft entered service ferrying cargo to Hawaii and the Pacific Islands on 23 January 1944.[3] The last production airplane (the Caroline Mars) was designated JRM-2, powered by 3,000 hp (2,200 kW) Pratt & Whitney R-4360 engines, and featured a higher maximum weight and other improvements. On 4 March 1949, the Caroline Mars set a new world passenger load record by carrying 269 people from San Diego to Alameda, CA.[4] On 5 April 1950, the Marshall Mars was lost near Hawaii when an engine fire consumed the airplane after her crew had evacuated. The remaining "Big Four" flew record amounts of Naval cargo on the San Francisco-Honolulu route efficiently until 1956, when they were beached at NAS Alameda.[1]

text: Civilian use[edit]

text: In 1959, the remaining Mars aircraft were to be sold for scrap, but a Canadian company, Forest Industries Flying Tankers (FIFT), was formed and bid for the four aircraft and a large spares inventory. The company represented a consortium of British Columbia forest companies, and the bid was accepted and the sale completed in December 1959. The four aircraft were flown to Fairey Aviation at Victoria, British Columbia, for conversion into water bombers. The conversion involved the installation of a tank in the cargo bay and retractable pick-up scoops to allow uploading of water while the aircraft was taxiing. The scoops allowed 30 tons of water to be taken on board in 22 seconds. Later some of the hull fuel tanks were replaced with water tanks.

text: The Marianas Mars crashed near Northwest Bay, British Columbia, on 23 June 1961 during firefighting operations; all four crew members were lost. Just over a year later, on 12 October 1962 while parked onshore at the Victoria airport, the Caroline Mars was damaged beyond repair by Typhoon Freda when she was blown 200 yards, breaking her back.[5] The Hawaii Mars and Philippine Mars had their conversion into water bombers advanced and entered service in 1963.[1] They appeared at local airshows, demonstrating their water-dropping ability. Flying Tankers Inc. flew the water bombers to hot spots around the province when a need developed, such as in August 2003, when a large forest fire threatened the outskirts of Kelowna, British Columbia.

text: On 10 November 2006, TimberWest Forest Ltd. announced they were looking for buyers of the Mars. A condition of sale was that the purchaser would have to donate one plane back to Port Alberni when they were retired, as a historic attraction.[6] The Maryland Aviation Museum and British Columbia Aviation Council initiated a joint effort to preserve the aircraft, one for display in Maryland and the other at the current location in Canada.[7] On 13 April 2007, TimberWest announced the sale of both aircraft to Coulson Forest Products, a local forestry company in Port Alberni, British Columbia. The two surviving tankers are presently operated by Coulson Flying Tankers and are based and maintained at Sproat Lake near Port Alberni. On 25 October 2007, the Hawaii Mars ("Redtail") arrived at Lake Elsinore in southern California, on a private contract, to assist with firefighting efforts at the California wildfires of October 2007. Meanwhile, the Philippine Mars had been undergoing "extensive maintenance and renovation" and was expected to be ready to fly again by 2010.[8] As of 13 August 2009[update], the Hawaii Mars was in service fighting the La Brea fire east of Santa Maria in Southern California.

text: The aircraft can carry 7,200 U.S. gallons (27,276 litres) of water and each drop can cover an area of up to 4 acres (1.6 hectares). The aircraft can also carry up to 600 U.S. gallons (2,270 litres) of foam concentrate for gelling the load drop.[9] They are mainly used to fight fires along the coast of British Columbia and sometimes in the interior. As of July 29, 2010, the Martin Mars was being used to fight the Mason Lake/Bonaparte Lake fire north of Kamloops.[10]

text: On 23 August 2012, the Coulson Group announced that the Philippine Mars, due to its lack of use for five years, would be retired and flown to the National Naval Aviation Museum at Naval Air Station Pensacola, Florida to become a static exhibit. The aircraft was repainted to its original U.S. Navy colors and was to have been delivered to the museum in November 2012.[11] After many delays, the trade deal of transferring the aircraft to the museum was put on hold by the navy in June 2016, pending the outcome of the 2016 US Presidential election.[12]

text: On 10 May 2013, the B.C. provincial government announced that the Hawaii Mars would no longer be placed on contract after the 2013 season, due to not having been used to fight any B.C. fires for two years and the operation of newer and more versatile aircraft by the Coulson group including a Lockheed C-130 Hercules converted to firefighting use. Although Coulson stated that the Hawaii Mars has been under numerous recent upgrades to make it safer and more reliable,[13] no buyers have come forward to purchase the aircraft. Coulson also cautioned against any plans to open the aircraft as a tourist attraction because of the 2013 closure of the Flying Tankers Bomber Base Museum from poor attendance.[14]

text: In May 2015, the Hawaii Mars received a small contract to be used briefly for training Chinese pilots. This was done using the Martin Mars to evaluate against civil certification regulations by The International Test Pilot School, on how to handle such a large amphibious aircraft. These pilots will be involved with the Chinese state owned Aviation Industry Corporation of China as they get ready to launch their forthcoming AVIC TA-600 airplane.[15] Subsequently, in July 2015, the airplane was put back in service after public outcry, being awarded a 30-day contract from the BC Government to help with a particularly bad fire season.[16]

text: In 2016, the Hawaii Mars made its first appearance at EAA AirVenture Oshkosh in hopes of being sold or leased to a new home or business.[17] According to the Smithsonian Channel episode of Mighty Planes Martin Mars, only one Martin Mars is now flying.

text: Variants[edit]

text: Aircraft[edit]

text:
The Old Lady – Bureau Number (BuNo) 1520. Ordered on 23 August 1938 and completed as the prototype long-range patrol XPB2M-1, it was first flown on 3 July 1942 and converted in December 1943 to transport variant and designated XPB2M-1R. Assigned initially to VR-8 at NAS Patuxent River, Maryland for crew training, it was later transferred to VR-2 at NAS Alameda, California and scrapped in 1945.
Hawaii Mars I – JRM-1 BuNo 76819 first flown on 21 July 1945 and delivered to the United States Navy. It sank on 5 August 1945 in the Chesapeake Bay and was disposed as scrap.
Philippine Mars – JRM-1 BuNo 76820, delivered to the USN on 26 June 1946 and assigned to VR-2 at NAS Alameda, California. Converted and re-designated JRM-3. Withdrawn from service on 22 August 1956 and sold in 1959, it was converted to forest fire fighting aircraft and registered CF-LYK (later C-FLYK). The aircraft continued to fly with Flying Tankers Incorporated until she and the Hawaii Mars were purchased in 2007 by the Coulson Group. The Philippine Mars has not flown on fires since the summer of 2006 and was recently repainted to original U.S. Navy markings in preparation for transfer to be a museum display at the National Naval Aviation Museum at NAS Pensacola, Florida. The current plans of ferrying her to the museum in April or May 2016[20] have been put on hold.[12]
Marianas Mars – JRM-1 BuNo 76821, delivered to the USN on 26 February 1946 and assigned to VR-2 at NAS Alameda. Converted and re-designated JRM-3, it was withdrawn from service on 22 August 1956 and sold in 1959. Converted to forest fire fighting aircraft and registered CF-LYJ, the aircraft crashed into Mount Moriarty near Nanaimo, Vancouver Island, on 23 June 1961, when the water drop mechanism failed, leaving the aircraft unable to climb quickly enough to clear a mountain. In the ensuing crash, the crew of four were killed.
Marshall Mars - JRM-1 BuNo 76822, delivered to the USN, converted and re-designated JRM-3. It was destroyed by an engine fire and sank on 5 April 1950 off Diamond Head, Oahu, Hawaii.[21][22]
Hawaii Mars II – JRM-1 BuNo 76823, delivered to the USN on 23 April 1946 and assigned to VR-2 at NAS Alameda. Converted and redesignated JRM-3, it was withdrawn from service on 22 August 1956 and sold in 1959. Converted to forest fire fighting aircraft and registered CF-LYL (later C-FLYL), it remains the only aircraft of this type in service and flew with FIFT (Forest Industries Flying Tankers), FTI (Flying Tankers Inc) and the Coulson Group at Sproat Lake, British Columbia, Canada until 2013 and briefly in 2015.
Caroline Mars – JRM-2 BuNo 76824, delivered to the USN on 10 May 1948 and assigned to VR-2 at NAS Alameda. It was sold in 1959 and converted to forest fire fighting aircraft by Forest Industry Flying Tankers. Registered CF-LYM. the aircraft was damaged beyond repair during Typhoon Freda at Victoria, Canada on 12 October 1962.[18]

text: Specifications (JRM-3 Mars)[edit]

text: Data from Jane’s Fighting Aircraft of World War II[2][23]

text: General characteristics

text:
Crew: four (with accommodations for a second relief crew)
Capacity: JRM Mars - 133 troops, or 84 litter patients and 25 attendants or 32,000 lb (15,000 kg) payload, including up to seven Willys MB jeeps
Water/foam load: Mars waterbomber - 60,000 lb (27,000 kg)
Length: 117 ft 3 in (35.74 m)
Wingspan: 200 ft 0 in (60.96 m)
Width: 13 ft 6 in (4.11 m) Hull beam
Height: 38 ft 5 in (11.71 m) afloat, 48 ft (15 m) beached
Hull draught: 5 ft 6 in (1.68 m)
Wing area: 3,686 sq ft (342.4 m2)
Empty weight: 75,573 lb (34,279 kg)
Gross weight: 90,000 lb (40,823 kg)
Max takeoff weight: 165,000 lb (74,843 kg)
Fuel capacity: Hawaii Mars: 6,485 US gal (24,550 l; 5,400 imp gal) Philippine Mars: 13,200 US gal (50,000 l; 11,000 imp gal)
Powerplant: 4 × Wright R-3350 Duplex-Cyclone 18-cylinder radial engines, 2,500 hp (1,900 kW) each
Propellers: 4-bladed Curtiss Electric, 15 ft 2 in (4.62 m) diameter variable-pitch propellers

text: Performance

text:
Maximum speed: 221 mph (356 km/h; 192 kn)
Cruise speed: 190 mph (306 km/h; 165 kn)
Range: 4,948 mi; 7,964 km (4,300 nmi)
Service ceiling: 14,600 ft (4,500 m)
Drop speed: 138 mph (120 kn; 222 km/h)
Landing approach speed: 115 mph (100 kn; 185 km/h)
Touchdown speed: 92 mph (80 kn; 148 km/h)
Fuel consumption (cruise): 420 US gal (1,600 l; 350 imp gal) per hour
Fuel consumption (operations): 780 US gal (3,000 l; 650 imp gal) per hour
Operations duration (normal): 5 1/2 hours
Area covered, single drop: 3 to 4 acres (1.2 to 1.6 ha)
Drop height: 150 to 200 ft (46 to 61 m)
Full water tank load: 7,200 US gal (27,000 l; 6,000 imp gal)