ac ydych chi'n gweithio yng Nghymru yn 2014 yng Nghymru Cynedig, Ternor yn Italy, yn 2008, gyda'r Palatsa Diomantian Ferrara, ychydig o'r llwyddiadau arall, ac yng Nghymru Ffaenart yn Fyda Pest. Efallai'n gweithio'r cyntempoedd. Efallai'n gweithio'r cyntempoedd, yng Nghymru, David Bailey ac Douglas Gordon. Yn 2011, byddwch chi'n gweithio'r llwyddiadau i'n gweithio'r llwyddiadau, yng nghymru, drwy'r llwyddiadau a'r llwyddiadau ar y 1600-1900 yn y gweithio'r Gall Gaeligol. Christopher haf yna'r cael ymlaen, mae'n gweithio'r gyllid yng Nghymru ar y Cystafol Llywodraeth, yng Nghymru Prydysgrifedd yn 2005. Christopher'n gweithio'r gweithio'r gweithio'r gweithio, ymlaen, ymlaen ychydig, yn ymddiadau'r llwyddiadau i'r llwyddiadau ar y cyllid ymlaen o unrhywgrws ymlaen a'r gweithio'r llwyddiadau ar y 1900-1900-er. Edwin Lansears, ymlaen, ac yn yng Nghymru a'r Gall Gaeligol, a'r llwyddiadau ar 1849-1851, yr Hyderwyr Llywodraeth, i'r cystafol Llywodraeth yn y cystafol Llywodraeth, ymlaen i'r gweithio'r gweithio'r gweithio'r gweithio. ond rydyn ni fydd rydyn ni yn ei chweithio'r gwaith, a'r cyfnodd yn gwahanol yn y cyfnodd, ac yn y cyfnodd cyfnodd, ac yn y cyfnodd. As Christyfr Sceith, ar y rhaid i'r reoedd yn ymddi'r prins, i bryddoch i'r lluniau, ac mae'r cyfnodd yn ymddi'r ymddi'r lancio ymddi yn yn ymgyrch yn ystod rhaid i'r gwir, ac yn ymddi'r yma yn unrhyw mewyr. Mae'n mynd i wedi'i rhoi'r wych yn ymddangos yn ymddangos. Rwyf wedi cael ei cael eu colli gondol i mi ac rwyf wedi cael y byddan nhw'n ffynishio'r ymddangos. Felly mae'r acfer y Glen yw yng nghymru yw'r ysgol. Mae'r cwmhysgol yn cael eich cyfnod o'r ddweud o'r hyn i'w ddweud o'r ddweud o'r cyfnod ymddangos. Mae'r ysgol yn gwneud hynny, a'r greu'n gwneud ymdangos gael y Glen, I dim ond o'r cwmhreitau sydd yr unig o'r unig o'r cyd-dreig, i'r hyn o hwyl yn dda i Richard Bryhers a Susan Hampshire, o'i'r cyfrwyr ar gyfer cyfwyr sydd o'r cyfrwyr yng Nghymru, i'w ddigonol beth o'r rhai cwmhreitau a'r adegau Richard Bryhers. Felly i'r ffawr i'r llaw o'r cwmhreitau mwybodaeth cwrs, mae'n ddweud o'r ddweud, ac mae'n angen i'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r chwiniol. Mae'r anodd ymlaen, dwi'n gweithio i ddim yn y cynno a'r amlwg honno'n amlwg. Mae'r anodd yn gweithio i ddim yn gweithio i ddim yn y hanhain. Dyna Peter Blake, y pethau yn rhan o'r figure, yn yr ysgrifennad Ym Mwgol Mccartney yn y nôl, yn y ffarrwyd-gweithio y Llyfrgell yn y Llyfrgell. Mae'n anodd ymlaen ysgrifennad ym Llyfrgell. Mae'n anodd ymlaen ymlaen o'r figure, mae'n rheddolent ym Llyfrgell, ysgrifennad, ..a'r llwyaf, Tartan ac oedd ychydig i chi, Jimmie Wiggs.. ..a'r allwch y tîr ysgol yn y roi yn y rôl. Mae'r wneud o'r rhai gwybod.. ..y'r gweithio bach yn gwneud y Lansy a'r haf ynghyd.. .. прид oed yn y cymdeithasol biograffi. Mae'r cyfwyr yma o'r rhaglen sydd yn cyflawn.. ..a'r cyfwyr ar y cyfrannu sydd yn ymgyrch.. ..yna'r rhaid i gyrhau ymlaen i'r llyfr. An innocent note I would like to hand over to Christopher to enlighten us further about the many lives of Lancers monarch, Christopher, Thank you very much indeed. Thank you matern and everybody. Thank you very much for coming. Martyn Markserer, everybody who's made it possible for me to talk to you about this remarkable picture as has been explained I am going to focus on. ein amddir gynllunieddol maeth yÕlch, mewn prifoeddiaeth, yng Nghymru Bronyn yn y 19th. Yr ynghyd yn mynd i fel byddwn ni'n fawr. And rydyn ni'n gweithio byddwn ni'n gweithio. Mae'r ddi nesafodol, mae'n gweithio mae'n gallu ffordd o lynydd arwynt iddynt i ddweud newydd mai'n gweithio. Doeddadedych chi eich bod ni'n ddweud? Yn ymddangos, mae'n gweithio'n amser o'r llwyntio? Mae yddych chi eich bod ni'n gweithio. Yn 1849-51, ac mae'n gweithio, rydyn ni'n gweithio, rydyn ni'n gweithio ar gyfer Llywodraeth Llywodraeth, ac mae'n gweithio ar gyfer Llywodraeth Llywodraeth yn gweithio 4 miliwn pwysig, ac i fi gofynnwys llawer yn yr exi ridell, a rydyn ni'n gweithio i'n meddwl am gyfnyddio ar gyfer Llywodraeth Llywodraeth Llywodraeth, rydyn ni'n gweithio ar gyfer Llywodraeth Llywodraeth. Mae'n gweithio'r cyfrings, yn gweithio iron, yn gweithio am y lle peilio ar gael ar gyfer Llywodraeth. Ac yn yr lle lle mae'n gweithio am argyflwyd. I think we need to remind ourselves about how significant he was, how he was loved, how he was admired more than almost any other contemporary artist and also place him in a Scottish context in order to understand the significance and the resonance of this painting. Lancet was born here in London in 1802, he was born into an artistic family, his father was a print maker, an antiquarian, a man who had great ambitions for his children and a number of Lancet's siblings actually went into the art world, most significantly his brother Thomas who became an accomplished print maker. By the time of his death in 1873 he was undoubtedly one of the most famous artists not only in Britain but all around the world because of course the prints particularly after his most famous works such as the Monarch of the Glen were distributed all across the British Empire. And his animal paintings appealed across all levels of society as well, I don't know that there are many other artists from this period that one can claim that for, when Victoria was passionate about them and literally everybody else who saw them was too. They were admired for their drama, their charm and the very often sophisticated interaction between humans and animals that you find in them. Some of his works we regard today as sentimental and mawkish but I think we need to put that aside and try and reconstruct as far as we can the Victorian appeal that they clearly held. Now the market for his paintings ranged from very sophisticated metropolitan collectors, people like Sheepshanks here in London to grand aristocratic landowners. And it was the latter group that essentially provided the key to his Scottish connections which were vital to his career and indeed his success. Lancers identification with Scottish imagery and his ability to celebrate it underpins not only the Monarch of the Glen but also a number of his other most successful works. In 1823 he first visited Woban Abbey, the seat of the Duke of Bedford, who became an important and especially indulgent patron. And the Duke's wife, Georgiana, who you can see here beside me, was the daughter of the Scottish Duke of Gordon. And Lancers and the Duchess famously and notoriously in fact became lovers and the relationship was the cause of a great deal of scandal. And there's a vast amount of literature on this and various films etc, which you can look at. Here she appears in the mid 1820s dressed for fishing apparently although it's quite hard to see how she was going to fly fish with an outfit like that on but she does look very splendid. And she's depicted with her brother and son in this superb sporting picture which is currently on loan to the National Gallery of Scotland from a private collection. It's a magnificent painting. The family are all depicted at Glen Feshey in the Highlands and the whole painting is really a hymn to Lancers new love of Scotland as well as his love of the Duchess. He first in fact visited Scotland in 1824 at the age of 22 and he was completely overwhelmed by the experience. He stayed with Salter Scott, who you see here, the terrific portrait in the National Portrait Gallery at Abbotsford. And interestingly and I think memorably he insisted on painting all the dogs in Scott's households before he turned his attention to Scott himself. And he produced this wonderful fluid study, very engaging, very dramatic, very moody portrait. Among all his other skills Lancers is a great portrait painter. The artist travelled on to the Highlands and he fell in love with the landscape and what he considered to be the romance of Scottish history and literature and the natural world as well. He did very much see Scotland through the prism of Scott and Scott's writings and they appeared to have directly impacted on some of his choices he made about subject matter and it's highly likely in fact that they impacted on the monarch of the Glen. It's hard for us to imagine but in the 1820s going to Scotland must have been an extraordinarily liberating experience for an urban painter, a painter from London. And the attractions did not just ally with the Duchess but he actually did enjoy going there regularly. He loved the landscape. He made annual trips to Scotland from 1824 pretty much for the rest of his life. He would travel up in the autumn and he would combine drawing and painting, producing oil sketches such as this fabulous oil sketch at New Haven which many of you will know. He combined that with fishing and hunting so he practised what he painted. He was immersed in this world. And some of the most attractive results of these journeys are indeed these informal oil sketches which as far as we know were not really intended for public display. But they certainly informed the backgrounds that you find in some of his greatest paintings such as the Monarch of the Glen. The site of this one I think is not firmly identified although it's highly likely to be actually in the borders rather than up in the Highlands. And the greatest collection of them sadly does not sit with us. It actually belongs to the Duke of Westminster. Now for the next 15 years after Lancers first visit to Scotland his career followed a staggeringly successful trajectory. He enjoyed greater claim through regularly exhibiting at the Royal Academy and carefully, very, very carefully promoting his work further afield through printmaking projects which he controlled meticulously in terms of quality control but also making as much money as he possibly could out of them. He dominated the market for sporting and hunting pictures and it's perhaps in view of all this unsurprising that he came to attract extensive royal patronage as well. Not least because of course Queen Victoria and Prince Albert shared his delight in the discovery of Scotland and it was just at the point at which they were in the 1840s onwards repeatedly travelling to Scotland that he was producing some of his finest Scottish paintings. And there are a large number of superb oil paintings and indeed drawings that remain in the Royal Collection. However as we've heard Lancers fortunes dramatically changed in 1840 when he suffered a very severe nervous breakdown which had a terrible impact on his personal and social life. The causes of this are not entirely clear. It may be that he was affected by the pressure of work and his inability to complete all his commissions. There seems to be various personal problems that he had to endure as well and the combination of all that came together and it really completely transformed him. This young man who had been renowned for his sociability, for his wit, for his charm, for the way in which he engaged with all his patrons became an altogether different creature and ultimately suffered from alcoholism and insanity as we've heard. In spite of all that, and it is a remarkable story, he continued to receive commissions and it was in fact during the last 20 years of his life that some of his most public and most famous works were produced. Monarch of the Glen, perhaps the prime example, but I'd forgive me, it seems odd reminding you all this in London, but in Edinburgh I need to tell people that he's the man who of course had designed the wonderful lions that one finds at the foot of Nelson's Column in Trafalgar Square. These were based upon drawings and oil sketches, some of which he made at London Zoo. He was responsible for creating the full-scale model of them and then they were cast in bronze by Carlo Baron Marocchetti and they remained one of the great attractions of London. In spite of all those personal problems, he was supported with many friends through that crisis, he did continue to produce remarkable works during the latter part of his career. In fact in 1866 he was offered the presidency of the Royal Academy and he did decline it however on health grounds. In 1873 sadly he died, this is a sort of splendidly mawkish and sentimental memorial card that was published in that year.  London ground to a halt, there was a very long and grand funeral procession and huge wreaths were placed in the mouths of the lions in Trafalgar Square. You have some idea of how he was revered at the time. In the following year 1874 there was a memorial exhibition held at the Royal Academy and over 100,000 visitors went to see it and it of course included the monarch of the Glen. I do find this an utterly bizarre image, he appears to be in the process of painting Queen Victoria but dreaming about all the dogs and deer that he spent his entire life painting. Anyway, I'm just trying to convey to you the nature of his contemporary reputation which goes some way to explaining why this particular picture is so resonant. The monarch of the Glen was included in the memorial exhibition as I've just mentioned and that exhibition was very significant for his future reputation because it provided a spectacular survey of his entire career. Many of the patrons who he'd served so well generously lent to it. The painting was from the beginning especially closely identified with the artist because it was the result of arguably his most illustrious and utterly unsatisfactory commission as we've heard. It was intended to form part of the decoration of the new palace of Westminster which doesn't look like that at the moment because it's all covered in scaffolding as I'm sure you all know. Now the new Gothic revival palace was designed by Sir Charles Barry after the previous palace had largely burnt down although not entirely and the interior decoration was conceived chiefly by Augustus Pugin and very quickly and very publicly there were debates about what sort of paintings might go into the rooms that he planned for the palace. I'm sure many of you are aware of this. It's a fascinating episode in early 19th century British cultural life. Now the decisions about which works of art would go into the new palace were made by the Fine Arts Commission. It was chiefly the creation of the Prime Minister Sir Robert Peel and its president was Prince Albert who of course was soon to develop a great passion for Lance's work. And the commission particularly favoured, again I'm sure you're all familiar with this, but it particularly favoured works like this. I just thought I'd show you a good Scottish example, this is by Dice. If you are being robed in the House of Lords this is the fresco that you can go and admire. Interestingly it dates from 1851 which is the period with which we are precisely concerned. The commission particularly promoted works of this sort, very grand themes based on Italian Renaissance precedents and of course ultimately based on frescoes as well. Strong influence of Raphael here. However when it came to the dining rooms in the House of Commons and the House of Lords there was a slight softening of this very rigorous agenda. And this print dates from 1849 and it shows one of the so-called refreshment rooms, in other words the dining rooms. And here it was suggested by the commission that there should be instead of the Italian Renaissance type works we've been looking at and I quote, subjects connected with rural scenery and the harvest and the chase, in other words hunting. So that was the key, that is the context in which our picture was originally intended to appear. And in fact it was probably for this particular room that Lancelot was commissioned to paint not one picture but three paintings for a thousand guineas, that was the offer. We have no idea what the other two were, it was quite common for him to take a long time to complete his commissions. So that's not in itself very surprising. We do know however that he thought very carefully about where the picture would be displayed. This is not Lancelot sadly here but we do know that he visited this room with David Roberts, the painter and also with Clarkson Stanfield, who was also involved in discussions about the works of art that might be shown there. And they actually took examples of their paintings into the refreshment room and they tested them by showing them on this wall, in other words opposite, I think that's the River Thames down there if one might imagine that. None of them were happy with that arrangement, with the light directly falling onto the pictures. They were much happier however with the idea that their paintings might hang on walls that were adjacent to the windows. So they would have the light casting from one side. And extraordinarily this seems to have been ignored in all the Lancelot literature but it's there, it's in Hansard because it's no less than Robert Peale who explains it all in the debate about the expenditure that was being spent on the various projects that were being considered. Lancelot in fact expressed concern about whether the subject was appropriate to this type of space, which I think is a fair observation. Should you have the monarch of the Glen on the wall while you're sitting underneath eating venison, that's the thing you need to consider here. In the end however the painting did not end up there for taste but for reasons of finance. The House of Commons, as we've heard, debated the cost of all the latest works that the Finance Commission was promoting and it decided not to endorse the growing expenditure. So he was not isolated, he wasn't picked out as being a particular victim of this sort of spending issue. There were a number of other works that did not end up in the House of Lords and so he ended up with the painting. Very prestigious commission but a sort of potentially disastrous outcome. However, although that may have been unexpected, for a man in his position it was not a problem as Lancelot had been enjoying considerable commercial success with paintings for a number of years and most especially with hunting pictures and pictures of deer. Including this work, which I think I'm sure is very well known to lots of people here, the wonderful sanctuary of 1842. Now he'd actually been painting deer from the 1830s onwards. He'd been visiting many estates, he'd been to estates across Scotland and across England but they were depicted in large numbers but it was only when he came to paint this picture which was for the Royal Collection that he painted an individual deer, an emblematic single stag and it's that painting that marks the progress that leads up ultimately to Monaco the Glen. Here we see a stag pursued by hunters. It's found refuge on an island on Loch Murray in the Highlands. It's a very beautiful but also a rather harrowing image I have to say. It looks as though the animals about to collapse. That's really what we're looking at although before this idyllic and quite beautiful sunset. What is interesting is that for almost all the pictures of this type and there are a number of them, he paints issues or subjects I should say a pursuit and a threat and there's real tangible danger in these images until he gets to paint the Monaco the Glen, which is quite a different type of picture. It is triumphal, euphoric, arguably the creature itself is in command of its environment as opposed to these pictures where it's of course a man that's pursuing the animal. He had invested clearly a very great deal of thought and care in this very prestigious commission and its power I think in part comes both from the boldness of its conception but also because of the incredible technical skill that he expelled. Amazing technical skill, very slick painting based on careful draftsmanship and when you get close to the picture this is what you see. It may not be a subject matter that appeals for all of us but I think one can't help but admire his skills. He was brilliant at describing textures and there is a wonderful fresh liquidity about it I suppose. It is in remarkably good condition as well. One key point about it has 12 points on its antlers or tines as they're called and it's that that defines it as a royal stag. Stags are named in different ways depending upon how many tines they have and that is why he is a monarch. As well as making the animal appear specific and crafting it in this extraordinary way he also gives the impression that the location in which the animal is the stag is presented is specific and identifiable and I'm sure the spectacular backdrop that he depicts here is related to at least some of those wonderful oil sketches I was showing you a moment ago. However it's been identified this backdrop as being in Argyllshire, Aberdeenshire and Stirlingshire and there are various rocks called Landseer rocks all over Scotland and just about every landowner worth their salt claims them. Okay so the truth is we do not know where it's located. It may in fact be a distillation of all these different experiences that he had and that relates neatly to the idea that it is an emblematic picture. It's a distillation of the natural wonders of Scotland but I can't tell you where it is. Okay so that's I think quite enough setting the scene really giving you a sense I hope of how this picture is so important both within his career and indeed his status as an artistic star really of the mid 19th century. I think now we should turn to the paintings subsequent and rather complex history which involves exhibitions as one might expect numerous reproductions and also some frankly quite bizarre forms of appropriation as well. In April of 1851 Queen Victoria and Prince Albert had breakfast at Buckingham Palace and he got on a horse and she got in her carriage and they went off to St John's Wood which is where Landseer's studio was. And they went to him sorry that I can't emphasise enough how significant that is and they went there for a private visit to study the six paintings that he had decided to show later that year at the summer exhibition of the Royal Academy. But it gives you some idea of the measure of his relationship with them that that was the way in which they travelled. And the Queen noted in her journal that she saw a particularly impressive work I quote a life size stag sniffing the air with mist rising from the mountains and of course that's our painting. It was shown in 1851 at the Royal Academy exhibition at that in that year as I'm sure you will know the Royal Academy was not based where it currently is. It was actually in the site of the National Gallery in Trafalba Square where that's where the exhibition was held and that's where our painting plus five others by Landseer were exhibited. They got great reviews. They got fabulous reviews the Landseer's but this was a particularly contentious and notorious exhibition because of course there are a number of works by the Pre-Raphaelites on show which led to a huge public row and ultimately to John Ruskin. It was a very interesting moment to have a painting like this on show. All the paintings were sold from the exhibition and the Monarch of the Glen was actually bought by the gentleman you can see over there Lord Lonsborough who was a diplomat and a liberal politician and the first of a series of wealthy aristocratic owners to enjoy the privilege of having the Monarch of the Glen at home. So the fact that the House of Lords Commission did not proceed was presented absolutely no problem at all to Landseer. And the picture remained in the public eye in spite of the fact that it went into a private collection straight away. It was engraved in this wonderful engraving by Landseer's brother Thomas I mentioned earlier on. And this was the first of numerous prints that were produced after it and they brought Landseer considerable income and he controlled essentially the copyright in the image something we tend to associate with perhaps more than contemporary artists but it was very much a hot issue at this moment as well. Henry Graves and Co paid Landseer £500 to publish prints after his brother's work £500. Remember he was going to be paid I think it was a thousand guineys to paint the picture in the first place. And initially 300 large format prints were sold and this is one of them and they cost ten guineys each. So we're talking about a large amount of money. This was a very serious commercial undertaking. Those were the large deluxe prints as it were and then there were numerous smaller prints which were not subject to the same copyright issues. The high quality engravings created after the painting were used as the basis for many many derivatives. I'm just going to show you a couple which I don't know very recently come across which I think are rather fascinating. Here we've got two interesting examples produced over the next 20-25 years. These are both cheques issued by American banks in the second half of the 19th century and if you look very carefully you can clearly see the monarch of the Glen appearing here and here and I'm quite certain that they didn't pay copyright in order to reproduce the picture in this way. But those derivatives are undoubtedly based broadly on the prints of the sort we've just been looking at by Thomas. What is fascinating about these is they indicate the quite rapid global nature of this painting's reputation. We're talking about America here but also I think they're rather fascinating because they come to indicate that there's a completely transferable sense of what the wilderness is. This is an image which is utterly associated with the Scottish wilderness but here it becomes any old wilderness. So you've got an American eagle there and you've got the stag here. So it takes on a completely different role and it's easy that it can do that. It's fascinating that it can do that. In 1884, just to rush on through the history of the painting, was acquired by another private collector, a man called Henry William Eaton, First Lord Cheslamore, who's I think a fascinating figure that we need to learn a lot more about. His wealth was derived from the silk trade with China and he had a large country house outside Coventry in Warwickshire and he's a very interesting man. He was a highly successful businessman who was a great enthusiast for contemporary British and French paintings. He owned actually a number of works by Lancel, including the Monarch of the Glen. He owned works by David Roberts and by Friff and Deloros's extraordinary execution of Lady Jane Gray. So there's a thought, can you imagine in a country house outside Coventry this man having on one wall we don't know exactly where the Monarch of the Glen or on another the execution of Lady Jane Gray. It's quite a heady mix I would suggest. The painting passed through other collections before being acquired in the 1890s by the person who really brought about the greatest transformation in its fortunes and that's this man, Thomas James Barrett, who was himself a very significant collector and above all is remembered as a pioneer of the advertising industry. He became as you can see here from the from the photograph managing director of payers and payers soap that is and he very famously said any fool can make soap but it takes a very clever man to sell it and that's of course precisely what he did and he did it I have to say rather brilliantly through aligning fine art, contemporary fine art with advertising. Most famously he did it with Millet's incredibly well-known painting Bubbles, which perhaps apart from one of the most reproduced 19th century painting, there was considerable debate at the time about whether this was an appropriate thing to do and this was discussed in the terrific catalogue for the Millet exhibition that was held a few years ago at Tate. And some people felt that this was a wonderful way to democratise art, others felt that it was very demeaning and sort of undermined artistic integrity, integrity forgive me. I think what's interesting is that Millet was consulted and he agreed and approved of this and that that really puts it in a sort of particularly fascinating light. Now it wasn't Barrett but it was the next owner of the lands here who learnt from Barrett's example and transformed its fortunes using the skills that Barrett had illustrated as a brilliant marketeer and it's this man, Thomas Dua, first Baron Dua who you can see up there. He was an incredibly clever whisky distiller and I could include lots of whisky jokes at this moment but I won't do that. And he cleverly blended whiskies and he used Barrett's ingenious technique of linking fine art with advertising and it was really from this point on that Lance's work took on a completely different life that enriched its global reputation and it was promoted as the monarch of whiskies. There's lots of puns to come, a huge number of puns to come as you might imagine. And this really did move it from being a Scottish icon to being a global icon. And it built on the I think formidable profile that had been already established through the printmaking or the type we've just been looking at. So it was a clever move and proved to be an incredibly lucrative move. In the wake of its associations with whisky it was also used on many, many other types of products without approval, almost certainly. And there are literally thousands of these and I'm just going to show you a small selection, some of which you will be familiar with. So shortbread, of course, Scotland shortbread. Royal Game Soup, it's a slightly less tasteful utilisation of the image I have to say. Butter, a little bit surprising. Most bizarre of all, the two in the foreground here, and again you can find your own, you can have fun trying to find them. Wine and Ashtray, which seems to me slightly odd, and beside it a cough cure which according to the label hardly ever fails. So there you go. It lends itself to just about anything that you would care to attach it to. Chiefly because it was associated with the quality of the whisky, so it's an association with quality. Now the familiarity that this engendered means that actually all that advertising could also inform perhaps more serious uses of the image, political and artistic. And I would like to touch on just a few of these if I may. There are again numerous examples but there are some especially witty and interesting ones. And I think this is one of the most fascinating and actually significant. This is the Prime Minister, Lloyd George, shown riding on the Monarch of the Glen. It's a very clever witty cartoon by Sir Bernard Partridge that are highly successful and inventive cartoonists. It appeared in Punch in 1914. Now, as I'm sure you'll remember, in Lloyd George's people's budget of 1909, he had increased land taxes and he was trying to redistribute wealth. And that is what this is a reference to. It's a pun on the name of course of the artist because the Monarch of the Glen, a new land seer. You see the rather crude pun there at the bottom. Why was the image used in this way? Well almost certainly because at that point before the First World War people were still remembering that the painting was originally intended for the House of Lords. There's a very clever play on the original location of the picture. And of course it was the House of Lords or many members of the House of Lords who were utterly outraged by Lloyd George's plans to redistribute wealth. Just as the picture could be utilised in a number of different ways, as Martin beautifully pointed out, the title of the painting can also be utilised in many different ways. And it was done to great effect by the brilliant witty writer Sir Compton Mackenzie, a very passionate nationalist in fact, although he wasn't in fact born in Scotland. He's the man who wrote Whiskey Galore, which of course became a great Eileen comedy, and he wrote The Monarch of the Glen, which was first published in 1941. And I'll show you here the original cover just beside me. And it recounts this delightful story of chaos and romance in a place called Glen Bogle, which doesn't actually exist of course, very very pleasing. But it's through this type of association that the title and the name has continued. And it was filmed just as we've heard in 2000, highly successfully by the BBC. And that starred Alistair Mackenzie and Julian Fellows. As well as providing literary inspiration, there were, as I've said, a number of visual artists who were drawn to either the title of the work or the image itself. Remember it's still in private collections now, it's not actually the painting, nobody's seeing the painting, it's not in the public domain, it's just being referred to through second and third hand images. And I think one of the wittiest of all the responses to it was this one. This is a fascinating black ink and wash study by Ronald Searle. Now you all know Ronald Searle, I'm sure is the brilliant creator of the Anarchic Centrinians, who could ever forget centrinians. And in 1956 he created for Punch magazine a series of pastiches of high Victorian works of art, reimagining them as he thought Picasso would. And here is Picasso's version of the Monarch of the Glen as seen by Ronald Searle. Now it's a particularly clever, clever, clever juxtaposition, because of course by the 50s and 60s, particularly high Victorian art, were completely fallen away from serious critical discourse and remained no longer popular precisely because of the rise of modernism, of which Picasso was the greatest exponent. And what Searle's doing is bringing the two together in this wonderful work. He makes it look a bit like Guernica. I'm showing you here in certainly the original drawing, it was published as a print in Punch in 1956. And you can look it up, it's terrific. And this leads us on to later and slightly more respectful responses, again which you've heard a little of. I think most interestingly that of Sir Peter Blake, who you can see here. And this is the terrific painting that Peter Blake created in 1966 after Monarch of the Glen for Paul McCartney, now Sir Paul McCartney. And they were having a discussion and they were talking about McCartney's interest in the Highlands in Scotland. And they were particularly talking about a painting of Highland cattle that he had then had recently acquired. And Blake said to him, OK, well I'll do you a Monarch of the Glen. And this was the result. He painted this picture. What's fascinating about it is it was not based on direct study of the original. It's based upon intermediary images, particularly postcards. Because Peter Blake, of course, is one of the key figures in the world of pop art, the father of pop art, and he made many references to Victorian painting, earlier painting in his work. He signifies that this is an appropriation through the rather jazzy label down there. You can see the label. That is actually painted on the picture as well. After Monarch of the Glen by Sir Edwin Lancer Peter Blake in 1966. So this icon of Victorian painting, which had plummeted along with so much other art at the time of people's approval, now becomes a kitsch icon. Perhaps that's the right description for it. And it was significant in a number of ways. Not least because it was through the discussion over this picture that the two men got to collaborate. So they were clearly enjoying looking at earlier art. And of course it was in the next year that they worked together on the cover of Sergeant Pepper's Lonely Hearts Club Band. So it's a pretty tangential link, but I think it's startling that Lancer, who we started with back in 1849, unknowingly plays a very tangential role in the creation of one of the sort of era defining and revolutionary images of the 1960s. It is interesting that Lancer's work appealed in the world of music because it has also proved to be an inspiration for other graphic designers who especially are associated with the music industry. I'm just going to show you one example here. A fascinating designer called Peter Savill, he was the founder of Factory Records and he's produced many CD covers and images for the covers of albums as well. And he produced an incredibly beautiful and subtle print with this rather wonderful, wonderful title. After, after, after Monica the Glenn, Bysa Edwin Lancer, Bysa Peter Blake, by Peter Savill. And that print, which was produced fairly recently, was used as the basis for the tapestry that I'm showing you here. This tapestry was woven actually to the full scale of the original painting. So what are we looking at? There is a very beautiful print. There is an intentional blurring of the image, which of course refers to the repeated reuse and the way in which the reproductions have degraded the image, I suppose. But it's also a post-modern tribute to this remarkable picture. I think it's interesting also that it's finally been reproduced through tapestry. The Dubcot Studios are the great tapestry workshop in the UK, the most active one at the moment. And there's incredible craft that's gone into the reproduction of that print. So we start off with a degraded image, but we move on to something that's very sophisticated. I understand this has proved so successful. They've just produced another one. And if any of you are interested, it's on sale for £45,000. So if you want a tapestry at home of the Monica the Glenn based upon Peter Savill, then there are people to go and see. I think it's right to point out that as well as all these artistic responses, of course there's been very serious scholarly responses to more generally to Lancer and especially to this particular painting. And the success of these and the brilliance of these sits entirely at the door of Richard Ormond, who's produced the most wonderful exhibitions on Lancer that are putting back on the serious scholarly map. There's a superb exhibition some years ago at the Tate and also then in 2005, the exhibition that we held in Edinburgh that focused a bubble on Lancer's Love of Scotland. So alongside this sort of popular rehabilitation, there's been a very, very important scholarly rehabilitation as well. Now following the acquisition of the painting last year by the National Galleries, it was sent on tour to four venues around Scotland and that tour is just about to come to an end. And in each of the venues, the curators were given freedom to do what they wanted with the picture and to respond to it in the way they wanted. And the responses have been staggering. In one instance, sorry, it was a bad pun. So in one instance, they decided that there was going to be a public showing of Bambi, the Disney film, for families which was completely oversubscribed. And in Inverness, something rather different happened. There's an artist and lecturer called Ross Sinclair who's a reader in contemporary art at Glasgow School of Art. And for many years, he's had a fascinating relationship with Lancer, a combative, provocative relationship. He's a very interesting figure indeed. That, by the way, is him. That is Ross Sinclair with the tattoo on his back looking at the painting. And so, alongside the very respectful National Guards of Scotland exhibition, which you can see the poster for here, there was something altogether rather different and quite exciting going on. And I think it's wonderful that these two things should have come together. He's a very interesting commentator on Victorian art and on Lancer in particular. He has, sorry, I'm speaking now on his behalf, which I shouldn't really be doing, but he has great respect for Lancer as an artist and the craft of his work. But what he's troubled by, as are quite a lot of other people, is the enduring romantic image of Scotland that it is aligned with. The so-called Balmoralisation of Scotland.  And he created a very, very provocative installation which was shown right beside the painting. We were a little apprehensive about this, as you might imagine. But large numbers of visitors came to Inverness, and they were absolutely delighted both to see the painting in the original because it is riveting for all the reasons that I've been explaining, but also to think about it in the context of a very complicated installation like this, which features film, music, neon, and rather provocative images as well. So it continues to stimulate debate, and it particularly continues to stimulate debate in Scotland today because there are some who will give no time to an archaic trophy, as they see it, because they are very proud of a sort of modern technological nation, and there are others who see it absolutely as an emblem of the natural beauties, the physical beauties of Scotland. So it continues, the debate very definitely continues. It pops up all over the place in very unexpected ways, and I've just got one or two final examples to show you, really to give you a sense of the richness of the responses to it. Slightly more deferentially, if I can put it like that, this remarkable photograph was acquired quite recently by the National Gallery of Scotland. It's by a brilliant photographer, a man called Julian Calder, and what you're looking at is not a photoshopped image. So Her Majesty the Queen is actually standing beside the burn on the Balmoral Estate, fully dressed as Queen of Scotland's sovereign of the most ancient and most normal order of the thistle, and chief of the chiefs. Now that's quite a mouthful. So when we announced the acquisition of this picture, there was a huge flurry of interest in the media, and of course all the headlines said this is the real monarch of the glen. Now, perhaps a terrible pun I grant you, but nonetheless I just wanted to give you a sense of how in so many different ways this image and its title proves resonant. Sometimes there are very unexpected responses, most especially through the media. That's perhaps predictable. It's a wonderful painting, a fascinating portrait, and it seems interesting that it was aligned with the Lancet in that way. I have to say I woke up with a great shock on the 25th of October of last year, because there are a few art historical projects, exhibitions, tours or acquisitions which result in headlines all across the Sun newspaper. And you might imagine that colleagues in our press office were utterly horrified and mortified when this appeared. It was a terrible pun, and essentially you can see what the story suggested. It was actually in fact a publicity stunt, essentially run by a hotel and an estate in East Anglia who claimed that Lancet had visited it, which he almost certainly did, and they claimed that they could identify the very family from which the stag came, which was used as the model for the painting. Now, why am I showing you this? Because of the key bit, the painting, the monarch of the Glen, is actually English. So this remains a very loaded statement, particularly at the moment, particularly in the political relationship between London and Edinburgh right now, as you might imagine. We have this very fascinating debate to navigate because what is arguably, globally, one of the most famous of all Scottish paintings is by an English artist. So how do we never get that? What we do is we hang it in the Scottish National Gallery and it looks very splendid there, and we make the point that it's not presented here as Scottish art, but Scotland's art. That's a very important distinction because there are many other artists turner, I suppose, as perhaps the most obvious example, an Englishman who came to Scotland, painted Scotland, fell in love with Scotland, just as Landseer had done, and we celebrate that. But if we put it under that label, then it's comfortable in Edinburgh. I know that sounds like a very strange thing to say, as we're all sitting here in London, but you might imagine that there's quite a different debate in Scotland about the status of such a picture. Finally, there's lots more research to do, and there will undoubtedly be many more responses to this amazing painting. I hope I've demonstrated in the last 40 minutes or so something of the starting variety of responses that is inspired. I think in part this is explained by the romance and the drama that it encapsulates. Whatever one's politics, it does distill a very alluring view of the Victorian image of Scotland. Victorian painting may have fallen away from favour in the 20th century, but it has rightly endured, and its power perhaps in part lies in its incredible simplicity. It may be a sophisticated piece of painting, but it is a very, very simple and powerful image, and that means that it has a quality of recognition which lends itself to advertising, and just about any other artistic or political agenda that you want to harness to it as well. I think that's really one of the keys to understanding it. It may have been used, and it's been abused, and it's been transformed, and it's been celebrated. I think ultimately it remains impressive, however, because Lancelot was an extraordinarily accomplished painter. Thank you very much.


Okay, I think we'll get started. Today we're gonna be talking about building multilingual websites in Drupal 7. And we're gonna be focusing a lot on the options that Drupal 7 has for us that we didn't have in Drupal 6, so things like entity translation. And we'll be walking through the process of configuring a Drupal site and talking about some of the challenges that you face as site builders. My name's Suzanne Kennedy and I work at Evolving Web in Montreal, where we do an awful lot of multilingual site building, it being a very bilingual place. Hello everyone. My name is Florian Lorten. I'm from Wunderkraut, we're based in Munich, Germany. I'll be talking about the content registration part, but for now I'll let Suzanne do her part on pretty much everything else. So this is the outline we have today. First of all, talking more about planning the site and questions to ask before you start building. And then we'll be walking through the process of setting up the site and translating the different aspects of Drupal. And then we'll wrap up with some of the outstanding challenges we have in Drupal 7 and where things are going for Drupal 8 with the multilingual initiative. So to start off, what do we mean when we say a multilingual site? This can mean quite a number of things in Drupal. It's most basic. We're talking about a foreign language site where you would install a language other than English on your site using the locale module and where the user interface would be in the other language as well as all the content and other elements of Drupal like blocks and menus. And then adding a level of complexity to that, we have multilingual sites. So websites where more than one language is enabled on the site. And here in addition to locale, we need the IATN module, which allows us to translate things like menus and blocks. And because we have more than one language on the site, we wanna be able to flag pieces of content as being in a particular language, which we can do with the locale module. And then adding one final level of complexity, we have multilingual sites with translation. And this means that you have a language switcher on your site and you can switch the language back and forth. And the content on the site is mapped together in translation sets. So if you're looking at the about us page of a website in English and you switch the language of the site into French, then that content is mapped to the French translation and you see that there. And in addition to locale and IATN, for these types of websites, we need a module to do some type of translation. So either the core content translation module or the entity translation module, which Florian's gonna talk about quite a bit in the next part of the presentation. So before you start building a multilingual site, there are a number of questions that you should figure out. So if you have a client, you need to sit down and talk about these with your client or if you're building the site for yourself, you need to figure these things out. First of all, what type of language support are you providing across languages? So what type of language experience are you providing to users? And a lot of the time, this comes down to the resources you have to actually come up with the translations as well as what your user's expectations are. So are you creating a really consistent user experience across languages where everything is translated? Or are there gonna be certain elements that are missing in certain languages? In a lot of cases, it's just the most important content of the site or just the static content of the site that gets translated. So in certain situations, you're gonna want to create a fully symmetric experience across languages. So this is a site I built for Travelocity last year and all the content had to be translated into eight languages before it was published. So there were really strict restrictions on content being consistent across languages. But in other situations, you're not gonna have that luxury and you're gonna have a lot of content that's left untranslated. So this would be an example of a site where if you switch the language from French to English, a lot of the content just disappears and the menus are much shorter. For example. And in a lot of other cases, you'll have sites where there's mixed language experience. So this is my corporate website and at some point we translated all the static content on the site but things like user profiles and portfolio items and blog posts don't get translated. So if you switch the site into French, you'll see all of that content in English. Which leads to the next question of whether or not you want to show untranslated content on your website. In a lot of cases, I think it makes sense to show untranslated content. On the left, here we have an example from Node 1's blog and they have a lot of users who speak Swedish and English and so because they have that type of audience, it makes sense to show content that hasn't been translated into the other language. And then on the other side, we have an example of comments from trippadvisor.com and they also show untranslated comments which are valuable to users because you can see the rating that users have given. You can see the number of comments that a restaurant or a hotel has received. In other situations, it's not gonna make sense to show translated content so you can choose to hide untranslated content. This is just a corporate blog where content that is translated is shown and content that's not in the current language of the site is hidden. A really important thing to figure out before you start building the site is whether or not the expectation is that the language is related to a region. A lot of people expect that when a site, when you switch the language of the site somehow the currency also changes and the time zone also changes and we're not really gonna get into that in the talk today. It's kind of out of scope for this session but that adds a lot of complexity to the site and so you really need to figure out whether that's a requirement. For example, when you try and switch the language I think on Apple.com, you're presented with an actual region selector so you're not selecting the language so much as the location. It's also a really good idea to try and figure out who's doing the translation. So what's the process for translating things like user interface and comments? Is the content always being translated from French to English, for example? Is the translation gonna be outsourced to a third party? Also important to figure out whether the administrative UI needs to be translated. If your administrators or your translators are logging in and they need to see the site and they don't speak the default language of the site, if they don't speak English and you have to translate all of that administrative UI that can be a lot of overhead. Especially if translations for the languages you're using aren't, there aren't a lot of translations contributed already. This is a really important one that I would really recommend figuring out before you even start prototyping your website what the default language of the site is. And there's two components of this. First of all, considering what the language, the majority of your users speak because the default language is used by Drupal to determine the language fallback for the site when determining what language to display the site in. And also for site administrators, when they're entering configuration settings in a particular language, that language should be the default language of the site. So hopefully your site administrators and your site users speak the same language and that'll be the default language of the site, but if they don't, then you might have a more difficult decision here. In a lot of cases, the language also affects the design of the site and has some impact on theming. So for example, some languages take up a lot more space than others and you'll need to take that into account. Also, certain fonts that you might want to use might not support all the characters that the languages you're using would require. And if you're using right to left languages, you'll probably have to add more CSS files to make sure that you have a layout that reflects the right to left mode. So you can see here that the sidebar would be on the right for right to left languages, whereas it would be on the left for left to right languages. And finally, something to figure out by looking through your wireframes is what type of your text you're translating in Drupal. Drupal has all kinds of texts that it stores and from content to user interface strings and it's a really good idea to look at where all this text is coming from. So you have UI text and we have more content-like text. First of all, we have variables. So these are strings that are stored in the system table in Drupal, things like the site title and the site slogan. And then we have text that's stored in code. So this is text that's passed to the translation function and this would be code like Drupal core modules that you're installing as well as themes. We also have user entered strings. You know when you're configuring views, you end up adding a lot of text to Drupal so you're adding maybe a title for your view, maybe the read more link. In my example here, I have the label for a field in a view and all this text that you're adding as the administrator also has to get translated. Then we have content, so nodes and other entities like comments and users and taxonomy terms. And finally we have something called text groups, so things that don't really fall into these other categories that are kind of like content but they're not entities. So menu items and blocks and things like field settings. So taking an inventory of all these things, looking at your wireframes and trying to figure out what text is gonna have to be translated is a good step when planning your multilingual site. So now moving on to actually building your site. The first step would be to set up the languages, install the languages that you need to support and choosing a default language for the site. And one thing that people struggle with a bit is this language detection and selection configuration. So you've installed a couple languages on your site, now Drupal needs to know how to determine which language to display the site in. And usually this is kind of obvious, right? Like the language is specified often in the path to the page you're looking at or in the domain. But there's other factors that can determine what language Drupal displays and Drupal needs a fallback in case the language isn't specified in the URL. So this would be a typical configuration. The first method of selection that we're using here would be the URL but if the language isn't in the URL then Drupal will look at the user's profile to see if the user has a language preference there and it'll use that. And if the user doesn't have a language preference then it'll look at the browser settings because your browser actually has a language setting so if that's set to the English or French then Drupal will use that. And finally if there's no language set in any of these methods then Drupal will use the default language of the site and display that as the fallback. So for example if you go to, using the configuration I just showed you if you went to example.com slash fr slash user then Drupal would show the site in French but if I just went to slash user and I'm not logged in so I don't have any language preferences in my profile then it would just go to slash user because it would use my browser settings. So the next step would be translating the UI of the site. So we already talked a lot about where the different types of UI that you can translate. And the first one is variables. And to translate variables in Drupal you need to use the I18n variable module. So it's a variable is a sub module in the I18n suite. And the first step is to actually select which variables you want to translate. And in Drupal 6 we had to use this by adding these variables to the settings.php file which was a little bit of a clunky solution. So now in Drupal 7 we can do this through the UI. So there's a page you can use to select which of these variables you actually want to translate. So I've selected site title and site slogan. And then to actually translate these things I need to go to the page where they're set in Drupal. So the site information page has some of the core variables on it like site title and slogan. And those fields are marked as multilingual variables. And to actually enter the translations I need to switch the language of the site. So if I wanted to enter the French site title I'd need to switch the site into French. And for that reason the variable module inserts a language switcher into the page if there's variables that are configured on the page you're looking at. And some variables are not text settings and you might wonder why you would want to translate these. And in some cases you might want to translate something like the time zone of your site if the time zone was dependent on the user's language. So now we're gonna move on to translating UI strings that are stored in code. So for example if you wanted to translate the login button in the user login form so there's a search UI that you'd use for this the translation interface and it's not the most easy to use translation UI in Drupal but basically you enter into the search the string that you wanna translate and it'll show you the results and you can add it the translations that way. And for user entered strings it's really similar so for strings that you've entered say when configuring views or another module then you'll use the same translation interface to find the strings that you wanna translate. And the catch with things like this is that Drupal is actually using the English string as the key so if you change the string in views like if you change the original English string and in your views configuration then this is gonna break. So that's why it can be really important to map out the translations of your user interface strings in advance. And now Florian's gonna talk about translating content. So translating content is kind of a different beast because all these user interface translation that Suzanne has talked about these are generally things that need to be done once when you build a site and then as long as there's no major modification to the functionality of the website there's nothing that needs to be translated. The strings don't change and there's no need to translate text. However, content is typically the part of the website that is changed regularly. And this is not necessarily going to be done by the people who built the website but it's going to be done by the people who entered the content maybe translators who are while who are working on the site specifically to just translate the content. And so in this case we really need to spend some more time focusing on what is going to be the translator's experience. We don't want to show them that table that you just showed. We want to spend more time just figuring out what is the translation workflow. And we need to make sure that the translation model that we have is something that our editors or translators can understand. So for translating content there's actually two major models. The first one on the left is the node translation. This is the translation method that you get by default when you enable the content translation module that comes with Drupal Core. In this translation model you have pieces of content and when you translate a piece of content well you have the English content that was created first and then you say I want to add a translation in French and I want to add one in German and at this point you just create additional nodes that just have a connection that's saved in the database that says these three different nodes are actually the same thing in different languages. The drawback of this is well it pretty much comes down to instead of having just one piece of content that is available in multiple languages you actually have multiple pieces of content each of which has its own identifier and it has a tendency to cause problems anytime you need to make references between pieces of content or references between comments and piece of content or any kind of relationships that take place as part of your content it's going to be a little bit difficult. Also there are parts of the content that will not be translated typically images and in this model well you will have one image that is there for the French node one image for the English node maybe it's just a reference to the image but you're actually storing duplicate information and all these duplicated pieces of content need to be somehow synchronized this is not very elegant. On the other hand we have field translation and this is enabled by the entity translation module and this is what I want to focus on a little bit more today because this is something that is pretty new it's pretty exciting it wasn't possible to do before Drupal 7 and many people don't know about it yet so I want to tell you a little bit more what are the advantages of using entity translation and what are the drawbacks as well. But before we get into entity translation and node translation there's a couple of things that are common to all of the translation mechanisms for content in your content type configuration you can choose how the content will be translated so you could just say well this content does not have any language association you could say that well each piece of content has a language but it doesn't get translated this is particularly meaningful when you have user generated content which will not get translated but you want to just separate things so you know what's in French what's in English, what's in German but there's no correlation between the French piece of content and the German piece of content then you have enabled with translation which means that it's going to be using the core translation mechanism and you also have the entity translation mechanism which is also available then for user interface when you are viewing a node that is of a content type which is translatable you will have a translate tab or in French traduire and you will just click on the tab you have an overview of what content well what translations are available if one is not available you can add it and if one is already available you can edit it so the user interface at this point looks pretty similar for both mechanisms there's some slight variations but the difference is really in the way that it works internally so for the field level translation which works with entity translation what we're working is we really we're working at the field level and this is taking advantage of one of the new things that's in one of the new functionalities that's part of Drupal 7 is the fields API and if you look at the structure of the way the structure of the data stored in fields you see pretty often well you always see this language code that's part of the language structure of the field structure and if you wondered why is it there well it's there just so that we can save multiple values in different languages and so the ability to do that translation is part of the fields API there's just no user interface for that and entity translation is actually providing a user interface that lets us take advantage of this multilingual storage mechanism the advantage of this is that we have a structure for storing the content that is really semantically correct there are things that get translated and they get saved in multiple languages there are things that don't get translated and they're just saved once typically you have text fields which get translated and you have image fields which don't get translated although there are some cases where you want to translate images and there are some cases where you have texts which will not get translated so it's really up to you to set what is meaningful for your structure so in the field configuration settings you can decide for every single field will this field be translated and this is one more of this point where you really need to spend some time thinking what is meaningful for my very specific case the advantage of entity translation is that it doesn't only work for nodes it really works for any kind of entity so it works for nodes it works for users so you can translate user profiles it works for taxonomy terms this is, I think in my opinion the use of entity translation where it really shines and it provides a much better alternative than the ITNN taxonomy translation method which is kind of more a solution that is grafted on on the taxonomy terms but it doesn't really store the data store the translations in a semantically interesting way well, a semantically correct way with entity translation you can also translate comments doesn't make much sense but if you wanted to, you could and of course since it's built on top of the fields API it really works with any kind of entity that can have fields that can be fieldable so as I mentioned all fields can be translated and entity translation also stores additional metadata about each individual translation so when was it added? who added it? is it published? does it need to be updated? but there are things that don't get translated the author, the promotion status the creation dates all these properties of nodes and other entities that are not fields so most of them we don't care about it but one of those it's very important is the title property and the title of a page the title of a piece of content it's generally something that you really want to translate it's not optional it's a requirement and just for this case there's the title module the title module lets you replace those text properties it replaces them with a field and kind of works transparently once you've replaced them so when you load a piece of content it will automatically load the value from the field and save it and set it to the title so it works pretty transparently and it works for node titles it also works for taxonomy term names and descriptions and as I mentioned it works pretty transparently there's just one case where it might be a little bit surprising and it's when you have listings because when you have listings the database is queried directly and it's a little bit more difficult for the module to just do its magic automatically so when you create a view where you want to select well, typically a view where you just want to show the title of a list of nodes use the replacement field and not the original property this is a little tip I'm making a slide just for this because I've seen a lot of people waste a couple of hours of work just trying to figure out why things were not getting translated so use the replacement fields not the original properties as you mentioned before sometimes it's not possible to translate everything translating is a lot of work translating content is a lot of work and sometimes the clients well, they just don't have the resources to do that and sometimes you just want to show everything that's even though it might not be translated and with the standard translation mechanism this can be a little bit difficult to have that kind of fallback mechanism the entity translation is actually providing great fallback mechanism where you can decide that if a piece of content is not available in the current language then it will go through the lists of languages as they are defined and just pick the first language where the content is defined this is really a huge benefit when you have websites with a lot of content typically what we use this on is, for example, a product catalog where you have thousands of products which are not going to be translated but at the same time you really want to show that content because there's a lot of information that is relevant to people even if they don't speak the language that the content is in one of the questions that we get a lot is, well, so entity translation is this new translation thing that does everything do I still need IATNN? and the answer is yes, you do because entity translation really helps you work with translating content but there's a lot of things that are related to content which are not content themselves so for example, menus also the fields that make up your content they have properties like the label of the field the description for the field these are all texts which are kind of related to the content but are not content themselves and so for all of these add-on texts you still need IATNN which lets you translate those however, there's a couple sub-modules from the IATNN suite that conflicts directly with entity translation one of them is IATNN select which filters out content which is not in the current language and this really doesn't work work nicely with entity translation so disable IATNN select if you want to use entity translation and our one is IATNN taxonomy it really does exactly the same function well, it provides the same functionality as entity translation but just for taxonomy terms and does it in a way that really doesn't work that well so if you're using entity translation for taxonomy terms you don't need IATNN taxonomy I think that IATNN taxonomy given that entity translation is now available IATNN taxonomy should be deprecated so it seems like entity translation really solves a lot of those common problems that people have had with the content translation but there's a couple of things that still need to be figured out for one the integration with other modules still needs some work typically for the user interface for example when you have the overview of your content you have a column that shows the language and typically this is the language of the content but when you have entity translation enabled it kind of changes the meaning of that column and it's not the language of the content anymore it's just the default language that the content was created in so it can be a little confusing for the editors who are just looking at the site and so there's a couple adjustments that are needed another thing that doesn't work that well is revisioning because revisions are really per entity and what we would like to have is revisioning per language and this just doesn't work that great and this is a very, very difficult problem I'm not sure that we can find a solution for revisioning with entity translation that works for Drupal 7 this is something that we might be able to solve before Drupal 8 but this is a very difficult problem and also menu items need to be translated separately so you have your content and you have the menu item that points to the content and usually with the standard translation mechanism you can just have different menu items for different pieces of content this works pretty transparently however when you have entity translation you really need to translate the menu items and translate the content so it's one more step it's something that's not very elegant from the workflow it's something that's kind of hard for the translators to work with but overall for many use cases it's a great solution we've been using it at Wunderkart for a couple of months now well yeah we started last fall and since then we've been using it pretty much exclusively we're not using the content translation from Drupal Core anymore it has a couple quirks that people need to be aware of when building sites but it really solves a lot of common issues so I would really encourage all of you if you have a multi-linked website give entity translation a try see how does it work, how does it meet your needs and I think that it's a solution that is very promising for the future and I think that what we'll have in Drupal 8 will be based on a lot of those new concepts and now, step 4, translating everything else so we've talked about translating the user interface and we've talked about translating content but there are still a few elements of Drupal that don't fall into these categories things like blocks and field settings, menu items taxonomy terms are translatable with entity translation but also with I18N so all these elements here are translatable with the I18N module and just to give you a couple examples although I should point out that we do recommend using entity translation for taxonomy terms just because it's more robust than the I18N module so the block translation module which is part of I18N allows you to make blocks translatable and it also lets you specify if you want your blocks to just show up in certain languages so if your blocks are just targeting users who speak that language or are only available in certain languages and the block translation UI is now available right through the block configuration interface in Drupal 6 we had to use that translation interface I showed you for the user interface strings so it's nice that now this translate tab is here for blocks that you've made translatable and also like I mentioned blocks that you just want to target for users speaking a certain language you can do that so you can change the visibility of the block to target certain languages also things like field settings so field settings can be a bit confusing field settings are not fields themselves they're things like the label of a field or the health text or the default text so you can translate these using the field translation module in the I18N suite and the translate tab again is just added to each field so it's right there you don't have to go to the translation interface UI and it allows you to translate the label and the health text as well as the default text unfortunately for fields that are not provided by core like if you're using the date module and there's additional field settings you can't translate those yet with the field settings module so you'd have to do something custom and menus are something that you can translate using the menu translation module in the I18N suite and sometimes you'll want to have completely different menus in different languages and that's more common if you have asymmetric sites if your menus aren't the same structure in each language but if your menus are quite similar it'll probably be a lot easier to manage if you just choose to translate the individual menu items and you can configure that on a per menu basis and there's different types of menu items in Drupal so if you're using node translation and you're linking to a node that's in a particular language then the menu item is only going to appear in the language of the... if the node matches the current language of the site so then you're not going to be able to actually translate the menu item it's only going to appear if you're viewing the site in the language of the node but if you're using entity translation or you're linking to views that are... sorry, if you're linking to a page that's just meant to be seen in a particular language so if you have a view that's only targeted at users of a certain language then you can choose to only show menu items in one language and then if you have a page that is a generic page like the home page or if you're linking to an entity that's using entity translation then you can choose language neutral and then you can translate just the title of the menu link and again you have a translate link to translate these things if you are setting up a multilingual site there's a couple additional modules that you want to use in addition to the core modules entity translation and IATNN which is mostly what we've been talking about today so the localization update module is what will pull in translations from localize.drupal.org so if you have contributed modules installed and you have drupal core installed there's a lot of translations that people have contributed for these modules and if you're using localization update then you can pull these in automatically on your site so I highly recommend using this module and the other module that can be really useful is the localization client module which provides an alternative for that translation interface UI and this is a bit easier to use it's embedded in the site so if you come across a user interface string that's not translated you can just translate it on the spot so there are still a lot of outstanding challenges as you saw today there's so many ways of so many user interfaces in drupal for translating different aspects of drupal and that can be a big challenge for translators especially depending on who's doing the translation on your site so improving the translation UI and translating custom elements can be still a huge challenge and there's a lot of work being done on this there's a multilingual initiative for drupal 8 and there's a code sprint that's happening this Friday and on Saturday as well if you want to get involved and some of the work that's being done will hopefully apply to drupal 7 like there's work being done on the entity translation module to improve the user interface and if you want to get involved there's also some buffs coming up this week that I recommend going to so the entity property translation buff tomorrow that's going to be talking about translating properties like titles on entities there's a multilingual buff tomorrow at 2 o'clock and that'll be around like multilingual use cases talking about answering questions if you have any more after today and then another buff on Thursday about configuration and translation and then Friday and Saturday is the code sprint so hopefully if you're interested in learning more or contributing you'll come out to some of those and if you have any questions there's now a multilingual book that is just about to be released and so we're going to give a free copy to the person with the best question the book is written by Kristen Paul and I don't actually have the copy but I'll get one to you if you have the best question can you help? if anyone has a question please use the microphone hi you talked about the entity relationship translation and from what I understood from that using the taxonomy, using that for taxonomy you're getting a one-to-one relationship between all the terms for taxonomy so for example if I had a user searching SCA on my site then they're going to get results I could in theory return results for SCA and I could return results for steel is that true? maybe the relationship works for the taxonomy I'm not sure I really understand the question could you rephrase that? so the taxonomy you're going to enter a piece of content and you're going to tag that with SCA and in English you're going to tag it with steel so when I use a single search term within the search tool I'm able to programmatically get both pieces of content back using one search result so with tags this is particularly difficult because it's called free tagging so it's generally tags that are entered that are not really structured in a way that they are translated so what you can do in this kind of case is to just have tags that will be applied to content and the tags themselves don't have a language it's just that for example when you have a tag cloud which is limited to content of one specific language it will automatically filter out the tags that have not been applied to content in that language so the free tagging is kind of a special case but if you have those categories as strictly defined categories SCA and steel then I think in this case you really have just one reference to the term and then it's... it can be interchangeable they can be interchangeable at that point you mentioned searching this is a whole in our issue multilingual search there's a couple adaptations that need to be done but it's possible that kind of leads into my next question if you don't mind regarding searching if you don't pass the language parameter in the URL and you have a default language slash en slash user returns the same results as slash user based on the steps, the criteria that we met how does that get rendered for somebody searching within Google let's say the search result is going to come back and they hit just slash user slash user without the language parameter in the URL Drupal is going to decide for the user what language to return what language to display this is true but when you have the selection method that is based on the URL all the links that are generated by Drupal will always have a language so generally the links that will be indexed will be the ones that have the language parameter I'm not sure that this really covers all possible edge cases but I don't think I've never seen any problems slash en slash user slash user is not going to be considered duplicate content by search engine index I'm not sure I don't know the answer Thanks for the talk I got a comment and two questions comment is I don't think you mentioned in the talk but I think that Drupal 8 is going towards the entity translation model so it might be one it might be something people should think about if they're choosing between the two that seems to be the direction of Drupal and two questions number one can you publish a node in one language and not another and the other question is if revisioning doesn't work well now with entity translation is there work being done to make it work well what's the status of that thanks okay so the first question it's specific translation can be published or not this is possible this is part of the base functionality from the entity translation well the functionality in the standard translation model it works pretty transparently because you have two separate nodes one of them can be published you are not this is not an issue what you cannot do however is unpublish the original and keep the translation published but there's few cases where this would make sense the second question was revisioning the second question was about whether revisioning there's plans to make revisioning work and Drupal I think Gabor might be able to answer that but well it's a very difficult question I think that the perfect solution is not clear yet I don't think there is I don't think there's card problems with revisioning in the sense of it's not being supported it is supported I think the problem with revisioning multilingual content is basically you get a new revision for any edit to any language version of the node so basically you have a new revision for any language even though you have not edited the content for that language which is not nice but the revisions are tracked all your changes are tracked and we can tell whether you actually made changes in one language or the other so I have two quick questions I saw that there's a pluggable architecture for the language negotiation where you can do it by user's choice or browser etc how does that work with anonymous users and the page cache or yeah you mean if if the if user if the user's profile is one of the methods of negotiation for example like if the browser is set to Spanish and it primes a cache for that page in Spanish and then an English user comes to the page will that user then see the cache page in Spanish even though they're an English user both anonymous okay so there's one case where one of those detection methods where this could be the case is when you're using the session based language so pretty much it saves in a cookie that you want to view the page in Spanish I think this would in this case it wouldn't work that well with caching otherwise since it's based generally based on the URL then the URL gets cached so that means that the Spanish version and the English version would get cached separately so this would not be a problem I know that also front-end well caching systems like varnish also have some methods that some little tweaks that let you keep well save different values for per language typically where this could be problematic is for the front page because it's the same this is the one page that has the same URL in every language otherwise it's generally not a problem and then the second question is if I have an existing multi-lingual site is there an easy way to transfer it from the node translation paradigm to the entity translation paradigm so for example with taxonomies is there an easy way to move all of that data into entity translations there is a entity translation upgrade module which tries to do that automatically give it a try not on a production server but yeah so it's possible generally it's it does require some work so it's not something you can just enable it but yeah it's possible to do that kind of migration if we're building our own entity do we need to do anything to expose that entity to this module or does it just work through field API and the core entity API so for the entity translation to work well the field translation to work there's not much that needs to be done what you want to do is well the user interface for translating those pieces of content or those entities that you created you need to put that in place but in most cases it's pretty much reusing some of the code that's available for nodes or taxonomy terms there's not much much work that is involved I just have 17 questions no I have one I was curious if either of you has built a site using entity translation and organic groups and if so are there any particular challenges with that we have we actually discussed about it we talked about this yesterday no we haven't done that the only case where we thought that this could eventually be meaningful is when organic groups are used more as a structure to take care of access restrictions if you use organic groups in a typical case where it's a discussion group then generally a discussion group and so there aren't that many cases where it is really meaningful to have multi-lingual groups my use case is a bilingual school so I don't want a Spanish kindergarten and an English kindergarten I want one kindergarten classroom where everyone is together so I need it there's definitely some use cases like that you just need to take a look at it I think it should be possible we haven't tried it one more question I have a pretty specific question as it relates to non-Latin character sets we built a site last year with 7 languages and ran into a lot of the issues that you guys talked about and one specific challenge has been around paths and redirects and we're having specific problems with not being able to use Chinese or Japanese character sets for example do you see any work arounds or solutions for that I haven't had any similar cases one thing that's very useful when working with languages that have non-ASCII characters is using the translation module which pretty much creates path aliases using ASCII characters most languages have a substitute for those characters I don't know how it works for Asian characters or really non-Latin characters yeah I'm sorry I have an answer there is a UI for translation sets you didn't mention it what can you say a UI for translation sets yeah well we we did talk about a number of text groups that content translation maybe you want to come I think we're out of time do you want to come and talk to us after this I think we need to leave this stage for the next presentation thank you


And ahead of a global crusade, the general superintendent of Deeper Life Bible Church, Pastor Williams Kumui, is confident that the issues be dealt with in the nation will be resolved. While confirming that there will be an observance of the COVID-19 protocol during the crusade, he mentioned that there are many cases that have been cured spiritually. Our reporter Jacinta Obuco covered the media parlay. We welcome our daddy, the Esther Kunui. Pastor William Kumui arrived at the Deeper Life International Conference Center on legacy but an expressway to rousing welcome led by his wife. Pastor Kumui headed to address the media. He is aware that the outgoing year has been eventful not only for the country, but also for the church. This crusade is to address personal problems, national problems and the pandemic and everything. We're going to deliver the message God has given as good news of the Lord Jesus Christ and good news is supposed to do good in every life. And as we all receive, but our leaders receive as well, I believe there will be a turning around for lives, for families and for our nation. Pastor Kumui believes the COVID-19 pandemic is real, but also insisted that there is a solution through spiritual intervention. COVID-19 is real and it's not fake. It's not politically arranged something to do whatever it's real. Without the people who had real COVID-19 situations and they were in isolation. In fact, one of our men, one of our pastors was about Asenon. According to him, he had said his last prayer because in that isolation, he had seen other people dying just going like that. And then we, I knew about it and I called him on phone and prayed with him. Within, I will say within one hour, it was completely healed. The Six Day Evangelism program is expected to engage the youths more and renew their mindsets for impactful lifestyles. Jacinta Obuco for Plus TV Africa.