document_title: Portrait of Adele Bloch-Bauer I

question_text: where to see the woman in gold painting

question_tokens: where to see the woman in gold painting

text: Portrait of Adele Bloch-Bauer I

text: Background[edit]

text: Gustav Klimt[edit]

text: Gustav Klimt was born in 1862 in Baumgarten, near Vienna in Austria-Hungary.[1] He attended the Vienna School of Arts and Crafts (German:Kunstgewerbeschule Wien) before taking on commissions with his brother, Ernst, and a fellow-student Franz von Matsch from 1879.[2] Over the next decade, alongside several private commissions for portraiture, they painted interior murals and ceilings in large public buildings, including the Burgtheater, the Kunsthistorisches Museum and the ceiling of the Great Hall at the University of Vienna.[3][4]

text: Klimt worked in Vienna during the Belle Époque, during which time the city made "an extreme and lasting contribution to the history of modern art".[5][6] During the 1890s he was influenced by European avant-garde art, including the works of the painters Fernand Khnopff, Jan Toorop and Aubrey Beardsley.[3] In 1897 he was a founding member and president of the Wiener Secession (Vienna Secession), a group of artists who wanted to break with what they saw as the prevailing conservatism of the Viennese Künstlerhaus.[7] Klimt in particular challenged what he saw as the "hypocritical boundaries of respectability set by Viennese society";[8] according to the art historian Susanna Partsch, he was "the enfant terrible of the Viennese art scene, [and] was acknowledged to be the painter of beautiful women".[9] By 1900 he was the preferred portrait painter of the wives of the largely Jewish Viennese bourgeoisie,[3][10] an emerging class of self-made industrialists who were "buying the innovative new art that state museums rejected", according to the journalist Anne-Marie O'Connor.[11]

text: From 1898 Klimt began to experiment with the style in what became known as his Byzantine or Golden period, when his works, stylistically influenced by Art Nouveau and the Arts and Crafts movement, were gilded with gold leaf.[12][13][n 1] Klimt had begun using gold in his 1890 portrait of the pianist Joseph Pembauer,[16] but his first work that included a golden theme was Pallas Athene (1898). The art historian Gilles Néret considers that the use of gold in the painting "underlines the essential erotic ingredient in ... [Klimt's] view of the world".[17] Néret also states that Klimt used the gold to give subjects a sacred or magical quality.[18]

text: Ferdinand and Adele Bloch-Bauer[edit]

text: Adele Bauer (de) was from a wealthy Jewish Viennese family. Her father was a director of the Wiener Bankverein (de), the seventh largest bank in Austria-Hungary, and the general director of Oriental Railroads.[19] In the late 1890s Adele met Klimt, and may have begun a relationship with him.[20] Opinion is divided on whether Adele and Klimt had an affair. The artist Catherine Dean considered that Adele was "the only society lady painted by Klimt who is known definitely to be his mistress",[21] while the journalist Melissa Müller and the academic Monica Tatzkow write that "no evidence has ever been produced that their relationship was more than a friendship".[22] Whitford observes that some of the preliminary sketches that Klimt made for The Kiss showed a bearded figure which was possibly a self-portrait; the female partner is described by Whitford as an "idealised portrait of Adele". Whitford writes that the only evidence put forward to support the theory is the position of the woman's right hand, as Adele had a disfigured finger following a childhood accident.[23]

text: Adele's parents arranged a marriage with Ferdinand Bloch, a banker and sugar manufacturer; Adele's older sister had previously married Ferdinand's older brother.[24][25] Ferdinand was older than his fiancée and at the time of the marriage in December 1899, she was 18 and he was 35. The couple, who had no children, both changed their surnames to Bloch-Bauer.[26] Socially well-connected, Adele brought together writers, politicians and intellectuals for regular salons at their home.[27][n 2]

text: The couple shared a love of art, and patronised several artists, collecting primarily nineteenth-century Viennese paintings and modern sculpture. Ferdinand also had a passion for neoclassical porcelain, and by 1934 his collection was over 400 pieces and one of the finest in the world.[29][30]

text: In 1901 Klimt painted Judith and the Head of Holofernes; the art historian Gottfried Fliedl observes that the painting is "widely known and interpreted as Salome".[31] Adele was the model for the work,[32] and wore a heavily-jewelled deep choker given to her by Ferdinand, in what Whitford describes as "Klimt's most erotic painting".[27] Whitford also writes that the painting displays "apparent evidence of ... cuckoldry".[27] In 1903 Ferdinand purchased his first Klimt work from the artist, Buchenwald (Beech Forest).[30][n 3]

text: The painting[edit]

text: Preparation and execution[edit]

text: In mid-1903 Ferdinand Bloch-Bauer commissioned Klimt to paint a portrait of his wife; he wished to give the piece to Adele's parents as an anniversary present that October.[28] Klimt drew over a hundred preparatory sketches for the portrait between 1903 and 1904.[33][34][n 4] The Bloch-Bauers purchased some of the sketches he had made of Adele when they obtained 16 Klimt drawings.[35] In December 1903, along with fellow artist Maximilian Lenz, Klimt visited the Basilica of San Vitale in Ravenna where he studied the early-Christian Byzantine gold mosaics of Justinian I and his wife, Empress Theodora.[36][37][35] Lenz later wrote that "the mosaics made an immense decisive impression on ... [Klimt]. From this comes the resplendence, the stiff decoration of his art".[37] Klimt later said that the "mosaics of unbelievable splendour" were a "revelation" to him.[38] The Ravenna mosaics also attracted the attention of other artists who provided illustrations of the work, including Wassily Kandinsky in 1911 and Clive Bell in 1914.[37]

text: Klimt undertook more extensive preparations for the portrait than any other piece he worked on.[22] Much of the portrait was undertaken by an elaborate technique of using gold and silver leaf and then adding decorative motifs in bas-relief using gesso, a paint mixture consisting of a binder mixed with chalk or gypsum.[39] The gold frame for the painting was made by the architect Josef Hoffmann.[40] Klimt finished the work by 1907.[41]

text: Description[edit]

text: The painting measures 138 by 138 cm (54 by 54 in);[42][n 5] it is composed of oil paint and silver and gold leaf on canvas. The portrait shows Adele Bloch-Bauer sitting on a golden throne or chair, in front of a golden starry background. Around her neck is the same jewelled choker Klimt included in the Judith painting.[30][33] She wears a tight golden dress in a triangular shape, made up of rectilinear forms.[44][45] In places the dress merges into the background so much so that the museum curator Jan Thompson writes that "one comes across the model almost by accident, so enveloped is she in the thick geometric scheme".[44][45] Peter Vergo, writing for Grove Art, considers that the painting "marks the height of ... [Klimt's] gold-encrusted manner of painting".[3]

text: Adele's hair, face, décolletage and hands are painted in oil; they make up less than a twelfth of the work and, in Whitford's opinion, convey little about the sitter's character.[33] For Whitford the effect of the gold background is to "remove Adele Bloch-Bauer from the earthly plane, transform the flesh and blood into an apparition from a dream of sensuality and self-indulgence"; he, and Thomson, consider the work to look more like a religious icon than a secular portrait.[39][44] O'Connor writes that the painting "seem[s] to embody femininity", and thus likens it to the Mona Lisa,[40] while for Müller and Tatzkow, the gold gives the effect that Adele appears "melancholy and vulnerable, unapproachably aloof and yet rapt".[22]

text: Both the current holder of the portrait—the Neue Galerie New York—and the art historian Elana Shapira describe how the background and gown contain symbols suggestive of erotica, including triangles, eggs, shapes of eyes and almonds.[28][45][46] Also present are decorative motifs on the theme of the letters A and B, the sitter's initials.[28] Whitford identifies influences of the art of the Byzantine, Egypt, Mycenae and Greece, describing that "the gold is like that in Byzantine mosaics; the eyes on the dress are Egyptian, the repeated coils and whorls Mycenaean, while other decorative devices, based on the initial letters of the sitter's name, are vaguely Greek".[39]

text: Reception[edit]

text: Klimt exhibited his portrait at the 1907 Mannheim International Art Show, alongside the Portrait of Fritza Riedler (1906). Many of the critics had negative reactions to the two paintings, describing them as "mosaic-like wall-grotesqueries", "bizarre", "absurdities" and "vulgarities".[41]

text: In 1908 the portrait was exhibited at the Kunstschau in Vienna where critical reaction was mixed.[35] The unnamed reviewer from the Wiener Allgemeine Zeitung described the painting as "an idol in a golden shrine",[40] while the critic Eduard Pötzl described the work as "mehr Blech als Bloch" ("more brass than Bloch").[39][n 6] According to the art historian Tobias G. Natter, some critics disapproved of the loss of the sitter's individuality, while others "accused Klimt of endangering the autonomy of art".[41]

text: History and ownership[edit]

text: After exhibition at the Kunstschau, the portrait was hung at the Bloch-Bauers' Vienna residence. In 1912 Ferdinand commissioned a second painting of his wife,[22] in which "the erotic charge of the likeness of 1907 has been spent", according to Whitford.[48] In February 1918, Klimt suffered a stroke and was hospitalised; he caught pneumonia due to the worldwide influenza epidemic and died that month.[49]

text: On 19 January 1923 Adele Bloch-Bauer wrote a will. Ferdinand's brother Gustav, a lawyer by training, helped her frame the document and was named as the executor.[50][51] The will included a reference to the Klimt works owned by the couple, including the two portraits of her:

text:
Meine 2 Porträts und die 4 Landschaften von Gustav Klimt, bitte ich meinen Ehegatten nach seinem Tode der österr. Staats-Gallerie in Wien, die mir gehörende Wiener und Jungfer.[50]
(Translates from the German as: "I ask my husband after his death to leave my two portraits and the four landscapes by Gustav Klimt to the Austrian State Gallery in Vienna.")[52][53]

text: In February 1925 Adele died of meningitis.[54] Shortly afterwards Gustav filed for probate; he included a document that stated that the clause in the will was precatory, i.e. a request rather than a binding testament. He added that Ferdinand had said he would honour the clause, even though he, not Adele, was the legal owner of the paintings.[55] The works by Klimt which Ferdinand owned, including the two portraits, were moved to Adele's bedroom as a shrine to her.[54] The painting was lent for an exhibition at the Vienna Secession in 1928 to mark the tenth anniversary of Klimt's death; in 1934 it was displayed in London as part of the Austria in London exhibition.[35] In 1936 Ferdinand gave Schloss Kammer am Attersee III to the Österreichische Galerie Belvedere; he later acquired a further Klimt painting, the Portrait of Amalie Zuckerkandl (1917–1918).[56] In 1937 the golden portrait of Adele was lent for display at the Paris Exposition.[35]

text: In December 1937 Gustav's daughter–and Ferdinand's niece–Maria, married the young opera singer Fritz Altman. Ferdinand gave her Adele's jewelled choker, which had appeared in two of Klimt's paintings, as a wedding present.[35][57] Ferdinand left Vienna for his Czechoslovakian castle in March 1938, following the Anschluss of Austria by Nazi Germany. That autumn, following the Munich Agreement, he realised he was not safe and left for Paris. In September the following year, he moved to neutral Switzerland where he lived in a hotel. In his absence the Nazi regime falsely accused him of evading taxes of 1.4 million Reichsmarks. His assets were frozen and, in May 1938 a seizure order was issued that allowed the state to dispose of his property as they felt fit.[58] His sugar factory was confiscated and turned over to the state, and went through a process of Aryanisation as Jewish shareholders and managers were replaced. His Viennese residence became an office of Deutsche Reichsbahn, the German railway company, while his castle in Czechoslovakia was taken after the German occupation as the personal residence of the Nazi general Reinhard Heydrich.[59][60]

text: As part of the process to deal with the purported tax evasion, the Nazi lawyer Friedrich Führer was appointed as the administrator of the estate. In January 1939 he convened a meeting of museum and gallery directors to inspect the works and to give an indication of which they would like to obtain. After the collection was catalogued, Adolf Hitler used the Führervorbehalt (de) decree to gain priority access to his selection of the collection for a reduced price.[n 7] Several other Nazi leaders, including Hermann Göring, the Commander-in-Chief of the Luftwaffe, also obtained works from the collection.[61][62] Göring also used the Führervorbehalt decree to obtain the jewelled choker that had been given to Maria Altmann; it was given as a gift to Emmy, his wife.[63]

text: In December 1941 Führer transferred the paintings Portrait of Adele Bloch-Bauer I and Apfelbaum I to the Galerie Belvedere in return for Schloss Kammer am Attersee III, which he then sold to Gustav Ucicky, an illegitimate son of Klimt. A note accompanying the paintings stated he was acting in accordance with Adele's will.[59][60] To remove all reference to its Jewish subject matter, the gallery renamed the portrait with the German title Dame in Gold (translates as Lady in Gold).[64]

text: In August 1945 Ferdinand wrote a final will that revoked all previous ones. It made no reference to the pictures, which he thought had been lost forever, but it stated that his entire estate was left to his nephew and two nieces—one of whom was Maria Altmann.[60][65] Ferdinand died in Switzerland in November that year.[59]

text: In 1946 the newly reconstituted Austrian state—no longer the Ostmark of the war years—issued an Annulment Act that declared all transactions motivated by Nazi discrimination were void, although any Jews who wanted to remove artwork from Austria were forced to give some of their works to Austrian museums in order to obtain a necessary export permit in exchange for others.[59][60] The Bloch-Bauer family hired Dr. Gustav Rinesh, a Viennese lawyer, to reclaim stolen artwork on their behalf. Using the records produced by Führer, he traced most of the works to the Galerie Belvedere, and Häuser in Unterach, to Führer's own private collection. Several works were returned to the Bloch-Bauer estate, but no Klimt paintings; to obtain the necessary export permits, the family were forced to let the Austrian state retain Häuser in Unterach am Attersee, Adele Bloch-Bauer I, Adele Bloch-Bauer II, and Apfelbaum I. They were also forced to relinquish any claims on Buchenwald and Schloss Kammer am Attersee III. The Galerie Belvedere based its claim of retention of the Klimt works on Adele's will.[59][66]

text: In 1998 the Austrian government introduced the Art Restitution Act,[n 8] which looked again at the question of art stolen by the Nazis.[n 9] The government formed a restitution committee to report on which works should be returned; government archives were opened up to research into the provenance of works held by the government.[60][68] Hubertus Czernin, the Austrian investigative journalist, undertook extensive research in the newly opened archives and published a story about the theft of art by the Nazis; with the subsequent refusal of the Austrian state to return the art or to acknowledge a theft had taken place, Czernin described the situation as "a double crime".[69]

text: Altmann hired E. Randol Schoenberg to act on her behalf. Schoenberg was the son of a woman she had been friends with since they lived in Vienna.[n 10] They filed a claim with the restitution committee for the return of six paintings: Adele Bloch-Bauer I, Adele Bloch-Bauer II, Apfelbaum I, Buchenwald, Häuser in Unterach am Attersee and Amalie Zuckerkandl. The committee turned down the request, again citing Adele's will as the reason they were retaining the works. The committee's decision recommended that 16 Klimt drawings and 19 pieces of porcelain that had been held by Ferdinand and Adele and which were still at the Galerie Belvedere should be returned, as they fell outside the request of the will.[59][71]

text: In March 2000 Altmann filed a civil claim against the Austrian government for the return of the paintings. She was informed that the cost of filing (consisting of 1.2% of the amount in question, plus a filing fee), would have meant a fee of €1.75 million.[72][73] To avoid the prohibitively high costs, Altmann and Schoenberg sued the Austrian government and the Galerie Belvedere in the US courts. The Austrian government filed for dismissal, based on arguments around the Foreign Sovereign Immunities Act (1976). The Act granted immunity to sovereign nations except under certain conditions. Schoenberg showed that three of the conditions pertinent to the case were that Altmann's property had been taken in violation of international law; the property was owned by the state in question, or one of its agencies; and that the property had been used on a commercial basis in the US.[74][75] Over four years of litigation followed as to whether the case could be brought against a sovereign state before it was brought before the Supreme Court in Republic of Austria v. Altmann.[72][76][n 11] In June 2004 the Supreme Court determined that the paintings had been stolen and that Austria was not immune from a claim from Altmann; the court made no comment on the current ownership of the paintings.[77][78]

text: To avoid returning to the courts in what could have been lengthy litigation process, arbitration in Austria was agreed upon by both parties, although the Austrians had turned down such a move in 1999. Three arbitrators formed the panel.[n 12] Schoenberg gave evidence before them in September 2005 and, in January 2006, they delivered their judgement. They stated that five of the six paintings in question should be returned to the Bloch-Bauer estate, as outlined in Ferdinand's will; only the Portrait of Amalie Zuckerkandl was to be retained by the gallery.[80][81][n 13]

text: After the panel's decision was announced, the Galerie Belvedere ran a series of advertisements that appeared in bus stops and on underground railway platforms. The posters said "Ciao Adele", advertising the last opportunity before the painting left the country and long queues formed around the block. Although there were calls from some Austrians for the state to purchase the five paintings, the government stated that the price would be too high to justify the expense.[82] The paintings were exported from Austria in March 2006 and exhibited together at the Los Angeles County Museum of Art from April to June that year.[83][84]

text: When Altmann was asked what she wanted to do with the paintings, she stated "I would not want any private person to buy these paintings, ... It is very meaningful to me that they are seen by anybody who wants to see them, because that would have been the wish of my aunt."[85] In June 2006 the Portrait of Adele Bloch-Bauer I was sold to Ronald Lauder for $135 million, at the time a record price for a painting. Eileen Kinsella, the editor of ARTnews, considered the high price was due to several factors, particularly the painting's provenance, the increasing demand for Austrian Expressionism, rising prices in the art world and "Lauder's passion for and pursuit of this particular work".[86] Lauder placed the work in the Neue Galerie, the New York-based gallery he co-founded. The painting has been on display at the location since.[43][87][88]

text: Michael Kimmelman, the chief art critic for the New York Times, was critical of the sale, and wrote that "A story about justice and redemption after the Holocaust has devolved into yet another tale of the crazy, intoxicating art market."[89] Altmann said of the sale that it was not practical for her, or her relatives who were also part of the estate, to retain any of the paintings.[88] In November 2006 the remaining four Klimt paintings were sold at Christie's auction house. Adele Bloch-Bauer II sold for $87.9 million, Apfelbaum I for $33 million, Buchenwald for $40.3 million and Häuser in Unterach am Attersee for $31 million. All went to private collections.[88][90]

text: Legacy[edit]

text: The history of the Portrait of Adele Bloch-Bauer I and the other paintings taken from the Bloch-Bauers has been recounted in three documentary films, Stealing Klimt (2007), The Rape of Europa (2007) and Adele's Wish (2008).[91] The painting's history is described in the 2012 book The Lady in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer, by the journalist Anne-Marie O'Connor.[92] The history, as well as other stories of other stolen art, is told by Melissa Müller and Monika Tatzkow in Lost Lives, Lost Art: Jewish Collectors, Nazi Art Theft, and the Quest for Justice, published in 2010.[93] The story of Adele Bloch-Bauer and Maria Altmann formed the basis for the 2017 novel Stolen Beauty by Laurie Lico Albanese.[94] The portrait is featured in the memoir of Gregor Collins, The Accidental Caregiver, about his relationship with Maria Altmann, published in August 2012.[95] The book was dramatised for the stage in January 2015.[96] In 2015 Altmann's story was dramatised for the film Woman in Gold starring Helen Mirren as Maria and Ryan Reynolds as Schoenberg.[97]

text: Altmann died in February 2011, aged 94.[98] Schoenberg, who had worked on a 40 per cent conditional fee throughout, received $54 million for the sale of Portrait of Adele Bloch-Bauer I and $55 million for the sale of the remaining four paintings.[99] After he donated over $7 million for the building of the new premises of the Los Angeles Museum of the Holocaust, he said that he had "tried to do good things with the money".[100][101] He subsequently specialised in the restitution of artwork plundered by the Nazis.[102]


document_title: Thanos

question_text: who played thanos in guardians of the galaxy

root

text: Thanos

text: Origin[edit]

text: Writer-artist Jim Starlin originally conceived of Thanos of Titan during college psychology classes. As Starlin described:

tag: p

text: I went to college between doing U.S. military service and getting work in comics, and there was a psych class and I came up with Thanos ... and Drax the Destroyer, but I'm not sure how he fit into it, just anger management probably. So I came up to Marvel and [editor] Roy [Thomas] asked if I wanted to do an issue of Iron Man. I felt that this may be my only chance ever to do a character, not having the confidence that my career was going to last anything longer than a few weeks. So they got jammed into it. Thanos was a much thinner character and Roy suggested beefing him up, so he's beefed up quite a bit from his original sketches ... and later on I liked beefing him up so much that he continued to grow in size.[2]

text: Starlin has admitted the character is influenced by Jack Kirby's Darkseid:

text: Kirby had done the New Gods, which I thought was terrific. He was over at DC at the time. I came up with some things that were inspired by that. You'd think that Thanos was inspired by Darkseid, but that was not the case when I showed up. In my first Thanos drawings, if he looked like anybody, it was Metron. I had all these different gods and things I wanted to do, which became Thanos and the Titans. Roy took one look at the guy in the Metron-like chair and said: "Beef him up! If you're going to steal one of the New Gods, at least rip off Darkseid, the really good one!"[3]

text: Publication history[edit]

text: Thanos' first appearance was in Iron Man #55 (Feb. 1973), featuring a story by Jim Starlin that was scripted by Mike Friedrich. The storyline from that issue continued through Captain Marvel #25–33 (bi-monthly: March 1973 – Jan. 1974), Marvel Feature #12 (Nov. 1973), Daredevil #107 (Jan. 1974), and Avengers #125 (July 1974). He returned in an extended storyline that spanned Strange Tales #178-181 (Feb.–Aug. 1975), Warlock #9-11 (Oct. 1975 – Jan. 1976), Marvel Team Up #55 (March 1977), and the 1977 Annuals for Avengers and Marvel Two-in-One (Thanos does not actually appear until the end of Warlock #9). He was also featured in a short backup story in Logan's Run #6 (June 1977) and had a small role in the Death of Captain Marvel graphic novel (April 1982).

text: The character was revived in Silver Surfer vol. 3, #34 (Feb. 1990) and guest-starred until issue #59 (November 1991), while simultaneously appearing in The Thanos Quest #1–2 (Sept.–Oct. 1990) and Infinity Gauntlet #1-6 (July–Dec. 1991). After an appearance in Spider-Man #17 (Dec. 1991), Thanos had a recurring role in Warlock and the Infinity Watch #1-42 (Feb. 1992 – Aug. 1995). This was followed by crossover appearances in Infinity War #1-6 (June – Nov. 1992), Infinity Crusade #1–6 (June – Nov. 1993), Silver Surfer vol. 3, #86-88 (Nov. 1993 – Jan. 1994), Warlock Chronicles #6-8, Thor #468–471 (Nov. 1993 – Feb. 1994), Namor The Sub-Mariner #44 (Nov. 1993), Secret Defenders #11-14 (Jan.–April 1994), Cosmic Powers #1–6 (March–July 1994), and Cosmic Powers Unlimited #1 (May 1995).

text: Thanos appeared in a connected storyline in Ka-Zar vol. 2, #4–11 (Aug. 1997 – March 1998), Ka-Zar Annual (1997), and the X-Man and Hulk Annual (1998), before featuring in Thor vol. 2, #21–25 (March–July 2000) and the 2000 Annual. The character was next used in Captain Marvel vol. 4, #17–19 (June–Aug. 2001), Avengers: Celestial Quest #1-8 (Nov. 2001 – June 2002), Infinity Abyss #1-6 (Aug.–Oct. 2002) and Marvel: The End #1-6 (May-Aug 2003).

text: In 2004 Thanos received an eponymous title that ran for 12 issues. In 2006, the character played an important role in Annihilation: Silver Surfer #1-4 (June – Sept. 2006) and Annihilation #1-6 (Oct. 2006 – March 2007). The character was re-introduced in Guardians of the Galaxy vol. 2, #24-25 (April–May 2010) and played a major role in The Thanos Imperative: Ignition (June 2010) and The Thanos Imperative #1-6 (July–Dec. 2010).

text: The character returned in Avengers Assemble #1 (March 2012).[4] A mini-series titled Thanos: Son of Titan by Joe Keatinge was planned for publication in August 2012, but was cancelled.[5]

text: The character's origin was expanded in the five-issue Thanos Rising miniseries by Jason Aaron and Simone Bianchi which was published monthly beginning in April 2013.[6] Later that same year, Thanos played a central role in the Infinity miniseries written by Jonathan Hickman and drawn by Jim Cheung, Jerome Opeña, and Dustin Weaver.

text: In May 2014, Jim Starlin and Ron Lim worked together on the one-shot Thanos Annual, which is a prelude to a new trilogy of original graphic novels. The first, Thanos: The Infinity Revelation, was released the following August.[7][8] Beginning in February 2015, Starlin also penned a four-issue miniseries titled Thanos vs. Hulk, which was set prior to the graphic novels. The second installment in the trilogy, Thanos: The Infinity Relativity, was released in June, 2015.[9] The third graphic novel, Thanos: The Infinity Finale, as well as the connected mini-series The Infinity Entity were published in 2016.[10]

text: At the same time Starlin was writing these graphic novels and tie-ins, the character also appeared in New Avengers #23-24 (Oct-Nov 2014),[11] Guardians of the Galaxy vol. 3, #18-20 (Oct-Dec 2014), Legendary Star-Lord #4 (Dec 2014), a six-issue miniseries titled Thanos: A God Up There Listening (Dec 2014), Avengers vol. 5, #40-41 (Mar-Apr 2015), and Deadpool vol. 3, #45 ("#250") (Jun 2015). Thanos also played a major role in the five-issue miniseries The Infinity Gauntlet vol. 2, (July 2015 – Jan 2016), a tie-in of the cross-over Secret Wars (2015).

text: Fictional character biography[edit]

text: Thanos was born on Saturn's moon Titan, and is the child of Eternals Mentor and Sui-San. Thanos carries the Deviants gene, and as such shares the physical appearance of the Eternals' cousin race. At birth, his mother was shocked by his appearance and attempted to kill him. During his school years, Thanos was a pacifist[12] and would only play with his brother Eros (Starfox) and pets. By adolescence, Thanos had become fascinated with nihilism and death, worshipping and eventually falling in love with the physical embodiment of death, Mistress Death.[13] As an adult, Thanos augmented his physical strength and powers mystically and artificially. He also attempted to create a new life for himself by starting a family. He is visited again by Mistress Death, for whom he murders his family.[14]

text: Cosmic Cube and Infinity Gems[edit]

text: Wishing to impress Mistress Death, Thanos gathers an army of villainous aliens and begins a nuclear bombardment of Titan that kills millions of his race.[15] Seeking universal power in the form of the Cosmic Cube, Thanos travels to Earth. Prior to landing, his vessel destroys a nearby car as a family witnesses his arrival.[16] Unbeknownst to Thanos, two of the family members in the vehicle survive: the father's spirit is preserved by the Titanian cosmic entity Kronos and is given a new form as Drax the Destroyer while the daughter is found by Thanos' father, Mentor, and is raised to become the heroine Moondragon. Thanos eventually locates the Cube, and also attracts the attention of Mistress Death. Willing the Cube to make him omnipotent, Thanos then discards the Cube. He imprisons Kronos and taunts Kree hero Captain Marvel, who with the aid of superhero team the Avengers and ISAAC (a super-computer based on Titan), is eventually able to defeat Thanos by destroying the Cube.[17]

text: Thanos later comes to the aid of Adam Warlock in a war against the Magus and his religious empire.[18][19] During this alliance Thanos cultivates a plan to reunite with Mistress Death, and secretly siphons off the energies of Warlock's Soul Gem, and combines these with the power of the other Infinity Gems to create a weapon capable of destroying a star. Warlock summons the Avengers and Captain Marvel to stop Thanos, although the plan is foiled when Thanos kills Warlock. The Titan regroups and captures the heroes, who are freed by Spider-Man and the Thing. Thanos is finally stopped by Warlock, whose spirit emerges from the Soul Gem and turns the Titan to stone.[15][20] Thanos's spirit eventually reappears to accompany a dying Captain Marvel's soul into the realm of Death.[21]

text: The Infinity saga[edit]

text: Thanos is eventually resurrected,[22] and collects the Infinity Gems once again.[23] He uses the gems to create the Infinity Gauntlet, making himself omnipotent, and erases half the living things in the universe to prove his love to Death.[24] This act and several other acts are soon undone by Adam Warlock.[25] Warlock reveals that Thanos has always allowed himself to be defeated because the Titan secretly knows he is not worthy of ultimate power. Thanos joins Warlock as part of the Infinity Watch and helps him to defeat first his evil[26] and then good[27] personas, and cure Thor of "warrior Madness".[28]

text: The events above have been dubbed the "Infinity saga."[29]

text: Other adventures[edit]

text: Thanos later recruits a team of Earth-bound super-villains and puts them under the field leadership of Geatar in a mission to capture an ancient robot containing the obscure knowledge of a universal library and extract its data.[30] Thanos uses information from the robot to plot against and battle Tyrant, the first creation of Galactus turned destroyer.[31] When trapped in an alternate dimension, Thanos employs the aid of the brother of Ka-Zar, Parnival Plunder[32] and later the Hulk[33] to escape, although both attempts are unsuccessful. Thanos is eventually freed and comes into conflict with Thor, aligning himself with Mangog in a scheme to obtain powerful mystical and cosmic talismans which will allow him to destroy all life in the universe,[34] and during their battles Thanos decimates the planet Rigel-3.[35]

text: Thanos then uses the heroes Thor and Genis-Vell (Captain Marvel's son) against the death god Walker, who attempts to woo Mistress Death and then destroy the entity after being rejected.[36] Thanos then devises a plan to become the All-Father of a new pantheon of gods created by himself. Thanos, however, finds himself opposed by the Avengers' former member Mantis and her son Quoi, who apparently is destined to be the Celestial Messiah. Thanos abandons this plan after having to unite with Mistress Death to destroy the "Rot", a cosmic aberration in deep space caused by Thanos's incessant love for Death.[37] Thanos also once conducted extensive research on genetics, and after studying many of the universe's heroes and villains cloned them and gene-spliced his own DNA into the subjects. Although he later abandons the project, five clones survive, being versions of Professor X, Iron Man, Gladiator, Doctor Strange, and Galactus respectively. A sixth and unnamed version of Thanos also appears, and it is revealed the incarnations of Thanos encountered in the past by Thor and Ka-Zar were actually clones. The true Thanos – with the aid of Adam Warlock, Gamora, Pip the Troll, Spider-Man, Captain Marvel, and Dr. Strange – destroys the remaining clones.[38]

text: When the ancient Egyptian pharaoh Akhenaten uses a source of cosmic power, the Heart of the Universe, to seize power in present-day Earth (killing most of Earth's heroes in the process), Thanos uses a time-travel stratagem to defeat him. Thanos then uses the Heart of the Universe to reverse Akhenaten's actions and was also compelled to correct a flaw in the universe. Changed by the experience, Thanos advises confidant Adam Warlock he will no longer seek universal conquest.[39] However, Marvel's Executive Editor Tom Brevoort has stated on his Tumblr blog that this story is not in any way a part of official Marvel continuity.[40][41]

text: Thanos decides to atone for the destruction of Rigel-3, and agrees to aid a colony of Rigellians in evacuating their planet before Galactus can consume it. During the course of this mission Thanos learns Galactus is collecting the Infinity Gems in an effort to end his unyielding hunger. Thanos later learns Galactus is being manipulated into releasing a multiversal threat called Hunger, which feeds on entire universes. Despite opposition from Thanos, Galactus unwittingly frees the entity, and when its intentions are revealed, the pair team up and attempt to destroy it.[42]

text: En route to the Kyln, an intergalactic prison, Thanos meets Death, who for the first time speaks to the Titan. Death claims to be worth wooing, but says Thanos must offer something other than death. At the Kyln Thanos encounters Peter Quill, also known as Star-Lord, and the Shi'ar warrior Gladiator, who are both prisoners, and the Beyonder, who has been rendered amnesiac by its choice to assume a humanoid female form. Thanos battles the Beyonder, causing its mind to shut down and leaving its power trapped within a comatose physical form. Thanos then instructs the Kyln officers to keep the Beyonder on life support indefinitely in order to prevent the entity from being reborn.[43] Thanos departs the Kyln in the company of Skreet, a chaos-mite freed from the prison. Thanos then meets the Fallen, revealed to be the true first Herald of Galactus. Thanos defeats the former Herald and places him under complete mental control.[44] He later appears in Wisconsin attempting to charge a weapon called the Pyramatrix with the life force of everyone on Earth until he is defeated by Squirrel Girl. After the battle, Uatu the Watcher appears and confirms to Squirrel Girl that she defeated the real Thanos, not a clone or copy.[45]

text: Annihilation[edit]

text: During the Annihilation War Thanos allies himself with the genocidal villain Annihilus. When the Annihilation Wave destroys the Kyln, Thanos sends the Fallen to check on the status of the Beyonder, whose mortal form he finds has perished. Before the Fallen can report back to Thanos it encounters Tenebrous and Aegis: two of Galactus's ancient foes. Thanos convinces Tenebrous and Aegis to join the Annihilation Wave in order to get revenge on Galactus, and they subsequently defeat the World Devourer and the Silver Surfer. Annihilus desires the secret of the Power Cosmic and asks Thanos to study Galactus. Once Thanos learns Annihilus's true goal is to use the Power Cosmic to destroy all life and remain the sole survivor, he decides to free Galactus. Drax the Destroyer kills Thanos before he can do so but discovers that Thanos had placed a failsafe device to allow Silver Surfer to free Galactus in the event that Annihilus betrayed him.[46] During a climactic battle with Annihilus, Nova is near death and sees Thanos standing with Mistress Death.[47]

text: The Thanos Imperative[edit]

text: A cocoon protected by the Universal Church of Truth is revealed to be hiding Thanos, who has been chosen by Oblivion to be the new Avatar of Death.[48] Resurrected before his mind could be fully formed, Thanos goes on a mindless rampage before being captured by the Guardians of the Galaxy.[49] Thanos pretends to aid the Guardians against the invading Cancerverse, and after discovering its origin kills an alternate version of Mar-Vell, the self-proclaimed Avatar of Life. This causes the collapse of the Cancerverse, and Nova sacrifices himself in an attempt to contain Thanos inside the imploding reality.[50] Thanos escapes[51] and returns to Earth seeking an artificial cosmic cube. He forms an incarnation of the criminal group Zodiac to retrieve it, but he is defeated by the Avengers and the Guardians of the Galaxy and remanded to the custody of the Elders of the Universe.[52]

text: Infinity and the Cabal[edit]

text: Thanos soon invades Earth again after being informed that most of the Avengers have temporarily left the planet.[53] He launches an assault on Attilan, which he offers to spare in exchange for the deaths of all Inhumans between the ages of 16 and 22. Black Bolt later informs the Illuminati that the true purpose of the invasion is to find and kill Thane, an Eternal/Inhuman hybrid that Thanos had secretly fathered years earlier.[54] Thanos is trapped in a pocket limbo of stasis by his son.[55] Thanos is freed by Namor and was among the villains that joined his Cabal to destroy other worlds.[56] Thanos later meets his end on Battleworld, where he is easily killed by God Emperor Doom during an attempted insurrection.[57]

text: Ultimates and Civil War II[edit]

text: Thanos is unintentionally brought back to life by Galactus.[58] When Thanos prepares to raid a Project Pegasus facility to steal a Cosmic Cube, he is ambushed and defeated by a team of Avengers. During their battle, he mortally wounds War Machine and critically injures She-Hulk.[59][60][61] After his defeat, he is imprisoned in the Triskelion,[62] and manipulates Anti-Man into facilitating his escape.[63] Thanos goes on a killing spree, but Black Panther, Blue Marvel and Monica Rambeau are able to stop him by devising a device that blocks the electrical synapses in his brain.[64]

text: Thanos somehow later recovers and escapes captivity, and reclaims his Black Order forces from Corvus Glaive. After retaking command of his Black Quadrant outpost, Thanos discovers that he is dying.[65] Thanos tries to force Mentor to find a cure for his malady, but kills him when he is unable to.[66] Around this time, Thanos is approached by a mysterious hooded woman, who proposes an alliance. He tasks her with bringing him the hammer of the deceased Ultimate Thor.[67] The woman fails, but removes her disguise to reveal herself as Hela, the Norse goddess of death. She tells Thanos that she needs his help to reclaim Hel, and in exchange, offers to give him the one thing he has been searching for his entire life: death. After this, the two kiss.[68]

text: Powers and abilities[edit]

text: Thanos is a mutant member of the race of superhumans known as the Titanian Eternals. The character possesses abilities common to the Eternals, but amplified to a higher degree through a combination of his mutant–Eternal heritage, bionic amplification, mysticism, and power bestowed by the abstract entity, Death. Demonstrating enormous superhuman strength, stamina, and durability, Thanos can absorb and project vast quantities of cosmic energy and is capable of telekinesis, telepathy, and matter manipulation. Thanos is an accomplished hand-to-hand combatant, having been trained in the art of war on Titan.

text: Thanos has proven himself capable of briefly holding his own in battle against Odin,[69] and of blasting Galactus off his feet.[70]

text: Thanos is a supergenius in virtually all known fields of advanced science and has created technology far exceeding contemporary Earth science. He often employs a transportation chair capable of space flight, force field projection, teleportation, time travel, and movement through alternate universes. Thanos is also a master strategist and uses several space vessels, at least three under the name "Sanctuary", as a base of operations.

text: Other versions[edit]

text: Amalgam Comics[edit]

text: During the 1996 Amalgam Comics crossover between DC Comics and Marvel, Thanos merged with Darkseid to become "Thanoseid".[71]

text: Earth X[edit]

text: In the alternate universe limited series Earth X, Thanos dwelled in the Realm of the Dead with the entity Death.[72] It is revealed his mother was a Skrull and Death used her secret to make him believe that Death was his mother. When the deception is revealed, he uses the Ultimate Nullifier on Death.[73]

text: Ultimate Marvel[edit]

text: The Ultimate Marvel imprint title Ultimate Fantastic Four features an alternate universe version of Thanos who is the ruler of Acheron (and has a son called Ronan the Accuser, who is in possession of a Cosmic Cube[74]), a vast empire consisting of thousands of worlds that exist in another plane of existence.[75]

text: Marvel Zombies 2[edit]

text: Thanos features in the limited series Marvel Zombies 2, set in the alternate universe of Earth-2149. Having been "zombified", the character is killed by the cosmic-powered Hulk after an altercation over food.[76]

text: In other media[edit]

text: Television[edit]

text:
Thanos was featured in the Silver Surfer animated television series, voiced by Gary Krawford. Due to Fox's broadcast standards, Thanos is depicted as a worshiper of Lady Chaos. Thanos talks to a statue of Lady Chaos on his ship.[77]
Thanos appears on The Super Hero Squad Show, voiced by Steven Blum in his first appearance,[78] and by Jim Cummings in all other appearances.[79]
Thanos appears in the Avengers Assemble[80] and Guardians of the Galaxy animated shows, voiced by Isaac C. Singleton Jr.[81]

tag: ul

text: Film[edit]

text:
Damion Poitier makes a cameo appearance as Thanos (credited as Man #1) during the mid-credits of the 2012 film The Avengers as Loki's mysterious benefactor.[82][83]
Josh Brolin appears as Thanos in the 2014 film Guardians of the Galaxy.[84] He tries to use Ronan the Accuser to obtain an Infinity Stone. The film also introduces him as the adoptive father of Gamora and Nebula. Sean Gunn stood in for Thanos on set,[85][86] while Brolin provided the performance capture of the character.[87] Thanos was originally going to have a larger role in Guardians of the Galaxy, but Joss Whedon felt that the character needed to be threaded more gently.[88]
Brolin reprises his role (uncredited) in the mid-credits scene of the 2015 film Avengers: Age of Ultron. Thanos is seen retrieving an Infinity Gauntlet without the stones saying "Fine, I'll do it myself."
Brolin will reprise his role in the upcoming films Avengers: Infinity War and its untitled sequel.[89][90]

text: Video games[edit]

text:
Thanos appeared in the Capcom fighting games Marvel Super Heroes[citation needed] and Marvel vs. Capcom 2 as a playable character, voiced by Andrew Jackson.[citation needed]
Thanos appears as a downloadable content character in Lego Marvel Super Heroes.[91]
Thanos appears as a playable character of Lego Marvel's Avengers, voiced by Isaac C. Singleton Jr.[citation needed]
Thanos is a playable character in Marvel Future Fight.[92]
Thanos is available to play with in Marvel: Contest of Champions.[citation needed]
There are two playable versions of Thanos in the match-three mobile game Marvel Puzzle Quest. Thanos was added to the game in December 2016.[93]
Thanos appears in Guardians of the Galaxy: The Telltale Series, voiced by Jake Hart.[94] In the first chapter, Thanos seeks the Eternity Forge, an ancient artifact. He is killed in a battle with the Nova Corps and the Guardians of the Galaxy.
Thanos appears as a playable character in Marvel vs. Capcom: Infinite,[95] voiced again by Isaac C. Singleton Jr.[96] In this game, Thanos no longer has the Infinity Stone-based moves from the previous Marvel vs. Capcom games. In the story mode, he was originally captured by Ultron Sigma (a fusion between Ultron and Sigma from Capcom's Mega Man X series), until he is rescued by the remaining heroes and soon must aid the heroes to devise another plan in combatting Ultron Sigma.

text: Novels[edit]

text: Thanos is the protagonist of the 2017 novel Thanos: Death Sentence by Stuart Moore.[97] The book follows Thanos' last chance to win Death's love after his defeat at the end of The Infinity Gauntlet.

text: Collected editions[edit]

text: A number of the stories featuring Thanos have been republished into trade paperbacks and other collected editions:

text:
The Life of Captain Marvel (collects Iron Man #55, Captain Marvel #25-34, Marvel Feature #12), 1991, ISBN 0-87135-635-X
Essential Avengers: Volume 6 (includes Captain Marvel #33; The Avengers #125, 135), 576 pages, February 2008, ISBN 0-7851-3058-6
The Greatest Battles of the Avengers (includes Avengers Annual #7), 156 pages, December 1993, ISBN 0-87135-981-2
Avengers vs. Thanos (collects Iron-Man #55, Captain Marvel #25-33, Marvel Feature #12, Daredevil #105-107, Avengers #125, Warlock #9-11, 15, Avengers Annual #7, Marvel Two-In-One Annual #2, and material from Logan's Run #6), 472 pages, March 2013, ISBN 0-7851-6850-8
Essential Marvel Two-in-One: Volume 2 (includes Marvel Two-in-One Annual #2), 568 pages, July 2007, ISBN 0-7851-2698-8
Marvel Masterworks Captain Marvel: Volume 3 (collects Captain Marvel #22–33, Iron Man #55), 288 pages, hardcover, April 2008, ISBN 0-7851-3015-2
Marvel Masterworks Captain Marvel: Volume 6 (collects Captain Marvel #58-62, Marvel Spotlight #1-4, 8, Marvel Super-Heroes #3, Marvel Graphic Novel #1; Logan's Run #63), 296 pages, hardcover, May 2016, ISBN 978-0785199946
Marvel Masterworks Warlock: Volume 2 (collects Strange Tales #178-181; Warlock #9–15; Avengers Annual #7; Marvel Two-in-One Annual #2), hardcover, 320 pages, hardcover, June 2009, ISBN 0-7851-3511-1
The Death of Captain Marvel (collects Captain Marvel #34, Marvel Spotlight #1–2, Marvel Graphic Novel #1), 128 pages, hardcover, June 2010, ISBN 0-7851-4627-X
Silver Surfer: Rebirth of Thanos (collects Silver Surfer #34–38; The Thanos Quest miniseries; "The Final Flower!" from Logan's Run #6), 224 pages, April 2006, ISBN 0-7851-2046-7 (hardcover, August 2010, ISBN 0-7851-4478-1)
The Infinity Gauntlet (collects The Infinity Gauntlet limited series), 256 pages, March 2000, ISBN 0-87135-944-8 (December 2004, ISBN 0-7851-0892-0; July 2006, ISBN 0-7851-2349-0; hardcover, August 2010, ISBN 0-7851-4549-4)
Infinity War (collects Infinity War limited series; Warlock and the Infinity Watch #7–10; Marvel Comics Presents #108–111), 400 pages, April 2006, ISBN 0-7851-2105-6
Infinity Crusade:

Volume 1 (collects Infinity Crusade #1-3, Warlock Chronicles #1–3, Warlock and the Infinity Watch #18–19), 248 pages, December 2008, ISBN 0-7851-3127-2
Volume 2 (collects Infinity Crusade #4–6, Warlock Chronicles #4–5, Warlock and the Infinity Watch #20–22), 248 pages, February 2009, ISBN 0-7851-3128-0

Thor: Blood and Thunder (collects Thor #468–471, Silver Surfer #86–88, Warlock Chronicles #6–8, Warlock and the Infinity Watch #23–25), 336 pages, July 2011, ISBN 978-0-7851-5094-7
DC versus Marvel Comics (collects DC vs. Marvel mini-series, Doctor Strangefate #1), 163 pages, September 1996, ISBN 1-56389-294-4
Ka-Zar by Mark Waid and Andy Kubert:

Volume 1 (collects Ka-Zar #1–7, Tales of the Marvel Universe #1), 208 pages, January 2011, ISBN 978-0-7851-4353-6
Volume 2 (collects Ka-Zar #8–14, Annual '97), 216 pages, March 2011, ISBN 978-0-7851-5992-6

Deadpool Classic: Volume 5 (collects Deadpool #26–33, Baby's First Deadpool, Deadpool Team-Up #1), 272 pages, June 2011, ISBN 978-0-7851-5519-5
The Mighty Thor by Dan Jurgens and John Romita, Jr.: Volume 4 (collects Thor vol. 2, #18–25, Annual 2000), 256 pages, November 2010, ISBN 978-0-7851-4927-9
Infinity Abyss (collects Infinity Abyss limited series), 176 pages, 2003, ISBN 0-7851-0985-4
Thanos: The End (collects Marvel: The End limited series), 160 pages, May 2004, ISBN 0-7851-1116-6
Thanos: Redemption (collects Thanos #1-12), 304 pages, November 2013, ISBN 0-7851-8506-2

Epiphany (collects Thanos #1–6), 144 pages, June 2004, ISBN 0-7851-1355-X
Samaritan (collects Thanos #7–12), 144 pages, October 2004, ISBN 0-7851-1540-4

Annihilation:

Volume 1 (collects Drax the Destroyer miniseries, Annihilation: Prologue one-shot, Annihilation: Nova miniseries), 256 pages, October 2007, ISBN 0-7851-2901-4 (hardcover, March 2007, ISBN 0-7851-2511-6)
Volume 2 (collects Annihilation: Ronan miniseries, Annihilation: Silver Surfer miniseries, Annihilation: Super-Skrull miniseries), 320 pages, November 2007, ISBN 0-7851-2902-2 (hardcover, May 2007, ISBN 0-7851-2512-4)
Volume 3 (collects Annihilation: The Nova Corps Files one-shot/handbook, Annihilation limited series, Annihilation: Heralds of Galactus miniseries), 304 pages, December 2007, ISBN 0-7851-2903-0 (hardcover, July 2007, ISBN 0-7851-2513-2)

The Thanos Imperative (collects The Thanos Imperative #1–6, The Thanos Imperative: Ignition, The Thanos Imperative: Devastation, Thanos Sourcebook), 248 pages, hardcover, February 2011, ISBN 0-7851-5183-4
Infinity (collects Infinity #1-6, New Avengers vol. 3, #7-12, Avengers vol 5, #14-23, Infinity: Against the Tide Infinite Comic #1-2), 632 pages, hardcover, February 2014, ISBN 978-0785184225
Thanos Rising (collects Thanos Rising #1-5), 136 pages, hardcover, July 2014, ISBN 978-0785190479
Thanos: A God Up There Listening (collects Thanos: A God Up There Listening #1-4 and Thanos Annual #1), 120 pages, hardcover, December 2014, ISBN 978-0785191582
Thanos vs. Hulk (collects Thanos vs. Hulk #1-4, Warlock (1972) #12), 112 pages, June 2015, ISBN 978-0785197126
Thanos: Cosmic Powers (collects Secret Defenders #12-14, Cosmic Powers #1-6), 344 pages, November 2015, ISBN 978-0785198178
Deadpool vs. Thanos (collects Deadpool vs. Thanos #1-4), 112 pages, December 2015, ISBN 978-0785198451
The Infinity Gauntlet: Warzones! (collects The Infinity Gauntlet #1-5), 112 pages, December 2015, ISBN 978-0785198741
Siege: Battleworld (collects Siege #1-4, Uncanny X-Men (2011) #9-10), 144 pages, Februar 2016, ISBN 978-0785195498
Secret Wars (collects Secret Wars #1-9 and material from Secret Wars #0 FCBD), 312 pages, March 2016, ISBN 978-0785198840
The Infinity Entity (collects: The Infinity Entity #1-4, Thanos Annual #1), 116 pages, July 2016, ISBN 978-0785194217'
Thanos The Infinity Revelation, Jim Starlin, 2014, ISBN 978-0785184706
Thanos The Infinity Relativity, Jim Starlin, 2015, ISBN 978-0785193036
Thanos The Infinity Finale, Jim Starlin, 2016, ISBN 978-0785193050

text: Reception[edit]

text: Thanos was ranked number 47 on IGN's top 100 comic book villains of all time,[98] 22nd on Wizard's Top 100 Greatest Villains list,[citation needed] and number 21 on Complex's 25 Greatest Comic Book Villains List.[99]


document_title: Here Come the Mummies

question_text: who is the lead singer of here come the mummies

text: Here Come the Mummies

text: Members[edit]

text: Current [5][edit]

text: Current members of the band are:

text:
Mummy Cass(anova) - Guitar, Lead vocals
Eddie Mummy - Drums, Vocals
Spazzy Mummy - Keyboards, Vocals
KW Tut - Bass, Vocals
Mummy Rah - Tenor Sax
The Flu - Baritone Sax
Midnight Mummy - Baritone Sax, Syntar
The Pole! - Bass
BB Queen - Trumpet
Mummy Yo - Tenor Sax (alternate)

text: Former[edit]

text: On June 5, 2012 Here Come The Mummies announced via their web site that Oozie Mummy would no longer be performing with the band.[6]

text:
Flava Mummy - Percussion, Vocals
Oozie Mummy - Trumpet, Vocals
Teste Verde - Trumpet
Bucking Blanco - Trumpet
Ramses Mummy - Bass
Hoser - Saxophone
Java Mummy - Percussion, Vocals: Java (born 1974 B.C. as J Mummy Love)
Will Pharaoh - Trumpet

text: Discography[edit]

text: Studio albums[edit]

text:
Terrifying Funk from Beyond the Grave (2002)
Everlasting Party (2003)
Single Entendre (2008)
Carnal Carnival (2010)
Bed, Bath & Behind (2011)
Introducing the Tiny Tuts (2012)
Cryptic (2013)
Underground (2016)
A Blessing And A Curse (2016)

text: EPs[edit]

text:
A La Mode (2014)
Pull It Off (2014)
Shocker (2014)
MuertoDiesel (2014)

text: Live albums[edit]

text:
Undead Live (2009)
Rejuvannihilation (2013)

text: Compilation albums[edit]

text:
Hits & Mrs. (2012)
CuriosiTease Volume 1 (2013)
Threesome (2014)

text: Compilations[edit]

text:
Bob And Tom Dead Air Disc 2 (2009)[7]
Fired Up! Original Motion Picture Soundtrack (2009)[8][9]

text: Appearances[edit]

text: The band's song "Dirty Minds" has been featured on the television shows Big Shots, The Loop, and Scrubs, as well as the movie Fired Up!, also appearing on the Fired Up! official soundtrack.

text: In 2009 and again in 2010 the band played on the Bob and Tom morning show. They have since become one of the show's favorite musical guests.[10]

text: Notes[edit]

text:
Jump up ^ Sphinxter Records at Last.FM
Jump up ^ Chattanooga’s Live Music Scene: Here Come The Mummies
Jump up ^ The Huntsville Times: These Guys Are Scary Good (February 11, 2010)
Jump up ^ About Here Come The Mummies
Jump up ^ http://www.herecomethemummies.com/#band-section
Jump up ^ Java addresses Oozie's departure
Jump up ^ Bob And Tom Store: Dead Air
Jump up ^ IMDB: Fired Up! Soundtrack
Jump up ^ Here Come The Mummies Discography
Jump up ^ Here Come The Mummies on The Bob and Tom Show

tag: ol


document_title: List of St Kilda Football Club coaches

question_text: who coached the most games for st kilda

question_tokens: who coached the most games for st kilda

text: List of St Kilda Football Club coaches

text: This article relies largely or entirely on a single source. Relevant discussion may be found on the talk page. Please help improve this article by introducing citations to additional sources. (August 2012)

tag: table

text: The following is a list of coaches who have coached the St Kilda Football Club at a game of Australian rules football in the Australian Football League (AFL), formerly the VFL.

text:
No.
Coach
P
W
L
D
W%
Years

1
Alex Hall
13
4
9
0
30.77
1906

2
Mick Grace
19
10
9
0
52.63
1908

3
Jimmy Smith
49
16
33
0
32.65
1909, 1915, 1918

4
Eddie Drohan
18
2
16
0
11.11
1911

5
George Sparrow
63
37
26
0
58.73
1913, 1920, 1928–29

6
Dave McNamara
50
22
26
2
46.00
1914, 1922–23

7
Wels Eicke
32
11
21
0
34.38
1919, 1924

8
Charlie Ricketts
27
5
21
1
20.37
1920–21

9
Norm Clark
35
14
21
0
40.00
1925–26

10
George Heinz
18
8
10
0
44.44
1927

11
Bill Cubbins
18
8
10
0
44.44
1930

12
Charlie Hardy
25
9
16
0
36.00
1931–32

13
Stuart King
11
2
9
0
18.18
1932

14
Col Deane
18
6
12
0
33.33
1933

15
Colin Watson
18
9
9
0
50.00
1934

16
Dan Minogue
54
30
24
0
55.56
1935–37

17
Ansell Clarke
55
28
27
0
50.91
1938–40

18
Bill Patterson
1
0
1
0
0.00
1938

19
Jack Knight
18
3
15
0
16.67
1941

20
Reg Garvin
24
7
16
1
31.25
1942–43

21
Hugh Thomas
38
8
28
2
23.68
1944–45

22
Allan Hird
38
5
32
1
14.47
1946–47

23
Fred Froude
56
14
41
1
25.89
1948–50

24
Fred Green
18
5
13
0
27.78
1951

25
Col Williamson
37
7
30
0
18.92
1952–53

26
Les Foote
36
5
30
1
15.28
1954–55

27
Alan Killigrew
54
19
34
1
36.11
1956–58

28
Jim Francis
36
18
18
0
50.00
1959–60

29
Allan Jeans
332
193
138
1
58.28
1961–76

30
Eric Guy
6
3
3
0
50.00
1972, 1974

31
Ross G. Smith
22
3
17
2
18.18
1977

32
Mike Patterson
46
14
31
1
31.52
1978–80

33
Alex Jesaulenko
64
13
49
2
21.88
1980–82

34
Tony Jewell
26
5
21
0
19.23
1983–84

35
Graeme Gellie
62
10
52
0
16.13
1984–86

36
Darrel Baldock
62
18
44
0
29.03
1987–89

37
Allan Davis
4
2
2
0
50.00
1987

38
Ken Sheldon
89
48
40
1
54.49
1990–93

39
Stan Alves
115
55
59
1
48.26
1994–98

40
Tim Watson
44
12
31
1
28.41
1999–2000

41
Malcolm Blight
15
3
12
0
20.00
2001

42
Grant Thomas
123
63
59
1
51.63
2001–06

43
Ross Lyon
121
76
41
4
64.46
2007–11

44
Scott Watters
44
17
27
0
38.64
2012–13

45
Alan Richardson
66
22
43
1
34.09
2014-

text: Key:


document_title: Notre-Dame de Paris

question_text: who is the notre dame cathedral dedicated to

text: Notre-Dame de Paris

text: Architecture[edit]

text: Notre-Dame de Paris was among the first buildings in the world to use the flying buttress. The building was not originally designed to include the flying buttresses around the choir and nave but after the construction began, the thinner walls grew ever higher and stress fractures began to occur as the walls pushed outward. In response, the cathedral's architects built supports around the outside walls, and later additions continued the pattern. The total surface area is 5,500 m² (interior surface 4,800 m²).

text: Many small individually crafted statues were placed around the outside to serve as column supports and water spouts. Among these are the famous gargoyles, designed for water run-off, and chimeras. The statues were originally colored as was most of the exterior. The paint has worn off. The cathedral was essentially complete by 1345. The cathedral has a narrow climb of 387 steps at the top of several spiral staircases; along the climb it is possible to view its most famous bell and its gargoyles in close quarters, as well as having a spectacular view across Paris when reaching the top.

text: Contemporary critical reception[edit]

text: John of Jandun recognized the cathedral as one of Paris's three most important buildings [prominent structures] in his 1323 Treatise on the Praises of Paris:

text:
“
That most glorious church of the most glorious Virgin Mary, mother of God, deservedly shines out, like the sun among stars. And although some speakers, by their own free judgment, because [they are] able to see only a few things easily, may say that some other is more beautiful, I believe however, respectfully, that, if they attend more diligently to the whole and the parts, they will quickly retract this opinion. Where indeed, I ask, would they find two towers of such magnificence and perfection, so high, so large, so strong, clothed round about with such a multiple variety of ornaments? Where, I ask, would they find such a multipartite arrangement of so many lateral vaults, above and below? Where, I ask, would they find such light-filled amenities as the many surrounding chapels? Furthermore, let them tell me in what church I may see such a large cross, of which one arm separates the choir from the nave. Finally, I would willingly learn where [there are] two such circles, situated opposite each other in a straight line, which on account of their appearance are given the name of the fourth vowel [O] ; among which smaller orbs and circlets, with wondrous artifice, so that some arranged circularly, others angularly, surround windows ruddy with precious colors and beautiful with the most subtle figures of the pictures. In fact I believe that this church offers the carefully discerning such cause for admiration that its inspection can scarcely sate the soul.
”

— Jean de Jandun, Tractatus de laudibus Parisius[4]

text: Construction history[edit]

text: In 1160, because the church in Paris had become the "Parish church of the kings of Europe", Bishop Maurice de Sully deemed the previous Paris cathedral, Saint-Étienne (St Stephen's), which had been founded in the 4th century, unworthy of its lofty role, and had it demolished shortly after he assumed the title of Bishop of Paris. As with most foundation myths, this account needs to be taken with a grain of salt; archeological excavations in the 20th century suggested that the Merovingian cathedral replaced by Sully was itself a massive structure, with a five-aisled nave and a façade some 36m across. It is possible therefore that the faults with the previous structure were exaggerated by the Bishop to help justify the rebuilding in a newer style. According to legend, Sully had a vision of a glorious new cathedral for Paris, and sketched it on the ground outside the original church.

text: To begin the construction, the bishop had several houses demolished and had a new road built to transport materials for the rest of the cathedral. Construction began in 1163 during the reign of Louis VII, and opinion differs as to whether Sully or Pope Alexander III laid the foundation stone of the cathedral. However, both were at the ceremony. Bishop de Sully went on to devote most of his life and wealth to the cathedral's construction. Construction of the choir took from 1163 until around 1177 and the new High Altar was consecrated in 1182 (it was normal practice for the eastern end of a new church to be completed first, so that a temporary wall could be erected at the west of the choir, allowing the chapter to use it without interruption while the rest of the building slowly took shape). After Bishop Maurice de Sully's death in 1196, his successor, Eudes de Sully (no relation) oversaw the completion of the transepts and pressed ahead with the nave, which was nearing completion at the time of his own death in 1208. By this stage, the western facade had also been laid out, though it was not completed until around the mid-1240s.[5]

text: Numerous architects worked on the site over the period of construction, which is evident from the differing styles at different heights of the west front and towers.[citation needed] Between 1210 and 1220, the fourth architect oversaw the construction of the level with the rose window and the great halls beneath the towers.

text: The most significant change in design came in the mid 13th century, when the transepts were remodeled in the latest Rayonnant style; in the late 1240s Jean de Chelles added a gabled portal to the north transept topped off by a spectacular rose window. Shortly afterwards (from 1258) Pierre de Montreuil executed a similar scheme on the southern transept. Both these transept portals were richly embellished with sculpture; the south portal features scenes from the lives of St Stephen and of various local saints, while the north portal featured the infancy of Christ and the story of Theophilus in the tympanum, with a highly influential statue of the Virgin and Child in the trumeau.[6]

text: Timeline of construction[edit]

text:
1160 Maurice de Sully (named Bishop of Paris) orders the original cathedral demolished.
1163 Cornerstone laid for Notre-Dame de Paris; construction begins.
1182 Apse and choir completed.
1196 Bishop Maurice de Sully dies.
c.1200 Work begins on western facade.
1208 Bishop Eudes de Sully dies. Nave vaults nearing completion.
1225 Western facade completed.
1250 Western towers and north rose window completed.
c.1245–1260s Transepts remodelled in the Rayonnant style by Jean de Chelles then Pierre de Montreuil
1250–1345 Remaining elements completed.

text: Crypt[edit]

text: The Archaeological Crypt of the Paris Notre-Dame (La crypte archéologique du Parvis de Notre-Dame) was created in 1965 to protect a range of historical ruins, discovered during construction work and spanning from the earliest settlement in Paris to the modern day. The crypts are managed by the Musée Carnavalet and contain a large exhibit, detailed models of the architecture of different time periods, and how they can be viewed within the ruins. The main feature still visible is the under-floor heating installed during the Roman occupation.[7]

text: Alterations, vandalism, and restorations[edit]

text: In 1548, rioting Huguenots damaged features of Notre-Dame, considering them idolatrous.[8] During the reigns of Louis XIV and Louis XV, the cathedral underwent major alterations as part of an ongoing attempt to modernize cathedrals throughout Europe. A colossal statue of St Christopher, standing against a pillar near the western entrance and dating from 1413, was destroyed in 1786. Tombs and stained glass windows were destroyed. The north and south rose windows were spared this fate, however.

text: In 1793, during the French Revolution, the cathedral was rededicated to the Cult of Reason, and then to the Cult of the Supreme Being. During this time, many of the treasures of the cathedral were either destroyed or plundered. The 13th century spire was torn down[9] and the statues located at the west facade were beheaded.[10] Many of the heads were found during a 1977 excavation nearby and are on display at the Musée de Cluny. For a time the Goddess of Liberty replaced the Virgin Mary on several altars.[11] The cathedral's great bells managed to avoid being melted down. The cathedral came to be used as a warehouse for the storage of food.[8]

text: A controversial restoration programme was initiated in 1845, overseen by architects Jean-Baptiste-Antoine Lassus and Eugène Viollet-le-Duc. Viollet Le Duc was responsible for the restorations of several dozen castles, palaces and cathedrals across France. The restoration lasted twenty five years[8] and included a taller and more ornate reconstruction of the flèche (a type of spire),[9] as well as the addition of the chimeras on the Galerie des Chimères. Viollet le Duc always signed his work with a bat, the wing structure of which most resembles the Gothic vault (see Château de Roquetaillade).

text: The Second World War caused more damage. Several of the stained glass windows on the lower tier were hit by stray bullets. These were remade after the war, but now sport a modern geometrical pattern, not the old scenes of the Bible.

text: In 1991, a major programme of maintenance and restoration was initiated, which was intended to last ten years, but was still in progress as of 2010,[8] the cleaning and restoration of old sculptures being an exceedingly delicate matter. Circa 2014, much of the lighting was upgraded to LED lighting.[12]

text: Organ and organists[edit]

text: Organ[edit]

text: One of the earliest organs at Notre-Dame, built in 1403 by Friedrich Schambantz, was replaced between 1730-1738 by Francois Thierry. During the restoration of the cathedral by Eugène Viollet-le-Duc, Aristide Cavaillé-Coll built a new organ, using pipe work of the former instruments. The organ was dedicated in 1868. In 1904, Charles Mutin modified and added several stops; in 1924, an electric blower was installed. An extensive restoration and cleaning took place in 1932 by Joseph Beuchet. Between 1959 and 1963, the mechanical action with barker machines was replaced by an electric action by Jean Hermann, and a new organ console was installed. During the following years, the stoplist was gradually modified by Robert Boisseau (who added three chamade stops 8', 4', and 2'/16' in 1968) and Jean-Loup Boisseau after 1975, respectively. In fall 1983, the electric combination system was disconnected due to short-circuit risk. Between 1990 and 1992, Jean-Loup Boisseau, Bertrand Cattiaux, Philippe Émeriau, Michel Giroud, and the Société Synaptel throughoutly revised and augmented the instrument. A new console was installed, using the stop knobs, pedal and manual keyboards, foot pistons and balance pedals from the Jean Hermann console. Between 2012 and 2014, Bertrand Cattiaux and Pascal Quoirin restored, cleaned, and modified the organ. The stop and key action was upgraded, a new console was built, (again using the stop keys, pedal board, foot pistons and balance pedals of the 1992 console), a new enclosed division ("Résonnance expressive", using pipework from the former "Petite Pédale" by Boisseau, which now can be used as a floating division), the organ case and the facade pipes were restored, and a general tuning was made. The current organ has 115 stops (156 ranks) on five manuals and pedal, and more than 8,000 pipes.

text:
I. Grand-Orgue
C–g3
II. Positif
C–g3
III. Récit
C–g3
IV. Solo
C–g3
V. Grand-Chœur
C–g3
Pédale
C–f1
Résonnance expressive
C–g3

Violon Basse 16
Bourdon 16
Montre 8
Viole de Gambe 8
Flûte harmonique 8
Bourdon 8
Prestant 4
Octave 4
Doublette 2
Fourniture harmonique II-V
Cymbale harmonique II-V
Bombarde 16
Trompette 8
Clairon 4
Chamades:
Chamade 8
Chamade 4
Chamade REC 8
Cornet REC

Montre 16
Bourdon 16
Salicional 8
Flûte harmonique 8
Bourdon 8
Unda maris 8
Prestant 4
Flûte douce 4
Nazard 2 2/3
Doublette 2
Tierce 1 3/5
Fourniture V
Cymbale V
Clarinette basse 16
Clarinette 8
Clarinette aiguë 4

Récit expressif:
Quintaton 16
Diapason 8
Flûte traversière 8
Viole de Gambe 8
Bourdon céleste 8
Voix céleste 8
Octave 4
Flûte Octaviante 4
Quinte 2 2/3
Octavin 2
Bombarde 16
Trompette 8
Basson Hautbois 8
Clarinette 8
Voix humaine 8
Clairon 4
Récit classique:
Cornet V
Hautbois 8
Chamades:
Basse Chamade 8
Dessus Chamade 8
Chamade 4
Chamade Régale 8
Basse Chamade GO 8
Dessus Chamade GO 8
Chamade GO 4
Trémolo

Bourdon 32
Principal 16
Montre 8
Flûte harmonique 8
Quinte 5 1/3
Prestant 4
Tierce 3 1/5
Nazard 2 2/3
Septième 2 2/7
Doublette 2
Cornet II-V
Grande Fourniture II
Fourniture V
Cymbale V
Cromorne 8
Chamade GO 8
Chamade GO 4
Cornet REC
Hautbois REC 8

Principal 8
Bourdon 8 *
Prestant 4 *
Quinte 2 2/3 *
Doublette 2 *
Tierce 1 3/5 *
Larigot 1 1/3
Septième 1 1/7
Piccolo 1
Plein jeu III-V
Cornet V (= *)
Tuba magna 16
Trompette 8
Clairon 4

Principal 32
Contrebasse 16
Soubasse 16
Quinte 10 2/3
Flûte 8
Violoncelle 8
Tierce 6 2/5
Quinte 5 1/3
Septième 4 4/7
Octave 4
Contre Bombarde 32
Bombarde 16
Basson 16
Trompette 8
Basson 8
Clairon 4
Chamade GO 8
Chamade GO 4
Chamade Régale 8
Chamade REC 8
Chamade REC 4

Bourdon 16
Principal 8
Bourdon 8
Prestant 4
Flûte 4
Neuvième 3 5/9
Tierce 3 1/5
Onzième 2 10/11
Nazard 2 2/3
Flûte 2
Tierce 1 3/5
Larigot 1 1/3
Flageolet 1
Fourniture III
Cymbale III
Basson 16
Basson 8
Voix humaine 8
Chimes
Tremblant

text: Couplers: II/I, III/I, IV/I, V/I; III/II, IV/II, V/II; IV/III, V/III; V/IV, Octave grave général, inversion Positif/Grand-orgue, Tirasses (Grand-orgue, Positif, Récit, Solo, Grand-Chœur en 8; Grand-Orgue en 4, Positif en 4, Récit en 4, Solo en 4, Grand-Chœur en 4), Sub- und Super octave couplers and Unison Off for all manuals (Octaves graves, octaves aiguës, annulation 8'). Octaves aiguës Pédalier. Additional features: Coupure Pédalier. Coupure Chamade. Appel Résonnance. Sostenuto for all manuals and the pedal. Cancel buttons for each division. 50,000 combinations (5,000 groups each). Replay system.

text: Organists[edit]

text: The position of titular organist ("head" or "chief" organist; French: titulaires des grands orgues) at Notre-Dame is considered one of the most prestigious organist posts in France, along with the post of titular organist of Saint Sulpice in Paris, Cavaillé-Coll's largest instrument.

text:
Guillaume Maingot (1600–1609)
Jean-Jacques Petitjean (1609–1610)
Charles Thibault (1610–1616)
Charles Racquet (1618–1643)
Jean Racquet (ca. 1643–1689)
Médéric Corneille (1689–1730)
Guillaume-Antoine Calvière (1730–1755)
René Drouard de Bousset (1755–1760)
Charles Alexandre Jolage (1755–1761)
Louis-Claude Daquin (1755–1772)
Armand-Louis Couperin (1755–1789)
Claude Balbastre (1760–1793)
Pierre-Claude Fouquet (1761–1772)
Nicholas Séjan (1772–1793)
Claude-Etienne Luce (1772–1783)
Jean-Jacques Beauvarlet-Charpentier (1783–1793)
Antoine Desprez (1802–1806)
M.-S. Blin (1806–1834)
Joseph Pollet (1834–1840)
Félix Danjou (1840–1847)
Eugène Sergent (1847–1900)
Louis Vierne (1900–1937)
Léonce de Saint-Martin (1937–1954)
Pierre Cochereau (1955–1984)
Yves Devernay (1985–1990)
Jean-Pierre Leguay (1985–2015)
Philippe Lefebvre (fr) (since 1985)
Olivier Latry (since 1985)
Vincent Dubois (since 2016)

text: Bells[edit]

text: The cathedral has 10 bells. The largest, Emmanuel, original to 1681, is located in the south tower and weighs just over 13 tons and is tolled to mark the hours of the day and for various occasions and services. This bell is always rung first, at least 5 seconds before the rest. Until recently, there were four additional 19th-century bells on wheels in the north tower, which were swing chimed. These bells were meant to replace nine which were removed from the cathedral during the Revolution and were rung for various services and festivals. The bells were once rung by hand before electric motors allowed them to be rung without manual labor. When it was discovered that the size of the bells could cause the entire building to vibrate, threatening its structural integrity, they were taken out of use. The bells also had external hammers for tune playing from a small clavier.

text: On the night of 24 August 1944 as the Île de la Cité was taken by an advance column of French and Allied armoured troops and elements of the Resistance, it was the tolling of the Emmanuel that announced to the city that its liberation was under way.

text: In early 2012, as part of a €2 million project, the four old bells in the north tower were deemed unsatisfactory and removed. The plan originally was to melt them down and recast new bells from the material. However, a legal challenge resulted in the bells being saved in extremis at the foundry.[13] As of early 2013, they are still merely set aside until their fate is decided. A set of 8 new bells was cast by the same foundry, Cornille-Havard, in Normandy that had cast the four in 1856. At the same time, a much larger bell called Marie was cast in Asten, Netherlands by Royal Eijsbouts — it now hangs with Emmanuel in the south tower. The 9 new bells, which were delivered to the cathedral at the same time (31 January 2013),[14] are designed to replicate the quality and tone of the cathedral's original bells.

text:
Bells of Notre-Dame de Paris[15]

Name
Mass
Diameter
Note

Emmanuel
13271 kg
261 cm
F♯2

Marie
6023 kg
206.5 cm
G♯2

Gabriel
4162 kg
182.8 cm
A♯2

Anne Geneviève
3477 kg
172.5 cm
B2

Denis
2502 kg
153.6 cm
C♯3

Marcel
1925 kg
139.3 cm
D♯3

Étienne
1494 kg
126.7 cm
E♯3

Benoît-Joseph
1309 kg
120.7 cm
F♯3

Maurice
1011 kg
109.7 cm
G♯3

Jean-Marie
782 kg
99.7 cm
A♯3

text: Ownership[edit]

text: Under a 1905 law, Notre-Dame de Paris is among seventy churches in Paris built before that year that are owned by the French State. While the building itself is owned by the state, the Catholic Church is the designated beneficiary, having the exclusive right to use it for religious purpose in perpetuity. The archdiocese is responsible for paying the employees, security, heating and cleaning, and assuring that the cathedral is open free to visitors. The archdiocese does not receive subsidies from the French State.[16]

text: Significant events[edit]

text:
1170: Existence of a cathedral school operating at Notre-Dame. This corporation of teachers and students will evolve in 1200 into the University of Paris in an edict by King Philippe-Auguste.
1185: Heraclius of Caesarea calls for the Third Crusade from the still-incomplete cathedral.
1239: The Crown of Thorns is placed in the cathedral by St. Louis during the construction of the Sainte-Chapelle.
1302: Philip the Fair opens the first States-General.
16 December 1431: Henry VI of England is crowned King of France.[17]
7 November 1455: Isabelle Romée, the mother of Joan of Arc, petitions a papal delegation to overturn her daughter's conviction for heresy.
1 January 1537: James V of Scotland is married to Madeleine of France
24 April 1558: Mary, Queen of Scots is married to the Dauphin Francis (later Francis II of France), son of Henry II of France.
18 August 1572: Henry of Navarre (later Henry IV of France) marries Margaret of Valois. The marriage takes place not in the cathedral but on the parvis of the cathedral, as Henry IV is Protestant.[18]
10 September 1573: The Cathedral was the site of a vow made by Henry of Valois following the interregnum of the Polish–Lithuanian Commonwealth that he would both respect traditional liberties and the recently passed religious freedom law.[19]
10 November 1793: the Festival of Reason.

text:
2 December 1804: the coronation ceremony of Napoleon I and his wife Joséphine, with Pope Pius VII officiating.
1831: The novel The Hunchback of Notre-Dame was published by French author Victor Hugo.
1900: Louis Vierne is appointed organist of Notre-Dame de Paris after a heavy competition (with judges including Charles-Marie Widor) against the 500 most talented organ players of the era. On 2 June 1937 Louis Vierne dies at the cathedral organ (as was his lifelong wish) near the end of his 1750th concert.
11 February 1931: Antonieta Rivas Mercado shot herself at the altar with a pistol that was the property of her lover Jose Vasconcelos. She died instantly.
26 August 1944: The Te Deum Mass takes place in the cathedral to celebrate the liberation of Paris. (According to some accounts the Mass was interrupted by sniper fire from both the internal and external galleries.)
12 November 1970: The Requiem Mass of General Charles de Gaulle is held.
26 June 1971: Philippe Petit surreptitiously strings a wire between the two towers of Notre-Dame and tight-rope walks across it. Petit later performed a similar act between the Twin Towers of the World Trade Center.
31 May 1980: After the Magnificat of this day, Pope John Paul II celebrates Mass on the parvis of the cathedral.
January 1996: The Requiem Mass of François Mitterrand is held.
10 August 2007: The Requiem Mass of Cardinal Jean-Marie Lustiger, former Archbishop of Paris and famous Jewish convert to Catholicism, is held.
12 December 2012:The Notre-Dame Cathedral begins a year long celebration of the 850th anniversary of the laying of the first building block for the cathedral.[20]
21 May 2013: Around 1,500 visitors were evacuated from Notre-Dame Cathedral after Dominique Venner, a historian, placed a letter on the Church altar and shot himself. He died immediately.[21][22]
8 September 2016: Notre Dame Cathedral bombing attempt. Arrests made after an explosives-filled car was discovered parked alongside the cathedral.
10 February 2017 Police arrested 4 people in Montpellier, France, including a 16-year-old girl and a 20-year-old man already known by authorities to have ties to extremist Islamist organizations, on charges of plotting to travel to Paris and attack the cathedral.[23]

text: The cathedral is renowned for its Lent sermons founded by the famous Dominican Jean-Baptiste Henri Lacordaire in the 1860s. In recent years, however, an increasing number have been given by leading public figures and state employed academics.

text: Gallery[edit]

text:
The north transept rose

Emmanuel, the great bourdon bell, at the Notre-Dame de Paris

A wide angle view of Notre-Dame's western façade

Notre-Dame's facade showing the Portal of the Virgin, Portal of the Last Judgment, and Portal of St-Anne

A view of Notre-Dame from Montparnasse Tower

A wide angle view of Notre-Dame's western facade

The Statue of Virgin and Child inside Notre-Dame de Paris

Notre-Dame's high altar with the kneeling statues of Louis XIII and Louis XIV

One of Notre-Dame's well known chimera statues

South rose window of Notre-Dame de Paris

Notre-Dame at the end of the 19th century

Flying buttresses of Notre-Dame

Memorial tablet to the British Empire dead of the First World War

Tympanum of the Last Judgment

Statue of Joan of Arc in Notre-Dame de Paris cathedral interior

Close look of the details on the Tympanum of the Last Judgment (2016)

Chimera "Le Stryge" overlooking Paris.


document_title: Mall of America

question_text: how many restaurants are in mall of america

text: Mall of America

text: History[edit]

text: The mall's concept was designed by the Triple Five Group, owned by the Ghermezian brothers, who also own the largest shopping mall in North America, the West Edmonton Mall. Mall of America is located on the site of the former Metropolitan Stadium, where the Minnesota Vikings and Minnesota Twins played until the Hubert H. Humphrey Metrodome opened in 1982. A plaque in the amusement park commemorates the former location of home plate, and one seat from Met Stadium was placed in Mall of America at the exact location it occupied in the stadium, commemorating a 520-foot (160 m) home run hit by hall-of-famer Harmon Killebrew on June 3, 1967.

text: In 1986, the Bloomington Port Authority signed an agreement with the Ghermezian organization. Groundbreaking for the mall took place on June 14, 1989. Organizations involved include Melvin Simon and Associates, Teachers Insurance and Annuity (a.k.a. TIAA), the Triple Five Group, and the office of architect Jon Jerde.

text: Mall of America opened its doors to the public on August 11, 1992. Even before opening, the mall had earned several nicknames, including "The Megamall", "Sprawl of America", "Hugedale"—in reference to the four major "dale" shopping malls within the Twin Cities: Rosedale, Southdale, Ridgedale, and (defunct as of 2010[update]) Brookdale—and simply, "The Mall".

text: Mall of America became the largest shopping mall in total area and largest in total store vendors in the United States when it opened. The Mall of America's 42 million annual visitors equal roughly eight times the population of the state of Minnesota. The mall employs over 11,000 workers year-round and 13,000 during peak seasons.[3]

text: In 1996, Mall of America appeared in the Christmas movie Jingle All the Way.

text: During its run as an all-encompassing entertainment and retail venue, certain aspects, particularly its bars, have come under scrutiny. In early-2000 a Mardi Gras-themed bar, Fat Tuesday, shut its doors due to indecent exposure and alcohol-related offenses.[4]

text: In 2003, after a protracted six-year legal battle between Simon Property Group, the managing general partner of the property, and the Ghermezian brothers/Triple Five Group, over majority ownership of the site, a federal appeals court ruled in favor of the Ghermezians, effectively transferring control and planning authority of the mall back to the creator of the concept.[5] The dispute stemmed from a 1999 purchase of Teacher's Insurance's 27.5% equity stake by Simon Properties, giving them majority ownership. The Ghermezians claimed they were never told of the deal and sued Simon, citing fiduciary responsibility.

text: On November 3, 2006, the Ghermezians gained full control of Mall of America by spending US$1 billion.[6]

text: On May 18, 2008, the Minnesota State Legislature passed a bill granting the City of Bloomington the right to use $34 million in tax-increment-financing to pay for public infrastructure to support the MoA expansion. In early 2011, construction began on an expansion of the south side of the mall near Killebrew Drive, where the 506-room Radisson Blu hotel opened in March 2013. The addition of this hotel was for the purposes of increasing accessibility to the park and making the Mall of America a destination location for anyone. The addition of the lightrail between the airport and the Mall of America also enabled people with layovers in Minneapolis to spend a convenient afternoon at the Mall of America.

text: On November 29, 2011, Google announced indoor maps for Mall of America along with several other places like airports, parks and public spaces.[7]

text: On March 24, 2012, the Triple Five Group announced the start of a $200 million expansion that would build into the north parking lot of the mall. Rather than the long planned Phase II expansion, this would be a step in building this expansion. The plans call for an additional hotel and an additional 200,000 square feet (19,000 m2) of retail space.[8] In March 2014, ground was broken on the mall's north side for the $104 million, 14-story JW Marriott hotel, owned and financed by the Shakopee Mdewakanton Sioux Community.[9]

text: In winter 2012–2013, Mall of America hosted a 40 feet (12 m) tall ice castle made of icicles formed from 4 million gallons of water and then fused together. The castle joined 50 large ice towers together to create a series of shimmering archways, tunnels, walls and caverns.[10]

text: In 2015, King of Prussia Mall in King of Prussia, PA finished building a 140,000+ square ft. expansion with all new shops and restaurants connecting its two buildings; the plaza, and the court. This expansion meant that Mall of America lost its spot of being the largest.

text: Architecture[edit]

text: The Mall of America has a gross area of 4,870,000 sq ft (452,000 m2) or 96.4 acres (390,000 m2), enough to fit seven Yankee Stadiums inside,[11] with 2,500,000 sq ft (230,000 m2) available as retail space.[3] The mall is nearly symmetric, with a roughly rectangular floor plan. More than 530 stores are arranged along three levels of pedestrian walkways on the sides of the rectangle, with a fourth level on the east side. Four anchor department stores are located at the corners. The mall is organized into four different zones, each of those zones had its own decorative style until a series of renovations from 2010 to 2015 led to a unified and more luxurious style, as well as to coincide with the mall's first major expansion.[12]

text: Despite Minnesota's cold winters, only the mall's entrances and some below ground areas are heated. Heat is allowed in through skylights above the central amusement park area. The majority of the heat is produced by lighting fixtures, other electric devices, and people in the mall.[13] In fact, even during the winter, air conditioning systems may still be in use during peak hours to ensure a comfortable shopping environment.[14] Although the common areas are unheated, the individual stores do have heating systems.[15]

text: Two nearly identical seven-story parking ramps on the east and west sides of the mall provide 12,287 parking spaces. Overflow parking north of the building provides an additional 1,200–1,500 spaces, and 1,407 spaces are provided by IKEA that is part of the Phase II expansion of the mall which is under construction.

text: Tenants[edit]

text: Level One is the location of Nickelodeon Universe amusement park (formerly Camp Snoopy), and first level of general retail which includes Sea Life Minnesota, Hard Rock Cafe, Lego Store, American Girl Place, Apple Store, Barnes & Noble, Fabletics, Sears, Macy's, and Microsoft Store, [16] Level Two features restaurants, shopping, MOA® Moments, and the first Verizon Wireless Destination Store. Level Three has two food courts with more than 20 fast food and full service restaurants, mini-golf, shopping, and Crayola Experience. Level Four is the entertainment level with Hooters, Cantina # 1, Rick Bronson's House of Comedy, Gameworks, Dick's Last Resort, Sky Deck Sports Grille and Lane, and the first U.S. location of SMAAASH, a virtual reality sports entertainment center.

text: The Theatres at Mall of America (Initially run by General Cinemas, then AMC Theatres, and eventually operated by mall management) occupied the south side of the fourth floor through December 2016, when it closed permanently. It will be replaced by Cinemex subsidiary CMX Cinemas in fall 2017.[17]

text: Attractions[edit]

text: Nickelodeon Universe is an indoor theme park in the center of the mall. The park features roller coasters, among numerous other rides and attractions, and is the largest indoor theme park in the United States. Unlike many indoor amusement parks, Nickelodeon Universe has a great deal of natural foliage in and about the park, and its floor has a wide variance in height – the highest ground level in the park is 15 feet (4.6 m) above the lowest. The rides include the roller coasters SpongeBob SquarePants Rock Bottom Plunge and Avatar Airbender, and a thrill ride called BrainSurge. The latter attraction bills itself as a "rather peculiar" ride. It also has a miniature golfing section called Moose Mountain. This miniature golf course features eighteen holes and a relatively fast astroturf surface.[citation needed]

text: At the Sea Life Minnesota Aquarium, guests travel through a 300-foot-long (91 m) curved tunnel through 14 feet (4.3 m) of water to view over 4,500 sea creatures including sharks, turtles, stingrays, and many more.[18] Sea Life Minnesota Aquarium offers special events such as sleepovers, scuba diving, snorkeling, and birthday parties.[19][third-party source needed]

text: The Mall recently added Crayola Experience and FlyOver America to the list of family attractions.

text: Nostalgic artifacts and memorials[edit]

text:
A stadium seat commemorating the longest home run at Metropolitan Stadium, hit by Minnesota Twins player Harmon Killebrew on June 3, 1967. The seat is painted red and bolted to a wall to mark the exact height and position at which the ball landed in the upper-deck seats.[20]
A plaque embedded in the floor of Nickelodeon Universe, marking the exact spot of home plate at Metropolitan Stadium.

The home plate plaque in Nickelodeon Universe

[20]
United Airlines Flight 93 memorial, for those who died aboard during the September 11, 2001 attacks—the bust of Tom Burnett (who was born and raised in Bloomington) is on the west side of the first floor, next to the fountain in front of Nordstrom.[21]

text: Transit[edit]

text: In the lower level of the eastern parking ramp is the Mall of America Transit Station, the busiest transit hub in Minnesota with services to and from many destinations in the Minneapolis – St. Paul metropolitan area.

text: The Transit Station contains two stops on the Metro transit network: the southern terminus of the METRO Blue Line (light rail) to Downtown Minneapolis via MSP Airport and Hiawatha Avenue (operated by Metro Transit), and the northern terminus of the METRO Red Line (BRT) to Lakeville (operated by the Minnesota Valley Transit Authority). Both agencies also operate many local bus services to the Transit Station, and many area hotels along with the Mystic Lake Casino offer free shuttles to their establishments.

text: The mall is not a park and ride facility, and overnight parking is banned to prevent passengers taking the train to the airport. Commuters are required to use the nearby 28th Avenue Station's parking ramp.

text: The Mall of America Transit Station is undergoing a study to increase efficiency and capacities, and to provide a better experience for its users.[22] Estimates for the upgrade are approximately $20 million.

text: Security[edit]

text: The Mall of America's security program is unique and in many ways the first of its kind. Michael Rozin, who used to be employed as the mall's Special Operations Security Captain, developed and implemented a behavior detection unit specifically focused on mitigating the threat of terrorism and enhancing counter-terrorism capabilities.[23] Behavior Detection Officers (BDOs) are trained extensively in Israel, each one going through at least 240 hours of training that includes communication techniques, first aid, defensive tactics, crisis intervention, terrorism awareness, and rapid response.[24] As Doug Reynolds, the Security Director at the mall, noted in a congressional testimony in 2008, BDOs are taught to "look for intent, rather than means. The objective is to focus on suspicious indicators in three categories: People, vehicles and unattended items like backpacks, shopping bags, suitcases."[25] This methodology has prepared the mall for a variety of threats, both from terrorists and everyday criminals.

text: The mall's private security personnel were featured in 2010 TLC series Mall Cops: Mall of America.[26]

text: In 2011, NPR's All Things Considered and Morning Edition and PBS's Newshour both aired programs documenting security abuses by the mall's security personnel.[27][28]

text: In February 2015, the Al-Shabaab militant group also released a propaganda video calling for attacks on the Mall of America and other Western shopping centers.[29] Although the group had never launched attacks in North America,[30] security at the mall was tightened in response and Homeland Security issued a one-day alert to shoppers to remain vigilant.[29]

text: Criticism[edit]

text: During the first decade of MOA's existence, demonstrators protested animal cruelty and sweatshop conditions.[31] In 1994, protesters confronted actor Charlton Heston at a mall restaurant over his campaigning efforts on behalf of a Republican U.S. Senate candidate. In 1996, two people were arrested after they locked themselves to Macy’s doors in the spirit of the annual Fur-Free Friday demonstration. The Minnesota Supreme Court decided in 1999 that because the mall is private property, constitutional free speech protections do not apply.[31]

text: People inside the mall have been questioned or detained for operating video cameras, using notebooks, or other perceived suspicious behaviors. As of 2010[update], Michael Rozin, the former Special Operations Security Captain and founder of the mall's behavior detection unit instructed its members that "suspicious behavior" constitutes "photographing such things as air-conditioning ducts or signs that a shopper might have something to hide."[32] Commander Jim Ryan of the Bloomington Police Department commented that the mall's security methods may "infringe on some freedoms, unfortunately."[33]

text: On December 31, 2013, members from the First Nations protest movement Idle No More attempted to repeat a successful Native-American round dance held at the mall in 2012,[34] but failed after being stopped by mall security, who refused to allow Idle No More to hold their dance. Organizers of the dance, Patricia Shepard and Reyna Crow from Duluth were arrested on site for trespassing.[35]

text: On December 21, 2014, thousands of protesters attended an unauthorized demonstration organized by Black Lives Matter in the mall's rotunda. The demonstration was in response to the Michael Brown fatal shooting in Ferguson, Missouri, and the then recent jury decision not to prosecute the white officer in that case, as well as the death of Eric Garner of New York. In response to the demonstration, the Mall of America closed the areas of the mall around the rotunda.[36] Police arrested 25 demonstrators.[37] The Bloomington City Attorney, Sandra Johnson, is pursuing charges against the organizers, ranging "from disorderly conduct and trespassing to inciting a riot".[31] The city is seeking thousands of dollars in compensatory damages from some of the organizers for out-of-pocket costs the city incurred while paying overtime for additional security. In response to these charges, demonstrators have called for a boycott of the mall.[38]

text: Plans for another Black Lives Matter demonstration at the Mall of America on December 23, 2015 prompted Mall officials to file a restraining order against the movement's activists.[39] Eight individual activists were sued in Hennepin County District Court.[40] The mall's lawsuit would prohibit the defendants from demonstrating and require them to delete all of their posts to social media pertaining to the demonstration. The lawsuit additionally asked that the court jail Black Lives Matter activists unless they publicly announce that the demonstration is cancelled on their social media accounts. The American Civil Liberties Union of Minnesota called the mall's lawsuit an "improper prior restraint on speech" and an unconstitutional overreach.[41] Leaders of the demonstration indicated that the demonstration would go ahead as scheduled.[42]

text: Addition/expansion[edit]

text: Word of Mall of America's expansion has been stirring since the mid 1990s, however the first confirmation of an expansion occurred in 2005 when Triple 5 announces Mall of America Phase 2, a project that would expand the Mall of America to the north, crossing Lindau Lane and occupying the former site of Met Center.[43]

text: However, this expansion was delayed due to the tightening of the credit market. Eventually this was broken into four major projects: 1b, 1c, 2b, 2c.[44]

text: Status of Phase 2 completion:

text: Complete:

text:
1B: Radisson Blu
South expansion complete 2013

text:
1C: retail, restaurant, office and J.W. Marriott
North expansion complete 2016

text:
Planned:
2B: 2-3 story retail expansion including connection over Lindau Lane, luxury hotel, addition parking ramp.
North Expansion on site of Met Center, Plan submitted to Bloomington Fall 2016, Construction 2017, Open 2018-2019

text:
Concepts:
2C: 3 story retail plus additional hotel, entertainment venue located north of 2B with connections to Ikea and American Blvd
Shown on approved PDP from 2015 submission for 2B, but schedule dependent on 2B completion.

text: Amusement park and other features[edit]

text:
The amusement park, during its "Camp Snoopy" days.

The Metropolitan Stadium home plate marker.

The Harmon Killebrew chair.

The carousel at the amusement park.

The band organ, formerly at the carousel entrance.

The Bubba Gump Shrimp Co. restaurant.

Another shot of the amusement park during the Camp Snoopy era.

Another shot of Camp Snoopy from a different angle. The Kite-Eating Tree ride is shown in this picture.

When Camp Snoopy became Nickelodeon Universe in 2008, the Kite-Eating Tree was restyled and renamed Swing-Along.

The three-story American flag, which was used on July 4, 2008.

The mall's information sign, which shows the use of "MOA".

The MPR store, emphasizing A Prairie Home Companion.

Al's Farm Toys, a farm-themed toy store which closed in 2016.

A few of the unique sports-themed stores throughout the mall. Team Choice and Lids Locker Room (formerly Locker Room) closed, but Goldy's and Rybicki Cheese remain and Goldy's has since become Goldy's Locker Room.

The legendary mural imitating Seurat; formerly near the food court.

The Lego "Imagination Center", the longest-standing Mall attraction.

The Lego Store after 2009 remodeling.