text:
Vex is a Visual Editor for XML that hides the raw XML tags from the user, providing instead a word processor like interface. Vex uses standard DTD files to define document types and CSS stylesheets to define document layout. Vex contains definitions for DocBook and DITA. To edit other XML formats only a DTD and a CSS are needed.
Vex is based on the Eclipse platform, the same platform used to build the popular Eclipse Java development environment:
- Vex leverages many of the mature plug-ins that make up the Eclipse Java IDE such as the CVS interface, document searching and bookmarking facilities, and searchable help system.
- The Eclipse platform implements a sophisticated plug-in architecture, allowing Vex to be extended with third-party or custom, in-house plug-ins.
- Vex is available with native look-and-feel for many platforms, including Windows, Linux/GTK, and Macintosh OS-X/Carbon.
- Java developers using the Eclipse IDE can instal Vex into their IDE as a plug-in, making it easy to maintain software documentation or other XML files with Vex.
- Vex is reusable: The Vex editor widget is available as a pure Java, cross-platform component with bindings SWT. Developers can re-use this widget, for example as an RCP application.
Vex requires the Web Tools XML feature to be installed.
- Integration builds
- Continuous Integration builds (may or may not be stable): provide P2 update site to install the latest version
- User Guide
- Article: XML ohne spitze Klammern (in German) or translated by Google into English
- Interview with John Krasnay and David Carver
- Mailing List (Web)
- Forum
- Bugs and feature requests: Open Closed New
- Professional Support
There are numerous ways to contribute beyond code contributions. The Vex user manual is maintained on the Wiki. Please feel free to update and keep it current.
If you want to contribute code, you will find here a detailed description on how to setup a development environment and how to submit changes.
Other Resources
- DRAFT Plan
- Committers and Contributors - Resources for those interested in contributing and working with the Vex source code.
- Development Resources
- CVS Howto
- WTP Build


text:
"He and I sat down in the 737-800," says Eshenour. "He sat in the left seat, I sat in the right seat, and we said, 'Okay, put us in Philadelphia at the runway threshold, and we're going to fly and land at JFK.' We knew what the winds were and what runway we wanted to land on, and we punched into the FMC [flight management computer] where we wanted to go. We set the flaps and took off and flew it. And landed! At Kennedy!
"I don't want to say it was the prettiest approach and landing," he adds. "But we got it down on the centerline, at the right speed, and we didn't break the struts, and we didn't do a tail strike—all of which we did before, in a 767 [simulator], at Salt Lake City."
Short of actually leaving the ground, flying a hydraulic simulator is as real as it gets. Flying Microsoft Flight Simulator, by contrast, is a heavily compromised experience. For one thing, unless you're equipped with a "simpit," a simulated cockpit, which is a relatively rare commodity in the online world, it's all too clear that what you're really flying is a computer. Although the images on the screen may impart a temporary illusion of motion, in reality nothing moves except your hands (and feet, for those who have rudder pedals). And while the onscreen images have gotten more realistic over the years, there is still an element of artifice and staginess to them: They're canned, cartoonish.
None of this holds true for another kind of simulation, the very one that makes the existence of virtual airlines possible: virtual air traffic control.
Virtual air traffic controllers spend their time looking at a display screen, but so do real-world controllers. The similarity makes all the difference in the authenticity of the simulation, especially considering that the images that appear on the two kinds of screens—real and virtual—are functionally indistinguishable.
Mariano Buitrago lives in Leesburg, Virginia, which coincidentally is the home of the real-world Washington Air Route Traffic Control Center. Buitrago, who is originally from Managua, Nicaragua, is an engineer and MBA with a day job at a large financial company in Washington, D.C. He spends many of his night hours controlling simulated airline traffic from his home office.
"I've had the aviation bug for my entire life," he says. "I grew up reading Flying magazine." But because his family considered being a pilot risky, he never took flying lessons. He did, however, learn Flight Simulator, which is where, "like most people, I stumbled across VATSIM."
VATSIM, otherwise known as the Virtual Air Traffic Simulation Network, is an organization created in 2001 to provide voluntary air traffic control services to FlightSim pilots. On its Web page,
vatsim.net, VATSIM notes that the early FlightSim experience "was a very lonely proposition. There were no other airplanes in the skies while we flew en route, and our arrivals at major airports were like landing in ghost towns."
All that changed with the dawn of virtual air traffic control, a phenomenon made possible by the Internet and new software. One early program, called ProController, turned an ordinary computer monitor into a virtual radar screen. Servers programmed with complex networking software enabled simulated flights to show up on the radar screens of several different controllers.

subset: commoncrawl


text:
Zone Shield 1.3 Megapixel 720p HD AC Adapter Hidden Camera with Built-in DVR
RECONYX™ MR5 MicroFire™ 720p HD Wi-Fi NoGlow IR Camera
2.43 Megapixel HD-TVI/AHD/CVBS/HD-CVI Security Camera with Cone Pinhole Lens
540 TVL Ultra Low Light Black and White Snake Camera
700 TVL Color Cone Pinhole Lens Board Camera
RECONYX™ XR6 UltraFire™ 1080p NoGlow™ IR Field Surveillance Camera
RECONYX™ XS8 UltraFire™1080p IR Field Surveillance Camera
Excellent service and very prompt, competent answers to all questions that I had. This level of customer service is becoming rare today. When you do experience it, you really appreciate it.
My Sales Rep was Phenomenal. After searching 3 other companies, and trying to find answers, or at least talking with reps about the products, your team was exceptional.
Copyright © 2018 Supercircuits Orlando, FL Surveillance & Tactical Gear for Government. All Rights Reserved.


text:
This is a list of TYPE-MOON material books.
- 1 Fate
- 1.1 ALL OVER/Zero
- 1.2 Fate/Apocrypha material
- 1.3 Fate/complete material
- 1.4 Fate/EXTELLA material
- 1.5 Fate/EXTRA Last Encore Original Scenario「Last Encore Your Score」
- 1.6 Fate/EXTRA material
- 1.7 Fate/EXTRA MOON LOG: TYPEWRITER
- 1.8 Fate/EXTRA CCC VOID LOG: BLOOM ECHO
- 1.9 Fate/EXTRA Visual Fanbook
- 1.10 Fate/EXTRA Visual Works
- 1.11 Fate/Grand Order material I
- 1.12 Fate/Grand Order material II
- 1.13 Fate/Grand Order material III
- 1.14 Fate/Grand Order material IV
- 1.15 Fate/Grand Order material V
- 1.16 Fate/Grand Order material VI
- 1.17 Fate/Grand Order material VII
- 1.18 Fate/Grand Order material VIII
- 1.19 Fate/Grand Order Memories I
- 1.20 Fate/Grand Order Memories II
- 1.21 Fate/Prototype Tribute Phantasm
- 1.22 Fate/secret book
- 1.23 Fate/side material
- 1.24 Fate/side side materiale
- 1.25 Fate/stay night anime spiritual
- 1.26 Fate/stay night Premium FanBook
- 1.27 Fate/stay night Rin Tohsaka Portraits
- 1.28 Fate/stay night Saber Portraits
- 1.29 Fate/stay night Visual Collection
- 1.30 Fate/stay night Visual Story
- 1.31 Fate/tiger colosseum Upper
- 1.32 Fate/the Fact
- 1.33 Fate Unlimited Guide
- 1.34 Fate/Zero Animation Visual Guide 1
- 1.35 Fate/Zero Animation Visual Guide 2
- 1.36 Fate/Zero material
- 1.37 Fate/Zero Tribute Arts
- 1.38 Fate/Zero Tribute Arts Rough Material
- 1.39 Lord El-Melloi II Case Files material
- 1.40 material/Zero
- 1.41 Prototype material
- 2 Tsukihime
- 3 Other
- 3.1 Canaan Official Fanbook
- 3.2 Catalogue
- 3.3 Character material
- 3.5 Haru to Tsuki to Sora to
- 3.6 Origin of TYPE-MOON
- 3.7 TYPE-MOON 10th Anniversary Phantasm
- 3.8 TYPE-MOON Ace
- 3.9 TYPE-MOON Fes. Official Pamphlet
- 3.10 TYPE-MOON Maniax
- 3.11 TYPE-MOON Special Guidance Book Summer'08
- 3.12 TYPE-MOON Special Guidance Book Winter'07
- 4 References
- 5 External links
Fate[edit | edit source]
ALL OVER/Zero[edit | edit source]
ALL OVER/Zero - Fate/Zero Conclusion Memorial Book is a booklet released December 31, 2007 at Comiket 73 with Fate/Zero volume four. It contains comments, illustrations, and an interview.
Fate/Apocrypha material[edit | edit source]
Fate/Apocrypha material is a material book released in August 14, 2015.
Fate/complete material[edit | edit source]
- Main article: Fate/complete material
Fate/EXTELLA material[edit | edit source]
Fate/EXTELLA material is a material book released in November 10, 2016. It was included in the Japanese Fate/EXTELLA special edition of "REGALIA BOX" and "VELBER BOX".
- Servants parameter and skills
- Character Profiles
- Background
- Encyclopedia of Fate/EXTELLA
Fate/EXTRA Last Encore Original Scenario「Last Encore Your Score」[edit | edit source]
Fate/EXTRA Last Encore Original Scenario「Last Encore Your Score」 (Fate/EXTRA Last Encore 原案シナリオ集「Last Encore Your Score」?) is a reference book released on August 12, 2018. It contains the original story written by Kinoko Nasu for the Fate/EXTRA Last Encore animated series, which was then made into the final script.
Fate/EXTRA material[edit | edit source]
Fate/EXTRA material is a material book released in August 16, 2013. It covers both Fate/EXTRA and Fate/EXTRA CCC and it contains comments, illustrations, and an interview.
- Servants parameter and skills
- Character Profiles, Nasu Kinoko & Arco Wada comments
- Noble Phantasms and Worlds
- Fate/EXTRA weapons
- Enemies
- Fate/EXTRA Worlds
- Fate/EXTRA CCC weapons
- Fate/EXTRA CCC Worlds
- Extra
- Discarded Alter Ego characters
- BB concept
- Takashi Takeuchi designs
- Encyclopedia of Fate/EXTRA
Fate/EXTRA MOON LOG: TYPEWRITER[edit | edit source]
Fate/EXTRA MOON LOG: TYPEWRITER is a two-volumes reference book released on December 29, 2015. It compiles the entirety of Fate/EXTRA's script.
Fate/EXTRA CCC VOID LOG: BLOOM ECHO[edit | edit source]
Fate/EXTRA CCC VOID LOG: BLOOM ECHO is the counterpart to Moon Log: Typewriter for Fate/EXTRA CCC, compiling the game's script. It was released in four separate volumes on May 17, 2017, December 31, 2017, December 31, 2018 and August 21, 2019.
Fate/EXTRA Visual Fanbook[edit | edit source]
Fate/EXTRA Visual Fanbook (フェイト/エクストラ ビジュアルファンブック?) is a Fate/EXTRA material book released February 25, 2011.
- Fate/EXTRA Illustration Gallery - Official Extra art from the advertisements the official website, and the flash games on the website.
- Fate/EXTRA Character Design - Front and rear designs for all the major characters and comments from the creators. Servants also have brief profiles about their abilities. Minor characters only have a brief "Personal Data" section.
- Servant Designs by Takeuchi Takashi - Servant designs drawn by Takeuchi before Arco Wada drew them in her own style. It also includes an alternate design of Assassin as an old man.
- Fate/EXTRA Arena Design
- Area Guide in the Moon Cell - Images of all the arenas and an illustration of how the elevator works.
- Fate/EXTRA Weapon Design - Official art and descriptions of various Noble Phantasms including Aestus Domus Aurea, Yew Bow, Gae Bolg, Excalibur Galatine, God Force, Golden Wild Hunt, and Kazikli Bey.
- Fate/EXTRA Interview
- Fate/EXTRA Guest Illustration Gallery
- Fate/EXTRA COMIC
- Fate/EXTRA Novel - Seven's feel
Fate/EXTRA Visual Works[edit | edit source]
Fate/EXTRA Visual Works is a small art book released with Fate/EXTRA.
Fate/Grand Order material I[edit | edit source]
Fate/Grand Order material I is a material book released in August 14, 2016.
Character entries:
- Mash Kyrielight
- Artoria Pendragon
- Artoria Pendragon Alter
- Artoria Pendragon Lily
- Nero Claudius
- Siegfried
- Gaius Julius Caesar
- Altera
- Gilles de Rais (Saber)
- Chevalier d'Eon
- Gilgamesh
- Robin Hood
- Atalanta
- Euryale
- Arash
- Cú Chulainn (Lancer)
- Elizabeth Báthory
- Musashibou Benkei
- Cú Chulainn (Prototype)
- Leonidas I
- Romulus
- Medusa
- Georgios
- Edward Teach
- Boudica
- Ushiwakamaru
- Alexander
- Marie Antoinette
- Saint Martha
- Medea
- Gilles de Rais (Caster)
- Hans Christian Andersen
- William Shakespeare
- Mephistopheles
- Wolfgang Amadeus Mozart
- Zhuge Liang (El-Melloi II)
- Cú Chulainn (Caster)
Fate/Grand Order material II[edit | edit source]
Fate/Grand Order material II is a material book released in August 14, 2016.
Character Entries:
- Sasaki Kojiro
- Hassan of the Cursed Arm
- Stheno
- Jing Ke
- Charles-Henri Sanson
- Phantom of the Opera
- Mata Hari
- Carmilla
- Heracles
- Lancelot
- Lu Bu
- Spartacus
- Sakata Kintoki
- Vlad III
- Asterios
- Caligula
- Darius III
- Kiyohime
- Eric Bloodaxe
- Tamamo Cat
- Jeanne d'Arc
- Orion
- Elizabeth Báthory (Halloween)
- Tamamo-no-Mae
- David
- Hector
- Francis Drake
- Anne Bonny & Mary Read
- Medea Lily
- Okita Souji
- Oda Nobunaga
- Scáthach
- Diarmuid Ua Duibhne
- Fergus mac Róich
- Artoria Pendragon Santa Alter
Fate/Grand Order material III[edit | edit source]
Fate/Grand Order material III is a material book released in December 31, 2016.
Character entries:
- Nursery Rhyme
- Jack the Ripper
- Mordred
- Nikola Tesla
- Artoria Pendragon Alter (Lancer)
- Paracelsus von Hohenheim
- Charles Babbage
- Henry Jekyll & Hyde
- Frankenstein
- Arjuna
- Karna
- Mysterious Heroine X
- Fionn mac Cumhaill
- Brynhildr
- Beowulf
- Nero Bride
- Shiki Ryougi (Assassin)
- Shiki Ryougi (Saber)
- Amakusa Shirou Tokisada
- Astolfo
- Child-Gil
- Edmond Dantes
- Florence Nightingale
- Cú Chulainn Alter
- Medb
- Helena Blavatsky
- Rama
- Li Shuwen
- Thomas Edison
- Geronimo
- Billy the Kid
- Jeanne d'Arc Alter
- Angra Mainyu
- Iskandar
- EMIYA (Assassin)
- Hassan of the Hundred Faces
- Irisviel (Dress of Heaven)
Fate/Grand Order material IV[edit | edit source]
Fate/Grand Order material IV is a material book released in December 31, 2017.
Character entries:
- Shuten-douji
- Xuanzang Sanzang
- Minamoto no Raikou
- Sakata Kintoki (Rider)
- Ibaraki-douji
- Fuuma Kotarou
- Ozymandias
- Artoria Pendragon (Lancer)
- Nitocris
- Lancelot (Saber)
- Tristan
- Gawain
- Hassan of Serenity
- Tawara Touta
- Bedivere
- Leonardo da Vinci
- Tamamo-no-Mae (Swimsuit)
- Artoria Pendragon (Swimsuit)
- Marie Antoinette (Swimsuit)
- Anne Bonny & Mary Read (Swimsuit)
- Mordred (Swimsuit)
- Scáthach (Swimsuit)
- Kiyohime (Swimsuit)
- Saint Martha (Swimsuit)
- Illyasviel von Einzbern
- Chloe von Einzbern
- Elizabeth Báthory (Brave)
- Cleopatra
- Vlad III (EXTRA)
- Jeanne d'Arc Alter Santa Lily
- Ishtar
- Enkidu
- Quetzalcoatl
- Gilgamesh (Caster)
- Medusa (Lancer)
- Gorgon
- Jaguar Man
- Tiamat
- Merlin
- Goetia
- Solomon
Fate/Grand Order material V[edit | edit source]
Fate/Grand Order material V is a material book which was released on August 12, 2018.[1]
Character entries:
- Miyamoto Musashi
- "The Old Man of the Mountain"
- Mysterious Heroine X Alter
- Archer of Shinjuku
- EMIYA Alter
- Avenger of Shinjuku
- Assassin of Shinjuku
- Arthur Pendragon (Prototype)
- Hijikata Toshizou
- Chacha
- Meltlilith
- Passionlip
- Suzuka Gozen
- Kiara Sessyoin
- Beast III/R
- Caster of the Nocturnal Castle
- Assassin of the Nocturnal Castle
- Berserker of El-Dorado
- Rider of Resistance
- Sherlock Holmes
- Paul Bunyan
- Nero Claudius (Caster)
- Frankenstein (Saber)
- Nitocris (Assassin)
- Oda Nobunaga (Berserker)
- Artoria Pendragon Alter (Rider)
- Helena Blavatsky (Archer)
- Minamoto-no-Raikou (Lancer)
- Ishtar (Rider)
- Parvati
Fate/Grand Order material VI[edit | edit source]
Fate/Grand Order material VI is a material book which was released on August 12, 2019.
Fate/Grand Order material VII[edit | edit source]
Fate/Grand Order material VII is a material book which was released on January 10, 2020.
Fate/Grand Order material VIII[edit | edit source]
Fate/Grand Order material VIII is a material book which was released on May 2, 2020.
Fate/Grand Order Memories I[edit | edit source]
Fate/Grand Order Memories I is an artbook released August 20, 2018. It contains illustrations for all Craft Essences cards released during part 1 of Fate/Grand Order, from July 2015 up to December 2016. Several physical cards are shipped with the book depending on reseller.
Fate/Grand Order Memories II[edit | edit source]
Fate/Grand Order Memories II is an artbook released on August 23, 2019. It contains illustrations for all Craft Essences cards released during part 1.5 of the game, from January 2017 up to April 2018. Several physical cards are shipped with the book depending on reseller.
Fate/Prototype Tribute Phantasm[edit | edit source]
Fate/Prototype Tribute Phantasm is an artbook released August 10, 2012. It contains artwork and manga based around Fate/Prototype from various artists.
- Introduction
- Master and Servant Information
- Command Spell Information
- Nasu Kinoko & Takeuchi Takashi Interview
- Illustration
- Hiroe Rei - 44 [Created Black Lagoon]
- Medori - 46 [Illustrations for Ragnarock Online]
- Sumihei- 47 [Chaos;Head manga; other TM and Nitro+ involvement]
- Konoe Ototsugu - 48 [RIGHT×LIGHT; RIGHT∞LIGHT; TM stuff involvement]
- Manga
- Trivial Day, Summer Festival (「何でもない日、夏祭り」?) - Nige
- Kind? Ayaka-san (「やさしい?綾香さん」?) - Hazumi Nariyuki
- To Bark With Pride (「矜持と吠える」?) - Ishiki
- Headhunter Misaya (「ヘッドハンター美沙夜」?) - Tapo
- Hero Of The Starry Sky (「星空の英雄」?) - Namino Ryo
- Perseus' Delicious Meal (「ペルセウスのおいしいごはん」?) - Mata
- A Girl In Love (「恋する乙女」?) - Takenoko Seijin
- present (「present」?) - Ijiro Suika
- The End Of The Dream Is A Dream (「夢の続きは夢」?) - Mashin Eiichiro
- Author's Comment
Fate/secret book[edit | edit source]
Fate/secret book (フェイト/シークレットブック?) is a Comptiq 2005 August Issue Special Appendix.
- Nasu Kinoko x Takeuchi Takashi Long Interview
- Fate/stay night ANIMATION
- Fate/hollow ataraxia NEWS - Info on hollow ataraxia, the new characters, and new costumes.
- Fate/character list - Profiles on various characters.
- Fate/guest festa - Illustrations, comics, and text from twenty-five guest artists.
- Fate/stay night Unlimited analysis
Fate/side material[edit | edit source]
Fate/side material is a material book released on January 30, 2004 with the First Edition of Fate/stay night. It has 100 pages, and another version titled Fate/side material±α was released as an appendix of the September issue of Tech-Gian on June 21, 2005.
- Side:01 Color
- Color - Different pieces of art and CGs from the visual novel
- Image rough - Rough art of the heroines.
- Fuyuki City Map - List of locations in Fuyuki
- Side:02 Characters - Profiles, rough art, and comments on a number of characters.
- Characters I
- Characters II
- Side:03 Encyclopedia - Encyclopedia entries on various Fate series characters and terms.
- Side:04 Weapons - Description and rough art on Noble Phantasms and other weapons.
Fate/side side materiale[edit | edit source]
- Main article: Fate/side side materiale
Fate/stay night anime spiritual[edit | edit source]
Fate/stay night anime spiritual (フェイト/ステイナイト アニメスピリチュアル?) is a material book centered on the Fate/stay night anime. It was released August 2006.
- Illustration Gallery
- Character File
- Story Guide
- Backbone Guide - Details on each individual episode
- Art Chronicle - Rough art on all the characters
- Background Works
- Voice Actors of Round table - Comments from the voice actors and a Fate/stay night Cast Interview
- Staff Interview
- Tiger Dojo - Q&A section answered by Taiga and Illya
- Origin of Fate/stay night - Overview of the visual novels
- Goods World
Fate/stay night Premium FanBook[edit | edit source]
Fate/stay night Premium FanBook (フェイト/ステイナイト・プレミアムファンブック?) was released December 20, 2003. It also includes a Super Big 1000mm Poster, a Cover Illustration poster that features an unpublished illustration, a Special Pin-up, the 2004 Fate Desktop Calendar, the Fate/stay night Premium CD-ROM Case, a cut out game called "Fate/stay night Ton ton Battle Royal", and a special CD featuring a trial, wallpapers, screensaver, and fourteen Fate custom character icons.[2]
- Outline<Shirou & Saber>
- Outline<Rin & Archer>
- Outline<Servants>
- Character Introduction<Heroine> - Saber, Rin, and Sakura profiles
- Character Introduction<Sub heroine> - Illya and Taiga profiles
- Character Introduction<Other>
- 7th Servernts
- Key word 5
- Arms File
- Daytime and night of Fuyuki city
- Character description
- Keyword File
- Special Interview
Fate/stay night Rin Tohsaka Portraits[edit | edit source]
Fate/stay night Rin Tohsaka Portraits (Fate/stay night 遠坂凛写真集?) is an art book featuring various artists drawing Rin. It was released February 12, 2010.
Fate/stay night Saber Portraits[edit | edit source]
Fate/stay night Saber Portraits (Fate/stay night セイバー写真集?) is an art book featuring various artists drawing Saber. It was released February 19, 2009.
Fate/stay night Visual Collection[edit | edit source]
Fate/stay night Visual Collection - Megami Magazine Special Selection (Fate/stay nightビジュアルコレクション―メガミマガジンスペシャルセレクション?) is an art book released March 2007. It features various artwork and brief character profiles for the Fate/stay night anime.
Fate/stay night Visual Story[edit | edit source]
Fate/stay night Visual Story is a retelling of the visual novel in book format. It uses the GCs and text from the game to show the story of all three routes with commentary and background information. It was released August 20, 2007.
- Visual Story [Prologue]
- Info on Servants and the Holy Grail War
- Fuyuki City Guide Map
- Character profiles and rough character designs
- Visual Story [Fate]
- Visual Story [Unlimited Blade Works]
- Visual Story [Heavens Feel]
- Visual Story [Adult Stage]
- Fate/stay night Encyclopedia - TYPE-MOON timeline, weapon designs, and glossary from Fate/side material±α.
Fate/tiger colosseum Upper[edit | edit source]
Fate/tiger colosseum Upper - The additional art book from the Fate/tiger Colosseum Upper Megamori Box (フェイト/タイガーころしあむ アッパー - タイガーころしあむ 設定資料集 アッパ?) is an art book included with the Megamori Box edition of Fate/tiger colosseum Upper.
- Character Relationship Chart
- Illustration of tiger colosseum Upper - Profiles for all new characters added to Upper that include a profile, character portraits, "Expression Rough" designs for the portraits, "Motion Rough" sketches, and a "From Developer" comment. It also includes various background images.
- Making of tiger colosseum Upper
- Megamori Interview
- Tiger Card Ultora From Illustrators - Comments on the Ultora tarot cards from their illustrators
- Opening Animation- Images and storyboards from the opening animation.
- Record of tiger colosseum
- Illustration Gallery
- Promotion Art Gallery
- FROM TYPE-MOON - Comments and a short manga segment
Fate/the Fact[edit | edit source]
Fate/the Fact is a bonus booklet released with Fate/EXTRA. It was given as a pre-order bonus for the English edition. It is written as a magazine published within the Fate/EXTRA world, and it describes various background events outside of Extra's main setting.
Fate Unlimited Guide[edit | edit source]
Fate Unlimited Guide is a booklet released January 10, 2006 with the February 2006 issue of Comptiq. It is called "The premium guide of unlimited Fate world on game, TV program, comic, and more for all people who love Fate."
- Animation Phase
- Background Guide
- Story Guide - Gives an overview of the four episodes airing that month.[3]
- Character File
- Staff & Cast Interview
- Game Phase
- Fate/stay night Side
- Fate/hollow ataraxia Side
- Fate/stay night Animation Side
- Comic Phase
- My Favorite Fate
- Fate Goods Present
Fate/Zero Animation Visual Guide 1[edit | edit source]
Fate/Zero Animation Visual Guide 1 (Fate/Zero アニメビジュアルガイド I?) is a material book detailing the Fate/Zero anime released April 12, 2012.
- Characters
- Fate/Zero Best3
- Story guide - Episode by episode story summary with explanatory notes and director's comments.
- Opening/Ending Theme - Details on Oath Sign and Memoria
- Art Gallery
- Commentary
- Staff Interviews - Crosstalk Interview
- Documents - Details on the history of the Servants
- Fate/Zero Staff and Cast
- Glossary of the holy grail war
- Seihai Senryu Dojyo
- Documents
Fate/Zero Animation Visual Guide 2[edit | edit source]
Fate/Zero Animation Visual Guide 2 (Fate/Zero アニメビジュアルガイド II?) is a material book detailing the Fate/Zero anime.
- Characters
- Fate/Zero Best3
- Story guide - Episode by episode story summary with explanatory notes and director's comments.
- Opening/Ending Theme - Details on to the beginning and 空は高く風は歌う (The Sky is High and the Wind Sings, Sora wa Takaku Kaze wa Utau?)
- Art Gallery
- Commentary
- Staff Interviews - Crosstalk Interview
- Documents - Details on the history of the Servants
- Fate/Zero Staff and Cast
- Documents
Fate/Zero material[edit | edit source]
Fate/Zero material (フェイト/ゼロマテリアル?) is a Fate/Zero material book released August 8, 2008.
- Fate/Zero Cover Illustration
- Servant Status - Status profiles for all seven servants including an unobstructed version of Berserker's profile.
- Characters - Profiles of all the characters that include basic information, rough sketches, Command Spell designs for the Masters, and creator comments.
- Fate/Zero Encyclopedia
- Weapons - Descriptions and rough sketches of various weapons and Noble Phantasms.
- Talk About Fate/Zero - Discussion between Nasu, Takeuchi, and Urobuchi.
Fate/Zero Tribute Arts[edit | edit source]
Fate/Zero Tribute Arts ― A Prayer for the Dying ― (Fate/Zero Tribute Arts ―死にゆく者への祈り―?) is an art book released December 28, 2008. It contains artwork depicting various scenes from Fate/Zero drawn by a large number of artists. It also contains the Fate/Zero side story, Heart of Freaks.
Fate/Zero Tribute Arts Rough Material[edit | edit source]
Fate/Zero Tribute Arts Rough Material is an art book showing rough sketches of the artwork in Tribute Arts.
Lord El-Melloi II Case Files material[edit | edit source]
Lord El-Melloi II Case Files material (ロード・エルメロイⅡ世の事件簿 material?) is a is a Lord El-Melloi II Case Files material book released on December 28, 2019.
- Lord El-Melloi II Case Files Covers illustrations
- Secret Files
- Character profiles
- Encyclopedia
- Mineji's Works
material/Zero[edit | edit source]
material/Zero is a booklet that came with Fate/Zero volume 1 on December 29, 2006 during Comiket 71. It contains concept art of characters and creator comments that were later included in Fate/Zero material.
Prototype material[edit | edit source]
Prototype material is a short artbook released with Carnival Phantasm Season 3 and the Fate/Prototype short animation on December 31, 2011.
- Fate/Prototype synopsis - Extended script used for the animation with more details on the plot.
- Character profiles with notes
- Scenery art
- Rough character art
Tsukihime[edit | edit source]
Plus Period[edit | edit source]
- Main article: Plus Period
Tsukihime Dokuhon[edit | edit source]
Tsukihime Dokuhon (Blue Book) (月姫読本 月姫設定資料集 (青本)?) was released May 15, 2001. It contains content from Tsukihime Data Collection and Tsukihime Settings Collection, and much of it was later included in Plus Period.
- Heroine overviews and line art for portraits and CGs.
- Circle Cut
- Encyclopedia
- Rough character art
- Walkthrough with flowchart
- Sound Track of "Tsukihime"
- "Tsukihime" Character Ranking Now!
- Conte - Rough art
- guest illustration
- Extra Story
Other[edit | edit source]
Canaan Official Fanbook[edit | edit source]
Canaan Official Fanbook is a guide for Canaan featuring a gallery, episode summaries, art by Takeuchi, character profiles, and episode summaries.[4]
Catalogue[edit | edit source]
TYPE-MOON 10th Anniversary ART BOOK Catalogue is an artbook released with the first season of Carnival Phantasm. It features various artwork from all TYPE-MOON series over the span of eleven years.
- Category 1 - Tsukihime - 2000-2011
- Category 2 - Melty Blood - 2002-2010
- Category 3 - The Garden of Sinners - 2001-2011
- Category 4 - Fate/stay night 2002-2011
- Category 5 - Fate/hollow ataraxia 2005-2011
- Category 6 - Fate/stay night [Realta Nua] - 2006-2009
- Category 7 - Fate everything else 2006-2011
- Category 8 - Others - 2004-2011
Character material[edit | edit source]
- Main article: Character material
CONCEPT[edit | edit source]
CONCEPT - TYPE-MOON Comic Market Visual Collection (コンセプト?) is an art book released December 28, 2008 at Comiket 75. It features the "history and record of TYPE-MOON from 2003 to 2008 in comic market" in the form of the various pieces of artwork that they released each year at the events. Each section begins details about the event such as the date, booth number, and an image of the TYPE-MOON Staff outfits worn for the events. The sections feature various artwork and comments from the artists.[5]
- 2003 Winter: Comic market 65 - It follows the concept of "Fate/stay night Jou", which marks the first time they came up with the project for participation in Comiket. It features a drawing of Saber by Takashi Takeuchi
- 2004 Summer: Comic market 66 - It follows the concept of "Fate/stay night." It features art from Takeuchi, Koyama Hirokazu, and BLACK.
- 2005 Summer: Comic market 68 - It follows the concepts of "Neco-Arc The Movie and Natsu Matsuri." It gathers the artwork featured in their "Neco-Arc The Movie" pamphlet by Takeuchi, Hirokazu Koyama, and Keito Koume.
- 2005 Winter: Comic market 69 - It follows the concept of "Tousaka Jinja."
- 2006 Summer: Comic market 70 - It follows the concept of "Fate no Natsu" and focuses on summer related Fate images.
- 2006 Winter: Comic market 71 - It follows the concept of "Fate/Zero Shidou", the start of the Fate/Zero collaboration between TYPE-MOON and Gen Urobuchi. Urobuchi was the theme and concept writer for the event.
- 2007 Summer: Comic market 72 - It follows the concept of "ALL AROUND TYPE-MOON." It features art from Chinatsu Kurahana and Ototsugu Konoe
- 2007 Winter: Comic market 73 - It follows the concept of "Fate/Zero: commemoration." It features the art from the novel and All OVER/Zero. It features art from Rei Hiroe, Ugetsu Hakua, Chinatsu Kurahana, Ruroo, Nitro+ staff members (Yuupon!), MORIYA, PFALZ and shimoshi.
- 2008 Winter: Comic market 75 - It follows the concept "BRAND NEW HEROINES ALL AROUND TYPE-MOON 2." It includes art from the cover of the book.
Haru to Tsuki to Sora to[edit | edit source]
It sings in spring, the moon is loved and it prays to the sky. (春と月と空と, Haru to Tsuki to Sora to?) subtitled The BAMBOO BROOM: Asleep in the spring. I missed the dawn Until I heard the birds singing everywhere. Wind and rain had clamoured last night. How many flowers fell during the storm?. It is an art book illustrated by Takashi Takeuchi.
Origin of TYPE-MOON[edit | edit source]
Origin of TYPE-MOON - TYPE-MOON Special Book is a special booklet included with the Comptiq October 2010 issue.
- Mahou Tsukai no Yoru - Character files and World Guide.
- Treasured Collection from Fate/EXTRA - Servant designs by Takashi Takeuchi later included in Fate/EXTRA Visual Fanbook.
- Fate/stay night Unlimited Blade Works - Information on the Unlimited Blade Works film.
- Hibino Hibiki and Katsuragi Chikage fan art.
- TYPE-MOON INFORMATION - Advertisements.
TYPE-MOON 10th Anniversary Phantasm[edit | edit source]
The TYPE-MOON 10th Anniversary Phantasm is a book released during the TYPE-MOON Fes. event. It was released for retail sale August 10, 2012.
- 10th anniversary TYPE-MOON museum - Promotional images from various series
- Pieces of TYPE-MOON - Summaries of the various series
- The World of Tsukihime
- The World of Melty Blood
- The World of Fate
- The other TYPE-MOON world - Kara no Kyoukai, Mahou Tsukai no Yoru, Mahou Tsukai no Hako, Girls' Work, Canaan, DDD, Tsuki no Sango, Carnival Phantasm
- TYPE-MOON 10th Anniversary All character popularity contest
- Creators and Voice Actors of TYPE-MOON
- Voice Actor Long Interview Collection
- TYPE-MOON Chronicle 1999-2012
- Merchandise
- Saber Gallery - Art of Saber from various guest artists
- GR [gender reversal] Collection - Various characters drawn as the opposite gender by a number of different artists taken from TYPE-MOON Ace 5. It includes two new entries, Touko Aozaki and Tokiomi Tohsaka
- 10th Anniversary Illust Collection by Special Creators
- TYPE-MOON MOVIE Ace Appendix Material
- TYPE-MOON 10th Anniversary Illust Art Gallery
- April Fools' Day 2005-2012 - Collection of all April Fools' Day materials
- Sensha Otoko manga
- TYPE-MOON Encyclopedia ARE 2012
TYPE-MOON Ace[edit | edit source]
- Main article: TYPE-MOON Ace
TYPE-MOON Fes. Official Pamphlet[edit | edit source]
The TYPE-MOON Fes. 10th Anniversary Event Official Pamphlet was given out during the TYPE-MOON Fes. event.
- Introduction
- Cast - List of voice actors appearing at the event and the characters they voice.
- Artist - List of music artists performing at the event.
- Chronology TYPE-MOON 1996-2012- Overall timeline and detailed overviews of the various works of TYPE-MOON.
- TYPE-MOON 10th Anniversary Q&A - Questions chosen from those posted on the official Twitter account.
- Collaboration Illust comment by official manga artists
- Column
- Column 2
- Message
- TYPE-MOON x pivx
TYPE-MOON Maniax[edit | edit source]
TYPE-MOON Maniax Special Fanbook is a supplemental book released with the June 2004 issue of Dengaki Hime.
- Fate/stay night Side
- Tsukihime Side
- Staff Interview
- Fate/goods material
- Drawings and comments from numerous different illustrators
TYPE-MOON Special Guidance Book Summer'08[edit | edit source]
TYPE-MOON Special Guidance Book Summer'08 is a supplemental book included with the July 2008 Dengeki Hime magazine. It contains information on the early stages of Mahou Tsukai no Yoru, Girls' Work before it was changed from a visual novel project to an anime project, an overview of the Tsukihime heroines, and a Q&A segment.
TYPE-MOON Special Guidance Book Winter'07[edit | edit source]
TYPE-MOON Special Guidance Book Winter'07 is a small booklet released before Comiket 73. It gives a brief overview of the various TYPE-MOON series and their plans for the event.
- Fate/Zero
- Fate/hollow ataraxia
- Comic Market73 Information
- Goods Illustration Gallery
- Kara no Kyoukai the Garden of Sinners
- Fate/unlimited codes
- Other Works
- Special Comments from TYPE-MOON


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1. Spend less than you earn.
The most powerful thing you can do for your finances is spend less than you earn. Creating a gap between what you bring in and what goes out allows you to do something meaningful with your extra money, whether that is paying down debt, padding your cash savings or ramping up your retirement accounts.
2. Be purposeful with your money.
You shouldn't feel badly about spending money on things that are important to you. That said, make one of your financial resolutions to prioritize what is most important. Decide what those important things are and try to avoid spending on things that aren't in line with your goals. If you love a morning latte, go for it. If you don't, save those extra dollars for the summer trips you love taking with your family.
3. Don't just think about monthly payments.
It's easy to think about a new purchase, whether it be a new car or a bigger house, in terms of what it will cost you each month. However, it's important to consider the entire purchase, including how much total interest you'll be paying and how the debt you are taking on will impact your net worth and other goals. Remember, it's far better to spend a few hundred dollars a month investing in your future than to spend it paying interest on purchases from your past.
RELATED: Find Hidden Money By Organizing Your Home
4. Focus on yourself.
It's easy to get caught up in what your friends and family are doing or buying but that really shouldn't impact how you spend your money. There will always be something else you could buy or another trip you could take but if it's not something that's very important to you and you're just enamored with the idea because those around you are spending their money on it, it's likely not the best use of your cash.
5. Share the wealth.
It's understandable to be worried about your budget when times are tight but if you find that you have a bit of room in your budget, try not to forget that there are lot of others out there who could benefit from your generosity. Coming off the holiday season, it should be easy to remember that it really is better to give than to receive.
More Great Advice From Manilla.com:
- Manilla's New Year's Toolkit: A Guide to the New You
- Simplify Everyone's Lives with Manilla's New Bill Share
- A Year's Worth of Money Resolutions


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Exhibition dates: 24th September 2013 – 2nd January 2014
The von Gloeden is stunning and some of the paintings are glorious: the muscularity / blood red colour in Falguière by Lutteurs d'Alexandre (1875, below); the beauty of Ángel Zárraga's Votive Offering (Saint Sebastian) (1912, below); the sheer nakedness and earthiness of the Freud; and the colour, form and (homo)eroticism of The Bath by Paul Cadmus (1951, below), with their pert buttocks and hands washing suggestively.
But there is nothing too outrageous here. Heaven forbid!
After all, this is the male nude as curatorial commodity.
Many thankx to the Musée d'Orsay for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.
"The high brow peep show is divided thematically into depictions of religion, mythology, athleticism, homosexuality, and shifting notions of manliness. Wandering the Musee's grand halls you will see rippling Greco-Roman Apollonian gods, Egon Schiele's finely rendered, debauched self portraits and David LaChapelle's 90s macho-kitsch celebs. Edward Munch's hazy, pastel bathers mingle with Lucian Freud's grossly erotic fleshy animals and reverent depictions of Christ and Saint Sebastian, showing the many ways to interpret a body sans outerwear."
Priscilla Frank. "'Masculine/Masculine' Explores Male Nude Throughout Art History And We Couldn't Be Happier (NSFW)," on the Huffpost Arts and Culture website, 26/09/2013
Jean Delville (1867-1953)
École de Platon (School of Plato)
Oil on canvas
H. 260; W. 605 cm
© RMN (Musée d'Orsay) / Hervé Lewandowski
In the late 19th century, Belgium was one of the great centres of European symbolism. Jean Delville's paintings and writings expressed the most esoteric side of the movement. In the mid-1880s, Delville's discovery of the symbolist milieu in Paris and the friendships he made there led him to break with the naturalism inherited from his academic training. Thus his friendship with the Sâr Péladan and his regular attendance at the Salon of the Rose+Croix, testified to his belief in an intellectual art which focused on evocation more than description.
School of Plato, a decoration intended for the Sorbonne but never installed there, is a striking work in many respects. Its monumental size and its ambitious message – an interpretation of classical philosophy seen through the prism of the symbolist ideal – set it apart. The manifesto makes no secret of its references, from Raphael to Puvis de Chavannes, but envelops them in the strange charm of a deliberately unreal colour range. The ambiguity emanating from this fin de siècle Mannerism knowingly blurs the borderline between purity and sensuality.
Jules Elie Delaunay
Ixion Thrown Into the Flames
© RMN-Grand Palais / Gérard Blot
Camille Félix Bellanger
© Musée d'Orsay
Eadweard Muybridge
Animal Locomotion
© Musée d'Orsay, dist. RMN / Alexis Brandt
Kehinde Wiley
Death of Abel Study
© Kehinde Wiley, Courtesy Roberts & Tilton, Culver City, CA & Galerie Daniel Templon, Paris
Paul Cézanne
Baigneurs (Bathers)
© RMN (Musée d'Orsay) / Hervé Lewandowski
"While it has been quite natural for the female nude to be regularly exhibited, the male nude has not been accorded the same treatment. It is highly significant that until the show at the Leopold Museum in Vienna in the autumn of 2012, no exhibition had opted to take a fresh approach, over a long historical perspective, to the representation of the male nude. However, male nudity was for a long time, from the 17th to 19th centuries, the basis of traditional Academic art training and a key element in Western creative art. Therefore when presenting the exhibition Masculine / Masculine, the Musée d'Orsay, drawing on the wealth of its own collections (with several hitherto unknown sculptures) and on other French public collections, aims to take an interpretive, playful, sociological and philosophical approach to exploring all aspects and meanings of the male nude in art. Given that the 19th century took its inspiration from 18th century classical art, and that this influence still resonates today, the Musée d'Orsay is extending its traditional historical range in order to draw a continuous arc of creation through two centuries down to the present day. The exhibition will include the whole range of techniques: painting, sculpture, graphic arts and, of course, photography, which will have an equal place in the exhibition.
To convey the specifically masculine nature of the body, the exhibition, in preference to a dull chronological presentation, takes the visitor on a journey through a succession of thematic focuses, including the aesthetic canons inherited from Antiquity, their reinterpretation in the Neo-Classical, Symbolist and contemporary eras where the hero is increasingly glorified, the Realist fascination for truthful representation of the body, nudity as the body's natural state, the suffering of the body and the expression of pain, and finally its eroticisation. The aim is to establish a genuine dialogue between different eras in order to reveal how certain artists have been prompted to reinterpret earlier works. In the mid 18th century, Winckelmann examined the legacy of the divine proporzioni of the body inherited from Antiquity, which, in spite of radical challenges, still apply today having mysteriously come down through the history of art as the accepted definition of beauty. From Jacques-Louis David to George Platt-Lynes, LaChapelle and Pierre et Gilles, and including Gustave Moreau, a whole series of connections is revealed, based around issues of power, censorship, modesty, the boundaries of public expectation and changes in social mores.
Winckelmann's glorification of Greek beauty reveals an implicit carnal desire, relating to men as well as women, which certainly comes down through two centuries from the "Barbus" group and from David's studio, to David Hockney and the film director James Bidgood. This sensibility also permeates the turn of the 19th and 20th centuries as it questions its own identity, as we see in the extraordinary painting École de Platon [School of Plato], inexplicably purchased by the French state in 1912 from the Belgian artist Delville. Similarly, the exhibition will reveal other visual and intellectual relationships through the works of artists as renowned as Georges de La Tour, Pierre Puget, Abilgaard, Paul Flandrin, Bouguereau, Hodler, Schiele, Munch, Picasso, Bacon, Mapplethorpe, Freud and Mueck, while lining up some surprises like the Mexican Angel Zarraga's Saint Sébastien (Saint Sebastian), De Chirico's Les Bains mystérieux (Mysterious Baths) and the erotica of Americans Charles Demuth and Paul Cadmus.
This autumn therefore, the Musée d'Orsay will invite the visitor to an exhibition that challenges the continuity of a theme that has always interested artists, through unexpected yet productive confrontations between the various revivals of the nude man in art."
Press release from the Musée d'Orsay website
Jacques Louis David (1748-1825)
Academy Drawing of a Man, said to be Patroclu
Oil on canvas
H. 122; W. 170 cm
Cherbourg, musée Thomas-Henry
© Cherbourg, musée Thomas-Henry
Masculine / Masculine
Why had there never been an exhibition dedicated to the male nude until Nackte Männer at the Leopold Museum in Vienna last year? In order to answer this question, the exhibition sets out to compare works of different eras and techniques, around great themes that have shaped the image of the male body for over two centuries.
We must distinguish above all between nudity and the nude: a body simply without clothes, that causes embarrassment with its lack of modesty, is different from the radiant vision of a body restructured and idealised by the artist. Although this distinction can be qualified, it highlights the positive, uninhibited approach to the nude in western art since the Classical Period.
Today, the nude essentially brings to mind a female body, the legacy of a 19th century that established it as an absolute and as the accepted object of male desire. Prior to this, however, the female body was regarded less favourably than its more structured, more muscular male counterpart. Since the Renaissance, the male nude had been accorded more importance: the man as a universal being became a synonym for Mankind, and his body was established as the ideal human form, as was already the case in Greco-Roman art. Examples of this interpretation abound in the Judeo-Christian cultural heritage: Adam existed before Eve, who was no more than his copy and the origin of sin. Most artists being male, they found an "ideal me" in the male nude, a magnified, narcissistic reflection of themselves. And yet, until the middle of the 20th century, the sexual organ was the source of a certain embarrassment, whether shrunken or well hidden beneath strategically placed drapery, thong or scabbard.
Jean-Baptiste Frédéric Desmarais (1756-1813)
Le Berger Pâris (The Shepherd, Paris)
Oil on canvas
H. 177 ; L. 118 cm
Musée des beaux-arts du Canada, Ottawa
© Photo: MBAC
The Classic Ideal
From the 17th century, training of the highest standard was organised for the most privileged artists. In sculpture and in history painting, the ultimate aim of this teaching was to master the representation of the male nude: this was central to the creative process, as the preparatory studies had to capture the articulation of the body as closely as possible, whether clothed or not, in the finished composition.
In France, pupils studied at the Académie Royale then at the Académie des Beaux-Arts, working from drawings, engravings, sculptures "in the round" and life models. Right up until the late 20th century, these models were exclusively male, for reasons of social morality, but also because the man was considered to have the archetypal human form. In order to be noble and worthy of artistic representation, and to appeal to all, this could not be the body of an ordinary man: the distinctive features of the model had to be tempered in order to elevate the subject.
Above all, the artists of Antiquity and of the Renaissance were considered to have established an ideal synthesis of the human body without being distracted by individual characteristics. For Winckelmann, the German 18th century aesthete, the ideal beauty of Greek statues could only be embodied by the male nude. But although it inspired numerous artists, the "noble simplicity and quiet grandeur" of Winckelmann's gods was undermined by other interpretations of Classical art: the torment of Laocoon, a work from late Antiquity, can be seen in the work of the Danish painter Abildgaard, while David advocated a much more Roman masculinity. Even when challenged, reinterpreted and renewed by the 20th century avant-garde, the Classical male nude and its rich legacy remains an object of fascination right up to the inter-war years and up to the present day.
George Hoyningen-Huene (1900-1968)
Horst P. Horst, Photographie
Tirage argentique
H. 19 ; L. 22,7 cm
Hambourg, FC Gundlach
© Droits réservés
The Heroic Nude
The concept and the word "hero" itself come from ancient Greece: whether a demigod or simply a mortal transcending his human condition to become an exemplum virtutis, he embodies an ideal. The admiration for Classical art and culture explains the ubiquity of the hero in Academic painting, particularly in subjects given to candidates of the Prix de Rome: great history painting thrived on the exploits of supermen in the most perfect bodies.
This connection between anatomy and heroic virtue, conveying noble and universal values, goes back to the Neo-Platonic concept linking beauty and goodness. The hero's nudity has been so self-evident that the "heroic nude" has become the subject of a recurrent debate about the representation of great men, past or present, no matter how incongruous the result may appear.
Heroism is not a state, rather a means by which the strength of character of an exceptional being man is revealed: although Hercules' strength is inseparable from his exploits, it was David's cunning that overcame the powerful Goliath. In both cases they are endowed with a warrior's strength, which was particularly valued by a 19th century thirsting for virility and patriotic assertion: more than ever, this was the ideal to be attained. We had to wait for the 20th century crisis of masculinity before we could see the renewal of the status of the increasingly contemporary hero, and the diversification of his physical characteristics. However, whether a star or a designer like Yves Saint-Laurent, or even the young men on the streets of Harlem painted by the American Kehinde Wiley, the evocative power of nudity remains.
Pierre et Gilles (born respectively in 1950 and 1953)
Vive la France
(models: Serge, Moussa and Robert)
Painted photograph, unique piece
H. 125; W. 101 cm
© Pierre et Gilles
The Gods of the Stadium
The 20th century witnessed the start of a new way of looking at the human body where the focus was on medical aspects and hygiene, and this had a considerable impact on the concept of the artistic nude. Numerous physical education movements and gymnasia appeared. People were captivated by the figure of the "sportsman" and, as in the work of the painter Eugene Jansson, came to admire and covet the virile power of his body in action. This concept is realised in culturalism, the narcissistic admiration of a body that has become an object to be fashioned like an artwork in its own right. Modern man with his athletic morphology has become a new potential ideal: he embodies a beauty that invites comparison with Greco-Roman art.
Linked with the affirmation of national identity, the athlete has come to personify the brute force of the nation and an ability to defend the country in times of war. During the 1930s in the United States, the image of the athlete evolved in a distinctive way, highlighting the ordinary man as a mixture of physical strength and bravery. Totalitarian regimes, however, perverted the cult of the athlete in order to promote their own ideology: Germany linked it in a demiurgic way with the made-up concept of the "Aryan" race, while Mussolini's government erected marble idols on the Stadio dei Marmi.
Jean-Bernard Duseigneur (1808-1866)
Orlando Furioso
Cast in bronze
H. 130; W. 146; D. 90 cm
Paris, Musée du Louvre
© Musée du Louvre, Dist. RMN-Grand Palais / Thierry Ollivier
It's tough being a Hero
As he moves outside the established order, the mythological hero risks the anger of the gods and the jealousy of men. Although his passions, his moral shortcomings and occasionally his frailties stem from his human condition, he is happy to possess the perfect form of the gods: thus the artist and the spectator find expression of a perfect self. The great dramatic destinies thus give character to the compositions, and enable them to interpret a whole range of emotions from determination to despair, from hostility to eternal rest.
Although it is a platitude to say that feelings are expressed most accurately in the face – from the theorised and institutional drawings of Charles Le Brun to the "tête d'expression" competition at the Ecole des Beaux-Arts – one must not underestimate the key role of the body and the anatomy as vehicles for expressing emotion: certain formal choices even led to generally accepted conventions.
Mythology and the Homeric epic abound with stories of the ill-fated destinies and destructive passions of heroes, whose nudity is justified by its origins in ancient Greece: Joseph-Désiré Court displays the broken body of the ill-fated Hippolytus, a premonition of the transposition in the ancient world of Mort pour la patrie [Dying for The Fatherland] of Lecomte du Nouÿ.
Nude Veritas
The Realist aesthetic, which came to the fore in western art during the 19th century, had a dramatic effect on the representation of male nudity. The human body, represented as nature intended, was no longer seen from the decorous distance that characterised the idealised image of the nude, a goal to be achieved through Academic drawing exercises. In this context, where revealing the body was an affront to modesty – in the male-dominated society of the 19th century, the unclothed male appeared even more obscene and shocking than the unclothed female – the male nude gradually became less common as female figures proliferated.
This reversal did not mean, however, that naked men disappeared altogether: scientific study of the male nude, aided by new techniques such as the decomposition of movement through a series of photographs taken in rapid succession – chronophotography – brought advances in the study of anatomy and transformed the teaching of art students. From then on, it was less a case, for the most avant-garde artists, of striving to reproduce a canon of beauty inherited from the past, than of representing a body that retained the harmony of the model's true characteristics.
The evocative power of the nude inspired artists like the Austrian Schiele to produce nude self portraits that revealed the existential torments of the artist. Invested at times with a Christ-like dimension, these depictions, moving beyond realism into introspection, continued to be produced right up to the 21st century, especially in photography.
William Bouguereau (1825-1905)
Equality before Death
Oil on Canvas
H. 141; W. 269 cm
Paris, Musée d'Orsay
© Musée d'Orsay, dist. RMN-Grand Palais / Patrice Schmidt
Without compromise
The fascination for reality established in artistic circles in the mid 19th century prompted a thorough renewal of religious painting. Although resorting to the classical idealisation of the body seemed to be consistent with religious dogma, artists like Bonnat breathed fresh life into the genre by depicting the harsh truth of the physical condition of biblical figures.
This principle was already at work in Egalité devant la mort [Equality before Death], by Bouguereau, who, in his early work, in the final days of Romanticism, exploited the power of the image of an ordinary corpse. Rodin, far from enhancing the appearance of the novelist that he was invited to celebrate, sought to render Balzac's corpulent physique with implacable accuracy, without diminishing his grandeur in any way.
The question is thus raised of art's relationship to reality, a question Ron Mueck tackles in his work. And the strange effect brought about by a change of scale gives an intensity to the dead body of his father that echoes the dead figure in Bouguereau's painting.
Frédéric Bazille (1841-1870)
Fisherman with a Net
Oil on canvas
H. 134; W. 83 cm
Zurich, Rau Foundation for the Third World
© Lylho / Leemage
Hippolyte Flandrin (1809-1864)
Nude Youth Sitting by the Sea, Study
Oil on canvas
H. 98; W. 124 cm
Paris, Musée du Louvre
© Musée du Louvre, Dist. RMN-Grand Palais / Angèle Dequier
Wilhelm von Gloeden (1856-1931)
Cain, Taormine, Sicile
© Westlicht, Musée de la Photographie, Vienna
In Nature
Including the naked body in a landscape was not a new challenge for 19th century artists. In many aspects, this was recurrent in large-scale history painting, and a demanding artistic exercise by which a painter's technical mastery was judged. It was about making the relationship between the naked body and its setting as accurate as possible in terms of proportion, depth and light. Although Bazille's Pêcheur à l'épervier [Fisherman with a Net] is one of the most successful attempts – in a contemporary context – at depicting a naked man in an atmospheric light that the Impressionists later took for their own, he nevertheless observed the principles of academic construction.
Masculine nudity in nature took another meaning as society was transformed through technical advances and urbanisation. Man was now seeking a communion with nature, that could reconcile him with the excesses and the sense of dislocation created by the modern world, while still conforming to the theories of good health advocating physical exercise and fresh air.
In pain
In allowing themselves to deviate from the classical norms, artists opened up new possibilities for a more expressive representation of a body in the throes of torment or pain. The decline of the Academic nude and of classical restraint explains this predilection for ordeals: Ixion's for example, condemned by Zeus to be bound to an eternally spinning wheel of fire.
The writhing body can also express torment of a more psychological nature. The pain experienced by the male body naturally relates to the issues of power between men and women in contemporary society: the naked body can be demeaning and, in certain circumstances, likely to call into question virility and male domination. In this respect, Louise Bourgeois' choice of a male figure for her Arch of Hysteria was not a random one.
The martyr can, nevertheless, inspire compositions other than the tortured body: the death of Abel, killed by his brother Cain in the Book of Genesis, seems, on the contrary, to have inspired the pose of a totally relaxed body at the point of death. This abandon, however, conveyed a certain ambivalence that artists were determined to exploit: the body, often magnified and in state of morbid ecstasy, was in fact there for the spectator to relish. In these cases, suffering was merely a device to justify fetishising the body once again. In contrast with this seductive treatment, photographers engaged in experiments to divide the body into individual parts, in an aesthetic or even playful approach.
François-Xavier Fabre (1766-1837)
The Dying Saint Sebastian
Oil on canvas
H. 196; W. 147 cm
Montpellier, Musée Fabre de Montpellier Agglomération
© Musée Fabre de Montpellier Agglomération – cliché Frédéric Jaulmes
Ángel Zárraga
Votive Offering (Saint Sebastian)
Oil on canvas
© Museo Nacional de Arte, Mexico
The Glorious body
Judeo-Christian culture has undeniably influenced the representation of the naked man since the beginning of modern art. However, the Catholic concept of the body has been at variance with nudity since Paleochristian times: the body is merely the corporeal envelope from which the soul is freed on death. Influenced by theologians advocating the union of the sensory and the spiritual, nudity gradually became accepted for important figures such as Christ and Saint Sebastian. Their martyred bodies, transcended by suffering endured through faith, paradoxically allowed the human soul to come close to God.
For the Catholic church, the vulnerability of Christ's body, subjected to suffering and bearing the stigmata, is evidence of his humanity, while his divinity is revealed in his inspired expression and his idealised body, a legacy of the underlying classical models. The figure of Saint Sebastian is especially complex: this popular saint, the epitome of the martyr who survives his first ordeal, embodies the victory of life over death. This life force is no doubt related to his youthful beauty and his naked body, both of which made their appearance in the 17th century. This being the case, his representation gradually moves away from Catholic dogma, and acquires an unprecedented freedom and life of its own: his sensuality is more and more obvious, whereas his suffering is at times impossible to detect. In this quest for sensual pleasure, and until the 20th century, the only taboo was to reveal the penis.
Paul Cadmus (1904-1999)
The Bath
Tempera on card
H. 36.4; W. 41.4 cm
New York, Whitney Museum of American Art
Anonymous gift
© Whitney Museum of American Art, NY – Art
© Jon F. Anderson, Estate of Paul Cadmus / ADAGP, Paris 2013
Alexendre Alexandrovitch Deineka (Russian, 1899-1969)
La douche. Après la bataille (Shower, After the Battle)
Oil on canvas
"This male homoeroticism maintains close ties with the revolutionary project to destroy the family and traditional marriage and the construction of new types of social relations based on collective values above all, with the idea that the bonds of friendship and camaraderie between men (homosociality, "male bonding") are equally or more important than heterosexual bonding. It is mainly in the period from the Revolution to the 1930s the values of friendship and camaraderie seem particularly highlighted the detriment of the bonds of love, very devalued as "petty-bourgeois", but even more later, with the Stalinist project of "restoration" of the family, it can be assumed that the emotional and romantic in the heterosexual couple have never been a pervasive and rewarding cultural representation of magnitude of that which may be known in the West. [11] The researcher Lilya Kaganovsky, analyzing the Soviet visual culture (especially cult films of the 1930s and 1940s), speaks of "heterosexual panic" in response to the concept of "homosexual panic" coined by Eve K. Segdwick: according Kaganovsky, Soviet cultural works largely reflects the idea that the relations of friendship, especially homosocial, particularly between men, is a moral value than heterosexual relationships. [12] In such a cosmology, heterosexual relationships could be perceived from within oneself and risk jeopardizing the homosocial relationships of camaraderie and friendship, and the same social and national cohesion, thought to be based on collective values that conflicts with the value of exclusivity in the couple, "cozy comforts of home" [13]."
Mona. "Représenter le corps socialiste : l'exemple du peintre A. Deïneka (1899-1969)," on the Genre, politique et sexualités website, 16th April 2012 (translation by Google translate)
Boris Ignatovitch
Douche (Shower)
Silver gelatin photograph
The Temptation of the male
An acknowledged desire for the male body, and the liberalisation of social conventions gave rise to some daring works from the mid 20th century onwards. In the United States, in spite of its puritan outlook since the Second World War, Paul Cadmus did not balk at depicting a pick up scene between men in a most unlikely Finistère. While the physical attraction of the body remained confined for a long time to the secrecy of private interiors, it was increasingly evident in public, in exclusively masculine social situations like communal showers or in the guise of a reconstructed Platonic Antiquity.
Eroticism is even presented quite crudely by Cocteau, whose influence on the young Warhol is undeniable. Beauty and seduction part company when the ideal transmitted by references to the past takes root in idiosyncratic practices and contemporary culture, as Hockney has expressed so accurately in his painting.
Anne-Louis Girodet (1767-1824)
The Sleep of Endymion
Oil on canvas
H. 90; W. 117.5 cm
Montargis, Musée Girodet
© Cliché J. Faujour/musée Girodet, Montargis
Pierre et Gilles (born respectively in 1950 and 1953)
© Pierre et Gilles
The Object of desire
For many years, the male body in art had been the subject of "objectification". The unrestrained admiration for the perfection of the Greco-Roman nudes, a purely intellectual reconstruction of a body that had become the canon of beauty, meant that no interpretation of the nude was considered improper, even Winckelmann's, with its powerful erotic charge.
Although Academic circles naturally encouraged the nude in great history paintings, certain subjects retained elements of sensuality and ambiguity. At the turn of the 19th century, discussion of the characteristics of the two sexes and their respective boundaries aroused interest in the bisexual amours of Jupiter and Apollo, while the formula of the young hero dying in the arms of his male lover was met with particular interest.
Girodet's Endymion is depicted as an ephebe, his body caressed sensuously by the rays of the moon goddess, inspiring numerous homoerotic interpretations. With the Symbolists, as with Gustave Moreau, the difference between the sexes results in the downfall of a vulnerable man overcome by an inexorable and destructive force that is seen as feminine. However, at the other extreme, and in a less dramatic way, Hodler depicts the awakening of adolescent love between a self-obsessed young man and a girl who is captivated by his charm.
The sensuality and acknowledged eroticisation considered to be appropriate to the female body during the 19th century struck a serious blow against the traditional virility of the male nude: this blow was not fatal however, as the male nude was still very visible in the 20th century. Sexual liberation expressed, loud and clear, a feeling of voluptuousness and, often with few reservations, endowed the male body with a sexual charge. The model was usually identified, an assertive sign as a statement of the individuality: with Pierre and Gilles, where mythology and the contemporary portrait become one.
Text from the Musée d'Orsay website
Antonin Mercié
© Musée d'Orsay, Paris
David LaChapelle
Eminem – About to Blow
Chromogenic Print
Giorgio de Chirico (1883-1966)
Les bains mystérieux (Mysterious Baths)
c. 1934-36
Tempera on card
39 x 31 cm
© Musei Civici Fiorentini – Raccolta Alberto Della Ragione
Egon Schiele
Self-Portrait, Kneeling
© Leopold Museum / Manfred Thumberger
Fléau! (Scourge!)
© Musée d'Orsay, Paris
Koloman Moser
Le Printemps (Spring)
c. 1900
Antoine Bourdelle (1861-1929)
Grand Guerrier avec Jambe
George Platt Lynes
Le Somnambule (The Sleepwalker)
© Christoph Irrgang, Hamburg
Lutteurs d'Alexandre
© Musée d'Orsay, Paris
Lucian Freud
Naked Man on Bed
Oil on canvas
Lucian Freud
David and Eli
Oil on canvas
Masculin / Masculin – La video on YouTube
Musée d'Orsay
62, rue de Lille
75343 Paris Cedex 07
Opening hours:
9.30am – 6pm
9.30am – 9.45pm on Thursdays
Closed on Mondays


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I think I also do not spend a lot of time on the Second Life road… but there was a Time I did.
Reading a Blogpost of Alicia, I decided to think about if I am a Couch Potatoe in my Second Life. Or should I rather call it Parcel Potatoe, Firefox Potatoe or Windows and Apllication Potatoe?
Alicia thinks that she should once again go somewhere in SL. Looks like she makes a Comparison and found out that there was more Activity back in her Second Life Days.
She noticed that´s not only her. Most of here friends just stand on ther Platforms as well. So talking about my Second Life related Activity, I must say this is my own experience I made in the past as well. I defenetly can agree cos if I login to Second Life, I hang out on my own Parcel (Sky- and Sandbox) most of the time too. And it´s true that I rather spend more time with Forums, SL Marketplace, Twitter, blogging and so on. Sure I call it my SL Activity as all this is mostly related to SL. But the good Point Alicia makes is that it isn´t Inworld Activity. And when she said that she noticed the same with her Friends, I just can sign it cos I notice similar behavior of my Friends.
So in my Case I can explaine it so… back in the Days, Second Life was so new to me that really everything was magical and interesting. I was just amazed about each Place I visited. I became somehwat addicted and soon when I met a Person who introduced me to her Estate, Club and Community, then I became all the more inlove with Second Life. I believe back in these Days I did not minimize the Viewer very often. I remember everything was pretty interesting so that the rest of the Internet just became a minor matter.
The Place where I mostly did hang out was an Estate with a Club and I know I got my first free Inworld Shop there as we became very good Friends soon. At this Time I did rather have a small Collection of Products and they all were everything but not Complex or something someone would need. 😀 Just my beginner Stuff. And also at this Time I did not spend much Time to produce new Stuff. So apart from hang out my own Products there I worked at her Club as well and I remember back that I got a very good Amount of L$. At least compared to what most of the Dancer´s and Host´s get today in SL. It was 1000 – 2000 L$ (really no Joke!) per Hours for working in her Club and much more then my little Shop income. Sure this was a Reason to stay inworld and it would be a Lie if I would say no. But everyday when the Club were closed we did still hang out together too. So I wasn´t hunting L$ only.. I just enjoyed the Time with my new Friends. We had always cool Topics when we did chat and we had defenetly a lot of fun. So I can say it was rather the Friendship which did bring me online. After some Month I had the feeling it was not just the Team of the Club but rather something like a Family and Federation. The bad End of the Story is that she one Day closed her Estate forever. I believe I would still hang out with her much but she did stop to login regulary and later she wrote me that she wont come online often in the Future as ReaLife keeps her on the Run. I can say I miss her much as it was my most active (inworld) Time in SL. Exploring, chatting, dancing, listening Music, shopping and I cant count it all. Sure is I did see a lot of Places in those Days.
So when my Friend did stop loggin in, I had some more Time to learn more about Conten Creation within Second Life. Soon I became a regular on these bigger Sandbox´s and did experiment a lot with Prims and LSL scripting. As I was still a beginner when we talk about creating Content and from now on very fascinated with all that but a very slow creating one, I would call this Time my second Level of inworld Activity. Even if I still was sad that a Friend leaved Second Life, I can tell you that I in fact now did spend more and more Time inworld. I rented my first own Land and started my Store and later a Mall which I did rent out for Tenants. Managing all this alone did result in much more Activity but not only on my Land. Making connections with other Landowner, renting AdBoards here and there affected me to see more and more Places inworld.
But some day creating things out of Prims became routine anyhow. I just learned to create things I have in mind and now didn´t need to think about it much. I just started to create thing´s I had in mind and this Process became faster then before. With much more finished Products then back in the Days I noticed that Xstreet got a bigger Economy-impact then my Mall. The difference of Sales was so huge that I just started to think about closing my Mall and rent a much smaller Place to just have my Magic Boxes rezzed anywhere and a Skybox for new little Projects.
So what about today? They just merged Xstreet to SL Marketplace and the old good impact of Xstreets Sales were just the beginning. My sales on SL Marketplace even increased compared to the closed Xstreet. And after reading other Blogs I now know and bet that a very heavy Amount of Sales go rather through SL Marketplace instead of Inworld Stores. Not enough… new Features like Mesh Import makes Content Creators stay outside of SL to create Content. I do so now too.
Today? I believe I can get these fascinating Essentials of Second Life without logging in much. And there is for me the Problem. It became creating Content outside of SL, managing these Matters outside of SL, advertise it outside of SL. When things are done, then they get just adjusted inworld and then dropped in a Magic Box. Oh and soon we dont even have to rent Land for a Magic Box as we soon can sell Thing´s out of our Inventory. I believe all this has a huge negative Impact on the Virtual Estate Business too.
For socializing it´s pretty much the same.. Social Networks, Forums, blogging… I believe I spend more Time outside of SL today. You get these Second Life related News and hot Topics outworld.. and you can discuss it with People even if you are not online on the Grid. Do I like it? No I think Alicia is right. We should explore more often again Inworld. What I did now was losing the Fascination of SL, I had early Days in SL . The Question is if we are the Reason for that.. if we are lazy? If we lost Ideas where to go? If we lost Friends inworld? Or is this all due to some changes LL made?
Really I like new Features like Mesh Import and the upcoming Features. So.. well.. I am not sure. I just know that Content Creation became a very importend Part of my Second Life and so I can just judge it from this Perspective. Linden Lab gave us Tools like SL Marketplace and the Mesh Feature to just handle everything we want but not inworld. So there seems to be just a minimalized Reason for Content Creators to stay online on the Grid. If I could handle all this only Inworld and there was a Time… then I would probably rather be anywhere around on the Grid. I dont want to say that I dislike the changes of Linden Lab. Great Features arrived and will arrive soon. It´s just for me clear that they have a huge impact. They change Second Life.
Ok. Looks like for me socializing became simply suppressed by creating Content for SL. And now I dont do it often inworld. Even if I still have fun with what I do.. I agree.. it´s anyhow sad because there is maybe so much more I could do inworld. I sometimes just dont know what and why if I can do it without being around on the Grid.
However I think Alica found a Topic which might be for some of us pretty up to date. At least for me. I am sure we all have differend Reasons to be Parcel Potatoe´s or People who just login to put some Thing´s up for Sale. Maybe some of us are still often inworld. But I believe fact is that there are a lot of People who aren´t and if then they simply hang out on ther Parcel and have no other Ideas. Maybe I should start again to explore what SL can offer me apart from what I do now. Or maybe all this is just a subjective Feeling as we did spend already so much Time inworld in the past.. maybe it just feels differend then before. The latter would be what I experiences in other Virtual Worlds like World of Warcraft and so as well.
7 Years ago I did explore any Places in World of Warcraft just because I was nosy what there could be behind that Hill on the Horizon. But today I know there might be nothing then some low Level Monsters which wouldn´t even hurt me. That cool feeling of exploring new Worlds comes again when new Content or an Expansion arrives. But also only for a short Period. The Focus of my WoW Gameplay is now mostly Player versus Player Matches, new Dungeons, Raid´s and so. The World is just nothing new to me…
But sure! The World of Second Life does always undergo modifications! Maybe I should write that on a Note in front of my Keyboard so that I sometimes do anything else then now. 🙂
So this is a Topic I did think about often in the past two or three Month. So that I lately did make a good new start with exploring the Linden Realms.. another Day I was listening and chatting in a Electronic Music Club. But then I got bored again.. I simply do not often have Ideas what to do in SL. But well… lets see… 🙂


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This text provides a full presentation of classical, syllogistic logic, as well as a thorough treatment of modern symbolic logic. It features a wealth of real-life examples of lively arguments and explanations.Copi, Irving M. is the author of 'Introduction to Logic (13th Edition) (MyLogicLab Series) (Hardcover)', published 2008 under ISBN 9780136141396 and ISBN 0136141390.[read more]
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