text:
Bologna
terracotta
stucco
Alessandro Algardi
Bologna
Padua
Venice
Domenico Maria Canuti
Carlo Cignani
Lorenzo Pasinelli
Giovanni Gioseffo dal Sole
terracotta
Prince Johann Adam Andreas
Liechtenstein
Marcantonio Franceschini
Vienna
Angelo Piò
Bologna Cathedral
Marcantonio Franceschini
Saint Dominic
Santi Giovanni e Paolo, Venice
Corpus Domini
Pesaro
Fano
Rome

wikipedia_title:
Bologna
Terracotta
Stucco
Alessandro Algardi
Bologna
Padua
Venice
Domenico Maria Canuti
Carlo Cignani
Lorenzo Pasinelli
Giovanni Gioseffo dal Sole
Terracotta
Hans-Adam I, Prince of Liechtenstein
Liechtenstein
Marcantonio Franceschini
Vienna
Angelo Piò
Bologna Cathedral
Marcantonio Franceschini
Saint Dominic
Santi Giovanni e Paolo, Venice
Corpus Domini, Bologna
Pesaro
Fano
Rome

categories: Italian male sculptors,1741 deaths,1653 births,Italian sculptors

paragraph: Giuseppe Maria Mazza

paragraph: Giuseppe Maria Mazza (13 May 1653 – 6 June 1741) was one of the leading sculptors of Bologna, Italy, in the late 17th and early 18th centuries. He was trained as a painter, but is best known for his fine sculptural work in terracotta and stucco.

paragraph: Section::::Life.

paragraph: Mazza was born in Bologna on 13 May 1653, son of Camillo Mazza (1602–72).

paragraph: His father was a sculptor who had studied under Alessandro Algardi in Rome, and who worked in Bologna, Padua and Venice. He trained as a sculptor under his father for a while, then studied painting in Bologna under the fresco painter Domenico Maria Canuti. He painted in Carlo Cignani's life classes. He also studied with Lorenzo Pasinelli. He seems to have returned to sculpture after having left Canuti with the painter Giovanni Gioseffo dal Sole and studied at a private school in the Palazzo Fava in Bologna.

paragraph: Mazza became a successful and prolific sculptor, producing many statuettes and reliefs in terracotta.

paragraph: Mazza's fully finished terracotta statuettes would have been intended for cabinet display in the homes of wealthy art lovers.

paragraph: Prince Johann Adam Andreas of Liechtenstein, an art connoisseur, was introduced to Mazza in 1691 by the painter Marcantonio Franceschini. The Prince and Mazza were in correspondence between 1692 and 1702, and Mazza provided a number of works.

paragraph: The Prince tried to persuade Mazza to move to Vienna, but without success.

paragraph: Mazza undertook many commissions for churches.

paragraph: Giuseppe Mazza died in Bologna on 6 June 1741 at the age of 88.

paragraph: The sculptor Angelo Piò and Lorenzo Sarti were among Mazza's pupils. A road in Bologna carries his name.

paragraph: Section::::Work.

paragraph: Mazza painted the figures of adoring angels in a painting of the Virgin and Child displayed in the Capella Maggiore of Bologna Cathedral.

paragraph: The church of the Corpus Domini in Bologna has a Virgin and Child and two large angels by Mazza, who also made the bas-reliefs of the high altar.

paragraph: Most of Mazza's work had religious themes, but he sometimes depicted mythological or secular subjects.

paragraph: Mazza made a number of works for Prince Andreas of Liechtenstein that depicted mythological subjects, including six marble busts and twelve terracotta groups, as well as two marble statues and three terracotta models for vases. The Prince had all the terracotta works copied in stone for his gardens at Rossau.

paragraph: Between 1686 and 1695 Mazza participated, along with the architect Giacomo Monti (1620-1692) and the painter Marcantonio Franceschini (1648-1729), in the renovation of the Corpus Domini church in Bologna. He contributed reliefs and plaster statues. The statues of St Francis and St Clare on the left and right of the high altar were based on Franceschini's basic designs.

paragraph: He made large bronze reliefs for the Church of San Clemente, Venice.

paragraph: In 1722 he made five large bronze reliefs depicting the miracles of Saint Dominic for the Chapel of San Dominico in the church of Santi Giovanni e Paolo, Venice.

paragraph: Section::::Style.

paragraph: Mazza mainly worked in terracotta, as in the "Lamentation of Christ in St. Mary Magdalene", Bologna, and in stucco as in the churches of Corpus Domini in Bologna, the Annunciata in Pesaro and the Suffragio in Fano.

paragraph: His early training as a painter is reflected in his later work.

paragraph: His sculptures have a pictorial quality.

paragraph: They are balanced and self-contained.

paragraph: His work shows the influence of Algardi but have the vivacity of 18th century styles.

paragraph: This contrasts with the High Baroque style that was then in fashion in Rome.

paragraph: Section::::References.

paragraph: Citations

paragraph: Sources

alias:
Giuseppe Mazza
Giuseffo Mazza
Gioseffo Mazza
Giuseppe Razza

description: Italian sculptor (1653-1741)

wikidata_label: Giuseppe Maria Mazza

wikipedia_title: Giuseppe Maria Mazza


text:
Sinhalese
Sri Lanka
Ellalan
Tamil
Chola Kingdom
Rajarata
Mahavamsa
Kavantissa
Ruhuna
Chola
Devanampiyatissa
Mahanaga
three gems
brotherhood
Viharamahadevi
Buddhist
Tamil
chariots
war elephants
relic
Ten Giant Warriors
four-month siege
Vijitanagara
Anuradhapura
Mirisavetiya
Ruwanweliseya
Buddha
Alexandria of the Caucasus
Indo-Greek
Mahadharmaraksita
Kataragama deviyo
Tangalle
Ruhunu Kataragama Maha Devalaya
Battle of Vijithapura
Kiri Vehera
Maharaja Gemunu
Uddika Premarathna
Hiru TV
Gemunu Watch
Mahavamsa
Ten Giant Warriors
List of Sri Lankan monarchs
History of Sri Lanka
Mirisawetiya Stupa
The Brazen Palace
Anuradhapura
Ancient monuments in Sri Lanka
The Mahavamsa Online

categories: 2nd-century BC Sinhalese monarchs,House of Vijaya,Year of birth unknown,137 BC deaths,Sinhalese kings,Monarchs of Anuradhapura

paragraph: Dutugamunu

paragraph: Dutugamunu (, , also spelled as "Dutthagamani", also known as Dutthagamani Abhaya "fearless Gamini"), was a Sinhalese king of Sri Lanka who reigned from 161 BC to 137 BC. He is renowned for defeating and overthrowing Ellalan, the usurping Tamil prince from the Chola Kingdom, who had invaded the Kingdom of Rajarata in 205 BC. Dutugamunu also expanded and beautified the city of Anuradhapura and projected the power of his native Rajarata region across the island of Sri Lanka.

paragraph: Due to his significance as one of the most potent symbols of Sinhalese historical power, Dutugamunu's story is swathed in myth and legend. However, many aspects of the accounts of his life have been verified by contemporary inscriptions, and the basic account of his life is generally accepted as accurate.

paragraph: Section::::Etymology.

paragraph: The Mahavamsa describes how as a youth he mocked his father Kavantissa, king of Ruhuna, for refusing to wage war against the powerful invading Elara, the Chola king of Anuradhapura, who usurped the throne by killing the native kings. The prince stated that "If [his] father were a man he would not speak thus" and sent him a piece of women's jewellery. The resulting fury of the king caused many of his friends to flee to Malaya region and the prince himself being dubbed "Dutthagamani", meaning "disobedient". After his death, he was referred to as "Dharma Gamini" ("righteous Gamini"), but it is as Duttha Gamini or Dutugemunu that he is known to posterity.

paragraph: Section::::Ancestry and family.

paragraph: The Mahavamsa constitutes the major source on Dutugemunu's reign and dedicates some six chapters (out of 35) to his tale. In chapter 22 he is described as being descended from the ancient royal family of Rajarata through Devanampiyatissa's brother Mahanaga. At the time of his birth Dutugemunu's father was Kavantissa, king of Ruhuna, a small kingdom in south-east Sri Lanka outside of the influence of Rajarata in the north; the border between the two polities was the Mahaganga, or 'Great River', possibly the modern Menik Ganga. Kavantissa is portrayed in the Mahamvamsa as 'devoutly believing in the three gems, [and] he provided the brotherhood continually with...needful things'.

paragraph: Dutugemunu's mother was Viharamahadevi, daughter of Tissa, king of Kalyani. Legend has it that as punishment for Tissa slaying a Buddhist monk, Kalyani had been subject to a series of deluges from the sea. To placate it Tissa placed his daughter Devi in a golden boat with the words 'A King's Daughter' written on the side, and set her out to sea. Miraculously the princess washed ashore, alive and well, in Ruhuna, and married Kavantissa.

paragraph: During her pregnancy with Dutugemunu, Viharamahadevi had a series of peculiar cravings, including the urge to sleep on a pillow made of honeycombs. In particular her urge to drink the water used to wash a sword that had cleaved the head of a warrior of Elara, whilst standing on that same head, raised the interest of the soothsayers at court, who predicted that 'The queen's son, when he has vanquished the Damilas (Tamil invaders) and built up a united kingdom, will make the doctrine to shine forth brightly'. Viharamahadevi gave birth to a son named Gamani Abhaya some time later, and after that to another child, a boy named Tissa.

paragraph: Around the time of Gamani's birth, 'an elephant of the six-tusked race brought his young one thither and left him here and went his way'. Named Kandula, he went on to become Gamani's mount and accompanied him through much of the prince's adventures.

paragraph: Dutugemunu's sister

paragraph: "Recent archaeological studies have found evidence proving that King Kavantissa had a daughter who was a sister to King Dutu Gemunu".

paragraph: New evidence to this appeared in The Island of March 27, 2017.

paragraph: Section::::The battle in the palace and early reign.

paragraph: By the age of sixteen Gamani was 'vigorous, renowned, intelligent and a hero in majesty and might', if a little wayward. Determined to expel the invading king of Rajarata, Gamani levied an army from around Rohana and declared his intention to regain the north to his father. The king forbade this stating that 'the land on this side of the river is enough'; the resulting exchange between father and son saw Gamani being dubbed 'Duttha Gamani', his friends fleeing to Malaya, and he himself being incarcerated in a royal prison.

paragraph: Kavantissa is known as a brilliant strategist who recognized early that he needed to make his kingdom powerful before waging a war against the invaders. He assembled armies and made his kingdom prosperous in "rice and betel leaf" - this meaning that the people had a lot of agricultural surplus. The legendary ten "great giants" - men who had great strength – are brought into the army at this time. Kavantissa repeatedly makes Dutugemunu and Tissa swear that they would never fight one another and that they would always respect and listen to the advice of the priests. He also makes the ten giants swear never to pick sides in a war between the brothers.

paragraph: Upon Kavantissa's death, Dutugemunu found himself having to defend his crown against his younger brother Tissa, who had seized possession of not only the elephant Kandula, but the dowager queen Viharamahadevi as well. The war between the two began with a defeat for Dutugemunu at Culanganiyapitthi, where 'many thousands of the king's (Dutugemunu's) men' perished. Dutugemunu was forced to flee back to Mahagama where he levied another army and engaged Tissa in yet another battle in the vicinity of the city. Legend has it that as Tissa, fought his brother riding the royal elephant "Kandula" against Dutugemunu who rode a mare. Dutugemunu at one point made the mare jump over the elephant causing the elephant to recognize its master and attempt to kill Tissa who hastily dismounts via a tree. Dutugemunu was victorious and Tissa was smuggled off the battlefield disguised as the corpse of a monk. It is said that Dutugemunu recognized the ploy and called out to his brother "Are you not ashamed to be carried on the back of these priests?" Some time afterwards, however, Dutugemunu and Tissa were reconciled through the efforts of Viharamahadevi and the monks, and Tissa became one of the king's foremost generals.

paragraph: Section::::Regaining of Rajarata.

paragraph: Having secured his pounu then planned his operations to regain the north, which included not only Rajarata but numerous smaller semi-independent polities. The king's army consisted of 'chariots, troops and beasts for riders', soldiers and a number of war elephants, as well as a number of monks (to advise the King) and a relic placed in his spear for luck and blessings. In addition he was accompanied by the famed Ten Giant Warriors who had been recruited from all over the island by his father Kavantissa – Nandhimitra, Suranimala, Mahasena, Theraputtabhya, Gotaimbara, Bharana, Vasabha, Khanjadeva, Velusamanna, and Phussadeva.

paragraph: The campaign saw Dutugemunu subduing a number of usurping Tamil rulers in the north (as many as 32, according to the Mahavamsa). Of particular interest is the four-month siege of Vijitanagara, where the defending Tamil troops are said to have used 'red-hot iron and molten pitch' to panic Dutugemunu's elephants. During this time he also married Ran Etana, the daughter of a chieftain who continued to pay homage to Elara of Anuradhapura. On at least two occasions victory is attributed to the king's 'cunning' and the bravery of Kandhula. The campaign reached a climax at the eastern gate of Anuradhapura, where Dutugemunu, riding Kandhula, finally confronted the aged usurped king Elara, on his own elephant Mahäpabbata, and slew him with a spear; the encounter is one of the most famous in Sri Lankan history.

paragraph: Dutugemunu's victory at Anuradhapura put him in the unprecedented position of ruling nearly the entire island of (Sri) Lanka. Despite this however his position was far from problem-free. Elara, despite being an invading Tamil from the Chola empire of south India, was renowned as having been a just and righteous leader, and Dutugemunu went out of his way to ensure the memory of the old king was revered as he cremated Elara and built a tomb for his ashes and made rules for travelers to get off and pay their respects to his tomb. Furthermore, 'looking back upon his glorious victory, great though it was, [he] knew no joy, remembering that thereby was wrought the destruction of thousands of both enemies and his soldiers.' This is attested to by the sheer number of religious foundations attributed to him by the chronicles (between 68 and 99), which include magnificent stupas, monasteries, and shrines.

paragraph: Section::::Reign and construction work.

paragraph: Aside from his many construction projects Dutugemunu's reign is memorable for his estrangement from his son, Saliya or Salirajakumara. The Prince fell in love with a girl called Agokamaladevi or Asokamala; unfortunately for all concerned she was of the Scavenger caste, one of the lowest castes in Sinhalese society. Saliya refused to give her up and rejected the throne. Though the Mahavamsa mentions no reconciliation, folk stories have the young couple eventually restored to the king's good graces.

paragraph: The king's reign also saw extensive contact between Sri Lanka and traders from the west, including Arabs, Persians, and possibly Romans

paragraph: Following his consolidation of his position Dutugemunu began a series of huge construction projects, many of which still survive in Anuradhapura today. As with nearly everything in Dutugemunu's life, each foundation comes with its own legend, many of which reveal the preoccupations and inclinations of ancient Sinhalese society.

paragraph: The first foundation mentioned in the Mahavamsa is the Maricavatti vihara, the modern Mirisavetiya. Legend has it that traveling to the shore of the Tank of Tissa with the 'women of the harem' for a water-festival, Dutugemunu planted his spear (which contained a sacred relic) in the soft ground. When preparing to return to the palace, he found that neither he, nor anyone in his retinue, could pull it out. Taking this as a sign he ordered the construction of a stupa over the spear.

paragraph: Dutugemunu also ordered the construction of the Lohapasada, or Brazen Palace, a nine-story chapter house for monks, which derived its name from its bright copper-tiled roof. Again, legend has it that the design for the palace was based on a building seen in one of the heavens by a group of monks, who drew the design with 'red arsenic on linen' and dispatched it to the king.

paragraph: Perhaps his most famous creation was the Ruwanweliseya, also known as the Great Stupa or and Swarnamalee Chetiya, to house the begging bowl of the Buddha. The construction was started on the full moon day of the month of Vesak (traditionally the date of the birth, enlightenment, and passing away of the Buddha) with the creation of a foundation of crushed rock. To hammer the stones into place elephants were used with their feet bound in leather. Dutugemunu is said to have overseen the work personally, being present at the construction of the relic chamber and the interring of the bowl itself. The dedication of a stupa is described in Chap. 29 of the Mahavamsa, which lists the visit of delegations from various parts of India, as well as a delegation of 30,000 monks from Alexandria of the Caucasus, led by the Indo-Greek monk Mahadharmaraksita.

paragraph: Other notable works include the construction of a stupa in Mundeshiwari, current day Bihar, India.

paragraph: Section::::Spiritual relationship with Kataragama Deviyo.

paragraph: Stories relating to some of the king's constructions reflect a spiritual relationship with the Kataragama deviyo. Two such sites are "Henakaduwa Purana Raja Maha Viharaya" at Tangalle and "Ruhunu Kataragama Maha Devalaya".

paragraph: During the period of preparations for war with King Elara, the Kataragama deity appeared in front of King Dutugemunu and gave him a sword for him to use in the war at the present day site of "Henakaduwa" temple (h"ena" and "kaduwa", meaning thunder and sword respectively in Sinhalese).

paragraph: After defeating Elara in single combat in the Battle of Vijithapura and subsequently regaining power in the country, the Kataragama deity appeared yet again before Dutugemunu while the latter was in meditation at "Kiri Vehera," Kataragama. The victorious king asked the deity what should be done in return for the deity's help in winning the battle. The god replied by shooting an arrow in the direction of "Wedihiti Kanda" from "Kiri Vehera" and instructed Dutugemunu to build it a shrine where the arrow lands.

paragraph: Section::::Death and succession.

paragraph: King Dutugemunu did not live to see his beloved Ruwanweliseya completed, dying before the plaster work was finished. The Mahavamsa dedicates an entire chapter to his death, which contains a poignant scene where the dying king is taken by palanquin to the vicinity of the incomplete stupa. There he also encounters his old colleague Theraputtbhya, now a monk. After some discussion of the mortality of men, the aged monarch passes away and is immediately reborn in the heavenly realm of Tusita.

paragraph: A common folk tale surrounding the death of King Dutugemunu is that as he was dying he was told that Ruwanweliseya was completed in order to keep him happy. The well-intentioned plan went awry, however, when Dutugemunu asked to be shown the finished building. His brother Tissa had the entire building draped in white cloth to present the illusion of whitewash, and due to his failing eyesight Dutugemunu did not spot the difference, dying convinced that the building was finished.

paragraph: Following his death Dutugemunu was succeeded by his brother Saddhatissa, rather than his disinherited son Saliya.

paragraph: Section::::In popular culture.

paragraph: BULLET::::- 2015 film Maharaja Gemunu emphasized the life of Dutugamunu until his fight with King Elara. Uddika Premarathna stars as Dutugamunu in the film. The film was directed by Jayantha Chandrasiri.

paragraph: BULLET::::- The teledrama "Gemunu Maharaja" was telecasted on Hiru TV. Character was portrayed by Malinda Perera.

paragraph: Section::::See also.

paragraph: BULLET::::- Gemunu Watch

paragraph: BULLET::::- Mahavamsa

paragraph: BULLET::::- Ten Giant Warriors

paragraph: BULLET::::- List of Sri Lankan monarchs

paragraph: BULLET::::- History of Sri Lanka

paragraph: Section::::External links.

paragraph: BULLET::::- Mirisawetiya Stupa

paragraph: BULLET::::- The Brazen Palace

paragraph: BULLET::::- Anuradhapura

paragraph: BULLET::::- Ancient monuments in Sri Lanka

paragraph: BULLET::::- The Mahavamsa Online

description: Sri Lankan King

wikidata_label: Dutugamunu

wikipedia_title: Dutugamunu


text:
Union Army
American Civil War
Medal of Honor
Battle of Five Forks
Petersburg, Virginia
Appomattox Campaign
Union
Maj. Gen.
Philip H. Sheridan
Confederate
George E. Pickett
Mount Morris, New York
List of Medal of Honor recipients
Military Times Hall of Valor

categories: 1916 deaths,United States Army Medal of Honor recipients,Union Army officers,People of New York (state) in the American Civil War,1844 births

paragraph: William W. Winegar

paragraph: William Wirt Winegar (1844 – 1916) was a Union Army officer during the American Civil War. He received the Medal of Honor for gallantry during the Battle of Five Forks fought on April 1, 1865 southwest of Petersburg, Virginia. The battle was part of the Appomattox Campaign and was a victory for Union forces under Maj. Gen. Philip H. Sheridan over Confederate Maj. Gen. George E. Pickett.

paragraph: Winegar enlisted in the Army from Mount Morris, New York in August 1862. He was commissioned as an officer in November 1864, and mustered out with his regiment in June 1865.

paragraph: Section::::Medal of Honor citation.

paragraph: "The President of the United States of America, in the name of Congress, takes pleasure in presenting the Medal of Honor to First Lieutenant (Cavalry) William W. Winegar, United States Army, for extraordinary heroism on 1 April 1865, while serving with Company B, 19th New York Cavalry (1st New York Dragoons), in action at Five Forks, Virginia. While advancing in front of his company and alone, First Lieutenant Winegar found himself surrounded by the enemy. He accosted a nearby enemy flag-bearer demanding the surrender of the group. His effective firing of one shot so demoralized the unit that it surrendered with flag."

paragraph: The Medal was awarded on May 3, 1865.

paragraph: Section::::See also.

paragraph: BULLET::::- List of Medal of Honor recipients

paragraph: Section::::External links.

paragraph: BULLET::::- Military Times Hall of Valor

description: Union Amy officer

wikidata_label: William W. Winegar

wikipedia_title: William W. Winegar


text: Greek

text: fl.

text: Persian

text: satrap

text: Hellespontine Phrygia

text: Pharnabazus II

text: Ariobarzanes of Phrygia

text: Artaxerxes II

text: Greek

text: Rhodes

text: Mentor of Rhodes

text: Memnon of Rhodes

text: Artaxerxes II

text: Datames

text: satrap

text: Cappadocia

text: Satraps' revolt

text: Ariobarzanes

text: Hellespontine Phrygia

text: Artaxerxes III

text: Asia Minor

text: Chares

text: Athenian

text: Mysia

text: Orontes I

text: Thebans

text: Pammenes

text: Boeotia

text: Autophradates

text: Mentor

text: Memnon

text: Charidemus

text: Philip II of Macedon

text: Pella

text: Alexander the Great

text: Barsine

text: Mentor of Rhodes

text: Persia

text: Nectanebo II

text: Egypt

text: Darius III Codomannus

text: Battle of Gaugamela

text: Alexander's

text: Alexander

text: Bactria

text: Barsine

text: Heracles

text: Artacama

text: Ptolemy

text: Eumenes

text: Cleitus the Black

text: Pharnabazus

text: Smith, William

text: "Artabazus (4)"

text: Boston

text: Livius

text: Artabazus (2)

categories: Alexander the Great,Achaemenid satraps of Hellespontine Phrygia,4th-century BC rulers,Military leaders of the Achaemenid Empire,4th-century BC Iranian people

paragraph: Artabazos II

paragraph: Artabazos II (in Greek Αρτάβαζος) (fl. 389 – 328 BC) was a Persian general and satrap. He was the son of the Persian satrap of Hellespontine Phrygia, Pharnabazus II, and younger kinsman (most probably brother) of Ariobarzanes of Phrygia who revolted against Artaxerxes II around 356 BC. His first wife was an unnamed Greek woman from Rhodes, sister of the two mercenaries Mentor of Rhodes and Memnon of Rhodes.

paragraph: Section::::Revolt of Datames.

paragraph: In 362 BC, Artabazos was sent by Artaxerxes II to capture Datames, the satrap of Cappadocia, who had joined in the Satraps' revolt to which participated Artabazus' brother, Ariobarzanes. However, Artabazos was defeated by Datames. Artaxerxes II ultimately prevailed, and Ariobarzanes was crucified and Datames assassinated.

paragraph: Following the capture and death of his brother, Artabazos was made satrap of Hellespontine Phrygia, but in 356 BC he refused obedience to the new Persian king, Artaxerxes III. Artaxerxes had ordered the disbanding of all the satrapal armies of Asia Minor, as he felt that they could no longer guarantee peace in the west and was concerned that these armies equipped the western satraps with the means to revolt. The order was ignored by Artabazus, who asked for the help of Athens in a rebellion against the king. Artabazos then became involved in a revolt against the king and against other satraps who acknowledged the authority of Artaxerxes III.

paragraph: Artabazos was at first supported by Chares, an Athenian general, and his mercenaries, whom he rewarded very generously. The gold coinage of Artabazos is thought to have been issued specifically to reward the troops of Chares. The Satrap of Mysia, Orontes I, was also on his side. Later, Artabazos was also supported by the Thebans, who sent him 5,000 men under Pammenes. With the assistance of these and other allies, Artabazos defeated the King in two great battles.

paragraph: However, Artaxerxes III was later able to deprive Artabazos of his Athenian and Boeotian allies by counter-bribing them, whereupon Artabazos was defeated by the king's general, Autophradates, and was taken prisoner. Mentor and Memnon, two brothers-in-law of Artabazos, who had supported him, still continued the revolt, as they were aided by the Athenian mercenary leader, Charidemus. Together they were able to free Artabazos.

paragraph: Section::::Rebellion against Artaxerxes III.:Exile in Macedonia at the court of Philip II (352–342 BC).

paragraph: After this, Artabazos seems either to have continued his rebellious operations or at least started a fresh revolt. However, eventually, he had no choice but to flee with Memnon and his family. They went into exile and took refuge at the court of Philip II of Macedonia in Pella, together with their 11 sons and 10 daughters. Artabazos, who was 37, and his family were exiled at the court of Philip II for about ten years, from 352 to 342, and during that time Artabazos became acquainted with the future Alexander the Great. Barsine, daughter of Artabazos, and future wife of Alexander, grew up at the Macedonian court.

paragraph: Section::::Return to Persia.

paragraph: During the absence of Artabazos, Mentor of Rhodes, his brother-in-law, was of great service to the king of Persia in his war against Nectanebo II of Egypt. After the close of this war, in the summer of 342 BC, Artaxerxes gave Mentor the command against the rebellious satraps of western Asia. Mentor took advantage of this opportunity to ask the king to grant a pardon to Artabazos and Memnon. The king agreed and both men and their families were able to return to Persia.

paragraph: In the subsequent reign of Darius III Codomannus, Artabazos distinguished himself by his loyalty and commitment to the new Persian king. He took part in the Battle of Gaugamela in 331 BC, and afterwards accompanied Darius on his flight from Alexander's Macedonian armies.

paragraph: Section::::Return to Persia.:Hellenistic satrap of Bactria.

paragraph: After the final defeat and death of Darius III in 330 BC, Alexander recognised and rewarded Artabazos for his loyalty to the Persian king by giving him the satrapy of Bactria, a post he held until his death in 328 BC.

paragraph: Section::::Family.

paragraph: Artabazos' daughter, Barsine, may have married Alexander and may have been the mother of Heracles. Another daughter, Artacama, was given in marriage to Ptolemy; and a third daughter, Artonis, was given in marriage to Eumenes.

paragraph: In 328 BC, Artabazos resigned his satrapy, which was given to Cleitus the Black.

paragraph: Artabazos also had a son named Pharnabazus (fl. 370–320 BC).

paragraph: Section::::References.

paragraph: BULLET::::- Smith, William (editor); "Dictionary of Greek and Roman Biography and Mythology", "Artabazus (4)", Boston, (1867)

paragraph: Section::::External links.

paragraph: BULLET::::- Livius, Artabazus (2) by Jona Lendering

description: 4th-century BC Persian satrap

wikidata_label: Artabazos II of Phrygia

wikipedia_title: Artabazos II


text: marquess

text: Villena

text: old counts of Barcelona

text: Aragon

text: Castile

text: necromancer

text: Torralba de Cuenca

text: Violant of Bar

text: Barcelona

text: Cuenca

text: count

text: Tineo

text: Henry III of Castile

text: Order of Calatrava

text: Infante Ferdinand of Castile

text: King of Aragon

text: Isabel de Villena

text: Valencia

text: Alfonso the Magnanimous

text: Duke of Gandía

text: gout

text: Henry III

text: John II of Castile

text: evil eye

text: alchemy

text: necromancer

text: Roger Bacon

text: brazen head

text: Lope de Barrientos

text: books burned

text: Santillana

text: Catalan

text: Castilian

text: versification

text: Troubadour

text: Catalonia

text: France

text: Virgil

text: Aeneid

text: Dante

text: Divine Comedy

text: vernacular language

text: Romance language

text: Petrarch

text: classical literature

text: Marsilio Ficino

text: Prisca Theologia

text: Pico della Mirandola

text: vernacular

text: humanism

text: Virgil

text: Aeneid

text: necromancy

text: Mariano José de Larra

text: Lope de Vega

text: Order of Calatrava

text: Riquer, Martí de

categories: Spanish Renaissance humanists,Grand Masters of the Order of Calatrava,1434 deaths,Latin–Spanish translators,People from the Province of Cuenca,15th-century Spanish writers,Italian–Spanish translators,1384 births,Medieval Catalan-language writers,Spanish male writers,Translators to Catalan,Marquesses of Villena

paragraph: Enrique de Villena

paragraph: Enrique de Villena (1384–1434), also known as and , was a medieval Spanish marquess of Villena, writer, theologian and poet. He was also the last legitimate descendant of the old counts of Barcelona, the former royal house of Aragon. When political power was denied to him, he turned to writing. He was persecuted by of Aragon and of Castile owing to his reputation as a necromancer.

paragraph: Section::::Life.

paragraph: He was born in Torralba de Cuenca, in Castile. After the death of his father, Pedro de Aragón y Villena, Enrique went to the Aragonese court, where he was raised by his aristocratic grandfather, Alfonso de Aragón, first marquess of Villena. There he met the leading literary and intellectual minds of his era and became skilled in mathematics, chemistry and philosophy. The Aragonese Queen Violant of Bar, aware of Villena's academic gifts, invited him to study at the royal court of Barcelona, where Villena met the leading authors of Catalan literature. This experience further solidified Villena's already promising future.

paragraph: However, Villena encountered difficulty towards the end of the fourteenth century when his grandfather began losing power in the Castilian court. By 1398, Alfonso had lost his position as marquess of Villena. This loss did not rest well with either Alfonso or Villena. Alfonso spent the next many years attempting to re-instate his grandson as marquess of Villena. Meanwhile, Villena straightforwardly declared himself Marquess of Villena – signing all official documents in this name, though not legally correct.

paragraph: Historians believe Villena traveled to Castile during the first years of the fifteenth century, took residence there, and married María de Albornoz – a wealthy heiress from Cuenca, Spain. Continuing this rise towards aristocratic prominence, Villena soon received titles as count of Cangas and Tineo – offered to him by his cousin, King Henry III of Castile. However, in 1404, Villena resigned from the court to pursue world travel. That same year, Villena tried to become master of the Order of Calatrava – a prestigious religious and military order. Pursuing this position, Enrique divorced his wife, claiming impotence, and renounced his position as count so he could officially become a friar of Calatrava. The King of Castile mandated that the "comendadores" (commanders) of Calatrava promote Enrique as master of the Order. This position, however, did not suit Villena well for, although intelligent, he was not politically competent. Authorities soon stripped him of his leadership position.

paragraph: Fortunately for Villena, he received a token of good fortune when his cousin, Infante Ferdinand of Castile became King of Aragon in 1412. Villena enjoyed several years of tranquil peace as Fernando's personal assistant. However, upon Ferdinand I's death in 1416, Villena returned to Castile and spent the next several years at his wife's estates in Cuenca taking care of family affairs. But he also had affairs with other aristocratic ladies. Therefore, he had two daughters born out of wedlock. One of them lived from 1430 to 1490, was baptized as "Elionor Manuel", and entered under the name of Isabel de Villena a convent in Valencia. There she became abbess in 1463 and wrote a "Vita Christi" that was published posthumously by the new abbess in 1497.

paragraph: During the years 1420 – 1425 not much is known about Villena other than that he wrote "Arte cisoria" and various treatises during this time.

paragraph: From 1426 to 1429, Alfonso the Magnanimous stripped Villena of his promised inheritance as Duke of Gandía, giving the position instead to his own brother. Thus, facing financial straits, Villena depended on his nephew for economic support until his death from gout in 1434.

paragraph: Section::::Legend.

paragraph: Enrique de Villena had various talents and interests, many of which are exemplified in his writing. In "Arte de Cisoria" (The Art of Carving), we discover Villena's expertise as he meticulously describes the tools used, the steps taken, and the rules of etiquette while table carving. His knowledge comes from personal observation and experience working at the court of Castile for his cousin and nephew, Henry III and John II of Castile, respectively. Villena's comprehension of 15th century medicine is seen in his work "Tratado de la fascinación o de aojamiento" (Treatise on the Evil Eye). In addition to describing the origin of the evil eye, he offers traditional and "present" methods for the prevention, diagnosis and cure of the illness. Further medical knowledge and research is seen in his work "Tratado de la lepra " (Treatise on Leprosy). In Villena's "Tratado de la consolación" (Treatise on Consolation), we see his understanding of psychology. Although a Treatise on Astrology is wrongly attributed to Villena, it is said that he devoted much of his time to the studies of alchemy, astrology, philosophy and mathematics. This led to his widespread reputation as a necromancer. Like Roger Bacon and other figures, he was reputed to have constructed a brazen head able to answer his questions. Upon Villena's death in 1434, the king ordered Bishop Lope de Barrientos to investigate his library. Barrientos had many of Villena's books burned, strengthening the public's assumption that he was involved in witchcraft. A few of the remaining books went to the poet Santillana, while the rest of them went to the king.

paragraph: Section::::Works.

paragraph: Don Enrique de Villena's literary achievements are quite diverse. Perhaps Villena's most successful work among Spanish readers was his interpretation of "Los doce Trabajos de Hércules" (The Twelve Works of Hercules). "Twelve Works" draws on Greek mythology for its subject matter and Christian literary traditions for its allegorical significance, a synthesis that Villena makes throughout the work. First translated into Catalan and then Castilian, the work contains obvious and didactic moral messages which Villena found applicable and important within the framework of contemporary Spain. "Twelve Works" is divided into twelve chapters, and each of those into four parts. Villena justifies his adaptation of foreign myth through the common idea that good fiction is able to both delight the reader and, through that delight, lead the reader to virtuous action. Written in 1417, "Twelve Works of Hercules" made Villena's literary reputation, perhaps because it lacks the erudition and theoretical complexity of the later treatises.

paragraph: Villena's "Arte de Trovar" is valued least for its literary merit. Described as "frustrating and sterile" (85), "Arte de Trovar" is a treatise on the rules and proper prosody of troubadour poetry. The work, like Villena's other treatises, is erudite and difficult, concerning itself with complex laws of meter and versification, which were laid down as a result of lesser poets violating the structures of the "gay science" of Troubadour poetry. These poetic structures were viewed by Villena as a "true and immutable order of things," and the genius of the poet was to make his words or stories conform to the laws of this order. As expected, the treatise does not hold the attention of many modern readers. "Arte de Trovar" does attest, however, to the important cultural exchange between Catalonia and the Provençal region of southern France (the home of troubadour lyric poetry), and conveys a sense of nostalgia on Villena's part for the chivalric and highly decorous world of troubadour subject matter. "Arte de Trovar" was completed between 1417 and 1428.

paragraph: Also of importance are Villena's translations of Virgil’s "The Aeneid" and Dante's "Divine Comedy" into Castilian. Villena was the first translator and one of the first to translate in prose respectively Dante's poem into another vernacular language and Virgil's epic poem into a Romance language (1427-28), and was faced with the difficulty of maintaining the subtlety and depth of "The Aeneid" while appealing to a largely unlearned audience that was used to easily decipherable allegorical stories. Along with an initial section of "advice for the beginning reader," the text comments as to how the examples of the ancient text may still be practically applied to contemporary Castilian society. Along with his interest in Virgil, Villena's translation of Dante's "Divine Comedy" reflects, perhaps, a shifting interest from the courtly poets discussed in "Arte de Trovar" to a divinely inspired Christian poet based on Roman models. Villena also translated Petrarch's sonnets. These translations of classical literature were widely read by a growing community of literary nobility, a social circle in which Villena was among the most important members.

paragraph: Section::::Esotericism.

paragraph: Regarding his esoteric works, they are worth mentioning his Treatise on Astrology and Treatise on the Evil Eye. In the first, Villena appropriated biblical discourse citing several passages of Peter Comestor's paraphrased bible Historia Scholastica which acquiesce in astrology and magic. He defends magical and astrological representations of Jewish cult objects like the Tabernacle and the Temple, represents Moses as an astrologer and practitioner of talismanic magic and identifies Zoroaster as the founder of magic. This kind of esoteric discourse would be formulated at length by Marsilio Ficino at the end of the XV century under the label of Prisca Theologia. As well, in his Treatise on the Evil Eye Villena defended jewish cabalistic practices to cure the evil eye, preceding several years the interest of Giovanni Pico della Mirandola in kabbala during the italian Renaissance.

paragraph: Section::::Legacy.

paragraph: Enrique de Villena's deep interest in science and his great knowledge of astrology and other religious mystical systems gave him the reputation of a necromancer during his lifetime. This brought some of his works into question. Despite this, modern critics now see Villena as one of the most important Castilian intellectual leaders of the 15th century.

paragraph: Villena exemplified characteristics of vernacular humanism in his translations and adaptations of the classical works. He encouraged Italian humanist thought and took some of the first steps to incorporate Latin culture and intellect into the culture of Castile. This started a movement to convert classical works into modern vernacular languages so that they could be read and enjoyed by more than just Latin scholars.

paragraph: Villena was a strong believer in poetry's necessary role in creating the intellectual elite. This is shown in the way he seeks to instruct his readers on various aspects of morality in his texts. He tries to influence the Castilian court and aristocracy on virtue and etiquette.

paragraph: His most significant classical translation, Virgil’s "Aeneid", was among the first complete translations of this work into a romance language. He translates the work and provides commentary that enables readers to grasp the obscurity of the text and gives literal interpretations of specific information in order to teach the Castilian society the proper behaviors of courtiers. Typical of vernacular humanism, Villena’s commentary and "ad sensum" translation of Virgil’s "Aeneid" exhibits Villena’s feeling that reading and intellectual curiosity is an important element in the education of the elite.

paragraph: The accusations of necromancy and the heavy influence Italian Humanism had on his writing made him a bit controversial. The controversy surrounding Villena’s personal character spread his popularity by the interest it sparked in authors who followed. Villena often appears as a character in literature. In "El doncel de don Enrique el Doliente", Mariano José de Larra portrays Villena as an evil figure. Lope de Vega’s "Porfiar hasta morir" illustrates Villena as more of a hero figure who works for justice. There is not one portrayal of Villena’s personal character accurate enough to give us a complete understanding of what he was really like. His literary accomplishments have survived time, but the uncertainty surrounding his life still remains today a mystery. However, he is viewed as an intellectual pioneer who exhibited civic virtue and wrote with poetic eloquence.

paragraph: Section::::See also.

paragraph: BULLET::::- Order of Calatrava

paragraph: BULLET::::- List of Grand Masters of the Order of Calatrava

paragraph: Section::::References.

paragraph: Section::::References.:Bibliography.

paragraph: BULLET::::- Boase, Roger (1977). "The Origin and Meaning of Courtly Love: A Critical Study of European Scholarship". Manchester: Manchester University Press.

paragraph: BULLET::::- "Enrique de Villena," in "Dictionary of Literary Biography", Volume 286: "Castilian Writers, 1400-1500". Edited by Frank A. Domínguez and George D. Greenia. Gale, 2004, pp. 266–276.

paragraph: BULLET::::- "Arte de trovar". Edición, prólogo y notas de F.J. Sánchez Cantón; prospecto de Antonio Prieto. Madrid: Visor Libros, 1993.

paragraph: BULLET::::- King Arjona, Doris. "Enrique de Villena and the "Arte Cisoria"" Hispania 43 (1960): 209-213.

paragraph: BULLET::::- Riquer, Martí de (1964). "Història de la Literatura Catalana", vol. 1. Barcelona: Edicions Ariel.

paragraph: BULLET::::- Torres-Alcalá, Antonio. "Don Enrique de Villena: un mago al dintel del Renacimiento." Madrid: Porrúa, 1983.

paragraph: BULLET::::- Villalba, Mariano (2018) ‘Enrique de Villena’, in Astrology through History. Interpreting the Stars from Ancient Mesopotamia to the Present. William E. Burns (Ed.). Santa Barbara: ABC-CLIO, pp. 342-343. 978-1-4408-5142-1

paragraph: BULLET::::- Villalba, Mariano (2016) “Cábala y aojamiento en el Tratado de la Fascinación de Enrique de Villena”, Melancolia, Vol Nº1, pp. 30-50. ISSN 2526-1096

paragraph: BULLET::::- Villalba, Mariano (2015) “El Tratado de Astrología atribuido a Enrique de Villena. Esoterismo en la corte de Juan II de Castilla”, Magallánica: revista de historia moderna, Vol 2, Nº3, pp. 186-216. ISSN 2422-779X

paragraph: Section::::External links.

paragraph: BULLET::::- "Doce trabajos de Hércules"

description: Spanish noble and writer

wikidata_label: Enrique de Villena

wikipedia_title: Enrique de Villena


text: Italian

text: Ferrara

text: Florence

text: realist

text: Macchiaioli

text: Impressionism

text: landscapes

text: portraits

text: Paris

text: Edgar Degas

text: John Singer Sargent

text: Paul Helleu

text: Paris Exposition

text: Légion d'honneur

text: Venice Biennale

text: Franca Florio, regina di Palermo

text: Lorenzo Ferrero

text: Donna Franca

text: Belle Époque

text: Marthe de Florian

text: Second World War

text: New Orleans Museum of Art

text: A Paris Apartment

text: Virtual Gallery and reference

text: 77 works by Giovanni Boldini

text: Giovanni Boldini

text: John Singer Sargent Virtual Gallery

text: Giovanni Boldini

text: ArtCyclopedia

text: Giovanni Boldini Gallery

text: wikiart.org

categories: Italian male painters,1842 births,1931 deaths,20th-century Italian painters,Italian portrait painters,19th-century Italian painters,People from Ferrara

paragraph: Giovanni Boldini

paragraph: Giovanni Boldini (31 December 1842 – 11 July 1931) was an Italian genre and portrait painter who lived and worked in Paris for most of his career. According to a 1933 article in "Time" magazine, he was known as the "Master of Swish" because of his flowing style of painting.

paragraph: Section::::Life and career.

paragraph: Boldini was born in Ferrara, the son of a painter of religious subjects, and in 1862 went to Florence for six years to study and pursue painting. He only infrequently attended classes at the Academy of Fine Arts, but in Florence, met other realist painters known as the Macchiaioli, who were Italian precursors to Impressionism. Their influence is seen in Boldini's landscapes which show his spontaneous response to nature, although it is for his portraits that he became best known.

paragraph: Moving to London, Boldini attained success as a portraitist. He completed portraits of premier members of society including Lady Holland and the Duchess of Westminster. From 1872 he lived in Paris, where he became a friend of Edgar Degas. He became the most fashionable portrait painter in Paris in the late 19th century, with a dashing style of painting which shows some Macchiaioli influence and a brio reminiscent of the work of younger artists, such as John Singer Sargent and Paul Helleu. He was nominated commissioner of the Italian section of the Paris Exposition in 1889, and received the Légion d'honneur for this appointment.

paragraph: In 1897 he had a solo exhibition in New York. He participated in the Venice Biennale in 1895, 1903, 1905, and 1912. He died in Paris on 11 July 1931.

paragraph: Section::::Legacy.

paragraph: Giovanni Boldini is a character in the ballet "Franca Florio, regina di Palermo", written in 2007 by the Italian composer Lorenzo Ferrero, which depicts the story of Donna Franca, a famous Sicilian aristocrat whose exceptional beauty inspired him and many other artists, musicians, poets and emperors during the Belle Époque.

paragraph: A Boldini portrait of his former muse Marthe de Florian, a French actress, was discovered in a Paris flat in late 2010, hidden away from view on the premises that were unvisited for over 50 years. The portrait has never been listed, exhibited or published and the flat belonged to de Florian's granddaughter, who inherited the flat after her father's death in 1966 and lived in the South of France after the outbreak of the Second World War and never returned to Paris. A love-note and a biographical reference to the work painted in 1888, when the actress was 24, cemented its authenticity. A full-length portrait of the lady in the same clothing and accessories, but less provocative, hangs in the New Orleans Museum of Art.

paragraph: The discovery of his painting in the 70-years-empty apartment forms the background to Michelle Gable's 2014 novel "A Paris Apartment".

paragraph: Section::::Sources.

paragraph: BULLET::::- T. Panconi, Boldini, L'uomo e la pittura, Pisa (Italy) 1998

paragraph: BULLET::::- E. Savoia (a cura di), "Giovanni Boldini. Il dinamismo straordinario delle linee", (catalogo della mostra), Bologna (Italy) 1999

paragraph: BULLET::::- E. Savoia (a cura di), "Omaggio a Giovanni Boldini", (catalogo della mostra), Bologna (Italy) 2001

paragraph: BULLET::::- T. Panconi, "Giovanni Boldini, L'opera completa (Catalogo generale ragionato legale)", Firenze (Italy) 2002

paragraph: BULLET::::- P. Dini e F. Dini, "Giovanni Boldini 1842-1931. Catalogo ragionato," Torino, 2002

paragraph: BULLET::::- E. Savoia (a cura di), "G. Boldini. Dalla macchia alla sperimentazione dinamica", (catalogo della mostra), Bologna (Italy) 2003

paragraph: BULLET::::- T. Panconi, "Boldini Mon Amour (catalogo della mostra, con presentazione del ministro per i beni culturali)", Pisa (Italy) 2008

paragraph: BULLET::::- E. Savoia (a cura di), "Giovanni Boldini. Capolavori e opere inedite dall'atelier dell'artista", (catalogo della mostra), Milano (Italy) 2011

paragraph: BULLET::::- S. Bosi, E. Savoia, "Giovanni Boldini. Il Narratore della "dolce vita" parigina", Treviso, Antiga Edizioni, 2011

paragraph: BULLET::::- T. Panconi, S. Gaddi, "Boldini e la Belle Epoque" (catalogo della mostra), Milano (Italy) 2011

paragraph: BULLET::::- S. Bosi, E. Savoia, "La mostra di Giovanni Boldini del 1963 al Musée Jacquemart-André di Parigi da un album fotografico inedito", Milano (Italy) 2011

paragraph: BULLET::::- Boldini, Giovanni, Enzo Savoia, and Stefano Bosi. "Giovanni Boldini. Capolavori e opere inedite dall'atelier dell'artista". Crocetta del Montello: Antiga. 2011.

paragraph: BULLET::::- T. Panconi, S. Gaddi, "Giovanni Boldini" (catalogo della mostra di Roma - Venaria Reale To), Skira editore, Milano, 2017

paragraph: Section::::External links.

paragraph: BULLET::::- Virtual Gallery and reference

paragraph: BULLET::::- Giovanni Boldini Macchiaioli museum, archive, expertise and reference

paragraph: BULLET::::- 77 works by Giovanni Boldini

paragraph: BULLET::::- "Giovanni Boldini. Capolavori e opere inedite dall'atelier dell'artista

paragraph: BULLET::::- Giovanni Boldini at the John Singer Sargent Virtual Gallery

paragraph: BULLET::::- Giovanni Boldini at ArtCyclopedia

paragraph: BULLET::::- Giovanni Boldini Gallery

paragraph: BULLET::::- The photo gallery with the best female portraits by Boldini

paragraph: BULLET::::- wikiart.org Growing public domain of Boldini's paintings

alias:
Jean Boldini
j. boldini
jean boldini
boldini g.
g. boldini
a. boldini
Boldini
giov. boldini

description: Italian painter

wikidata_label: Giovanni Boldini

wikipedia_title: Giovanni Boldini


text:
French
athlete
Paris
marathon
silver medal
Athletics at the 1900 Summer Olympics
Paris

categories: French male long-distance runners,Olympic silver medalists for France,Olympic athletes of France,Medalists at the 1900 Summer Olympics,French male marathon runners,1921 deaths,Sportspeople from Paris,1879 births,Olympic silver medalists in athletics (track and field),Athletes (track and field) at the 1900 Summer Olympics

paragraph: Émile Champion

paragraph: Emile Champion (August 7, 1879 – 1921) was a French athlete, born in Paris, who competed in the early 20th century. He was a long-distance runner but specialized in the marathon and won a silver medal in Athletics at the 1900 Summer Olympics in Paris.

description: Olympic silver medal-winning athlete

wikidata_label: Émile Champion

wikipedia_title: Émile Champion


text: Jew

text: Turkish

text: Smyrna

text: İzmir

text: Ladino

text: Hakham Bashi

text: Gaon

text: Samuel Pallache

text: Abraham Palacci

text: Rahamim Nissim Palacci

text: Joseph Palacci

text: Pallache family

text: İzmir

text: Smyrna

text: kabbalist

text: Joseph Raphael ben Hayyim Hazzan

text: rabbinical seminary

text: Hakham Bashi

text: Chief Rabbi

text: Abdülmecid I

text: Tanzimat

text: Mecidiye Order

text: Lionel de Rothschild

text: Stanford J. Shaw

text: Tanzimat

text: Yakir Geron

text: Adrianople

text: Samuel Danon

text: vali

text: chief rabbi

text: Halacha

text: Şalom

text: Gaon

text: Geonim

text: Zalman Shazar

text: Kemeraltı

text: Beit Midrash

text: Yeshiva

text: Bnei Brak

text: Pirke Avot

text: Shulchan Aruch

text: Moses Montefiore

text: Damascus affair

text: Ladino

text: Kemeraltı

text: Pallache family

text: Pallache (surname)

text: Joseph Palacci

text: Abraham Palacci

text: Rahamim Nissim Palacci

text: Juda Lion Palache

text: Charles Palache

text: Samuel Pallache

text: Joseph Pallache

text: Moses Pallache

text: David Pallache

text: Isaac Pallache

text: Samuel ha-Levi

text: Hakham Bashi

text: History of the Jews in the Ottoman Empire

text: History of the Jews in Turkey

categories: Rabbis of the Ottoman Empire,Sephardi rabbis,People from Izmir,19th-century people of the Ottoman Empire,Exponents of Jewish law,19th-century rabbis,Turkish Jews,1788 births

paragraph: Haim Palachi

paragraph: Haim Palachi ( ; Acronym: MaHaRHaF or HaVIF) (January 28, 1788– February 10, 1868) was a Jewish-Turkish chief rabbi of Smyrna (İzmir) and author in Ladino and Hebrew. His titles included "Hakham Bashi" and "Gaon". He is likely a descendant of Samuel Pallache of 16th-century Fez and early 17th-century merchant, diplomat and pirate. He was also father of grand rabbis Abraham Palacci and Isaac Palacci (Rahamim Nissim Palacci) and rabbi Joseph Palacci. He was a member of the Pallache family.

paragraph: Section::::Background.

paragraph: Pallache was born in İzmir, Turkey, then known internationally as Smyrna, part of the Ottoman Empire. His parents were Jacob Pallache (a rabbi and kabbalist) and Kali Kaden Hazan. His maternal grandfather was Joseph Raphael ben Hayyim Hazzan (1741-1820), chief rabbi of İzmir. He studied under his grandfather and also Isaac ben Elyakim Gatigno.

paragraph: Section::::Career.

paragraph: Section::::Career.:Early years.

paragraph: By 1813, aged 25, Palacci was already a rabbi. In 1828, aged 40, he became head of the Bet Yaakov rabbinical seminary.

paragraph: In 1837 or 1838, he became head of a religious court and then became "dayan" (jurist), "marbiš torah" (teacher of Torah), and "rav korel" (head rabbi).

paragraph: By 1854 or 1856, he had become "Hakham Bashi" or Chief Rabbi of Smyrna, appointed by Sultan Abdülmecid I during the Tanzimat period. He served as chief rabbi until his death in 1868.

paragraph: In 1864, he received the award of Mecidiye Order, third class.

paragraph: In 1867, he received a Greek Orthodox delegation: SMYRNA.—Interchange of Visits.—We are happy to learn that a most friendly feeling prevails at Smyrna among the ecclesiastical heads of the several religious bodies. The Greek Archbishop, accompanied by his clergy, lately went to pay a visit to the Chief Rabbi, Haim Palacci. He was received with all the honors due to his rank. The Archbishop told the rabbi that a similar visit would be paid by the Greek Patriarch of Constantinople to the Chief Rabbi of the capital. This friendly understanding was brought about by the generous act of the Jews who bought six bells carried away by the Turks from Candia and presented them to the clergy of Smyrna, with the request to restore them to the churches whence they had been carried away.

paragraph: Section::::Career.:Murder (1859).

paragraph: Following a murder on March 17, 1859, local police apprehended a Greek meat butcher and Jewish broker as suspects. Rav Hayim Palaçi (as his name appears in modern Turkish) wrote to Baron Lionel de Rothschild for support and protection. He also write a liturgy, in which he stated ""Müslüman Türkler Yahudilere inanıp güveniyorlar."" ("Muslim Turks believe and rely on Jews.").

paragraph: Section::::Career.:"Haim Palacci Dispute".

paragraph: By 1865, attempts by secular leaders of Izmir's Jewish community to exploit Palachi's declining health led to communal conflict.

paragraph: Historian D. Gershon Lewental describes the conflict as follows. In November 1865, an administrative committee forced Pallache to accept its oversight, after which a group of lay leaders purchased at reduced cost the concession for the "gabelle" tax on kosher food and alcohol. The concessionaires refused audit; Pallache repealed the tax completely. The concessionaires went over Pallache as Izmir's "hakham bashi" to the regional head ("hakham bashi kayakami"), whose representative conducted an investigation that recommended Pallache's removal in favor of himself (the representative). The Ottoman government accepted the recommendation. Widespread opposition to the Ottoman decision led to delay, repeal, and finally reinstitution of Pallache by October 1867. Pallache agreed to some reforms but died before they took effect.

paragraph: Historian Stanford J. Shaw describes the conflict in his book "The Jews of the Ottoman Empire and the Turkish Republic" (1991). He recounts that Palacci was more conservative than other religious leaders during the Tanzimat period. However, the dispute started in November 1865, when other members of the Jewish religious council speculated on the "gabelle" (food tax) on wine, alcohol, and salt; Palacci annulled the tax. In December 1866, Yakir Geron, grand rabbi of Adrianople, intervened by sending an emissary, rabbi Samuel Danon to resolve the matter; he recommended that Geron dismiss Palacci (and appoint himself, Danon, instead). Jewish members of the Izmir community asked their "vali" (governor) to hold off, while they sent a mission to Istanbul. The decision that came back was to appoint Palacci as chief rabbi for life. (A longer description appeared in the French "L'Histoire des Israelites de l'Empire Ottoman" by Moïse Franco in 1897.)

paragraph: Section::::Personal and death.

paragraph: Palachi had three sons: Abraham, Isaac, and Joseph, all three of whom were rabbis and the first two of whom succeeded him as grand rabbi.

paragraph: He was conservative in his views and opposed innovations, e.g., adoption of European dress.

paragraph: He died on February 10, 1868. "His funeral hearse was attended by all of the city's dignitaries", escorted by a battalion of troops, an honor given by the Turkish authorities to only two or three chief rabbis.

paragraph: Section::::Legacy.

paragraph: Section::::Legacy.:"Haim Palacci Dispute".

paragraph: The Pallache dispute (above) led to a fifty-year delay in implementation of the Organic Statute of 1865 [sic – (1856?)] in Izmir, according to Shaw.

paragraph: Section::::Legacy.:Succession.

paragraph: Some dispute arose over Palachi's succession. A minority in the local community championed Rabbi Joseph Hakim of Manissa to succeed. A majority wanted his son Abraham to succeed him, including Jews with foreign citizenship. Abraham succeeded his father on October 7, 1869.

paragraph: The second son Isaac (Rahamim Nissim) succeeded his brother Abraham.

paragraph: The third son Joseph was unable to succeed his brothers because he was too young (in this case, under the age of seventy-five).

paragraph: Section::::Legacy.:Personal reputation.

paragraph: Journey into Jewish Heritage states: Rabbi Haim Palaggi... was the 'Haham Bashi' of Izmir in the middle of the 19th century, and founder of the 'Beit Hillel' Synagogue and "beit madras" (study hall). He was very knowledgeable, and received letters from all over the world with questions about Halacha. He wrote 82 books addressing important issues in Jewish life. The community today is very proud of his legacy, and speak of him with great respect. In the synagogue, when his name is mentioned or cited, the congregation stands up and bows with respect. Turkish Jews still refer to his writings and opinions in their ceremonies and writings, particularly in "Şalom" newspaper: 2015, 2011, 2010, 2009, 2008.

paragraph: Section::::Legacy.:Opinions.

paragraph: His rabbinical opinions continue to receive attention worldwide today, e.g., his 1869 opinion "On the Possibilities of Synagogue Reform: An Ottoman Rabbi's Answer to a Query in Paris," reprinted in 2014.

paragraph: He has been called a "Gaon" in memory of the "Geonim", e.g., "And the Lion of the gaonim, the elderly Gaon Chaim Palaji of Izmir..." and a "19th century living Gaon."

paragraph: Section::::Legacy.:Pilgrimage gravesite.

paragraph: A main attraction of Gurcesme is "the grave of Rabbi Palaggi, which was moved to this cemetery from its original burial place, in the 1920's... and people from all over the world come to pray at his grave" as "pilgrimage to Rabbi Palaggi's grave."

paragraph: Journey into Jewish Heritage (Zalman Shazar Center) recommends that "Rabbi Haim Palaggi's grave should be marked as a landmark for orientation, and the building of a pergola should be considered for the visitors’ comfort."

paragraph: Palacci's grave lies in Plot B.4. It is one of the graves "brought over from the old cemetery and put in between the existing graves. This is the reason why the grave is at right angles to all the rest."

paragraph: Section::::Legacy.:Synagogue.

paragraph: A synagogue in Izmir is named after him (Beth Hillel Synagogue according to Shaw, Beyt Hillel Pallache according to Lewental) or his son Abraham.

paragraph: According to Jewish Izmir Heritage, "In the 19th century, Rabbi Avraham Palache founded in his home a synagogue named Beit Hillel, after the philanthropist from Bucharest who supported the publication of Rabbi Palache's books. However, the name 'Avraham Palache Synagogue' was also used by the community." This synagogue forms a cluster of eight extant (from a recorded peak of 34 in the 19th century), all adjacent or in the Kemeraltı Çaršisi (Kemeraltı marketplace) in Izmir. The heritage organization states, "Izmir is the only city in the world in which an unusual cluster of synagogues bearing a typical medieval Spanish architectural style is preserved ...[and] creating an historical architectural complex unique in the world."

paragraph: In its record, Journey into Jewish Heritage calls the Beit Hillel synagogue "Avraham Palaggi's synagogue" but then states that "the synagogue was founded by [the] Palaggi Family in 1840" and that Rav Avraham Palaggi "used" it. "The building had been used as a synagogue and a "Beit Midrash". The synagogue has not been used since 1960's." It concludes, "The synagogue was founded by the Palaggi family and is therefore very important."

paragraph: Section::::Legacy.:Beit Hillel Yeshiva.

paragraph: Journey into Jewish Heritage states that Palacci founded the "Beit Hillel Yeshiva" in the middle of the 19th century. Current sources are unclear, but it is likely the same as the "Beit Midrash" mentioned above.

paragraph: Section::::Legacy.:Bnei Brak yeshiva.

paragraph: A seminary was named in Palachi's honor in Bnei Brak, Israel.

paragraph: Section::::Legacy.:Family members.

paragraph: An index for Abraham Galante's "Histoire des Juifs de Torque" (Jews of Turkey) includes the following details about Palacci family members:

paragraph: Section::::Works.

paragraph: Palacci began writing at the age of sixteen and wrote more than 70 or 80 religious works, published in Salonica, Istanbul, Jerusalem, and Izmir. Of these, he wrote: 7 works on the Bible, nine essays on the Talmud, 15 books of Midrash and homiletics, moral books, and 24 connected to law, acceptance, Q&A, and other subjects. Some of his works were handwritten. Many remain in print (reprinted) to this day.

paragraph: Major works named in transliterated Hebrew include:

paragraph: BULLET::::1. "Tokhahot Hayyim" (Reproofs of Life)

paragraph: BULLET::::2. Collected homilies

paragraph: BULLET::::3. "Hayyim be-Yad", halachic responsa

paragraph: BULLET::::4. "Nishmat Kol Hay" (Soul of Every Living Thing) (2 volumes, 1832–1837), responsa

paragraph: BULLET::::5. "Massa Hayyim" or "Masa Hayim" (Burden of Life) (1834)–in Ladino

paragraph: BULLET::::6. Responses on taxation (1877)

paragraph: BULLET::::7. "Arsot ha-Hayyim" (Lands of the Living) (1877)

paragraph: BULLET::::8. "Qol ha-Hayyim"

paragraph: BULLET::::9. "Mo'ed le-Khol Hay" (Appointed Place for All Living), laws of the festivals

paragraph: BULLET::::10. "Hiqeqe Lev" (Resolves of the Heart) (2 vols., Salonica, 1840–49), responsa

paragraph: BULLET::::11. "Kaf ha-Hayyim" (Power of Life), halachic rulings and morals

paragraph: Other works found named in transliterated Hebrew include:

paragraph: BULLET::::1. "Sefer Shoshanim Le’David" (Salonica, 1815), halachic response

paragraph: BULLET::::2. "Darche Hayyim 'al Pirke Abot" (Smyrna, 1821), commentary on Pirke Avot

paragraph: BULLET::::3. "Leb Hayyim" (vol. i, Salonica, 1823; ii.-iii., Smyrna, 1874-90), responsa and comments on the Shulchan Aruch

paragraph: BULLET::::4. "De-Rahamim le-Hayyim"

paragraph: BULLET::::5. "Semichah le-Hayyim" (Salonica, 1826)

paragraph: BULLET::::6. "Tsedakah Hayyim" (Smyrna, 1838)

paragraph: BULLET::::7. "Tochahat Hayyim" (2 vols., ib. 1840-53), moral counsel and sermons

paragraph: BULLET::::8. "Ateret Hayyim"

paragraph: BULLET::::9. "Yimmatse le-Hayyim", prayers for different needs

paragraph: BULLET::::10. "Nefesh Hayyim" (ib. 1842)

paragraph: BULLET::::11. "Torah ve-Hayyim"

paragraph: BULLET::::12. "Hayyim Tehillah"

paragraph: BULLET::::13. Treatises on various subjects plus eulogy of Sir Moses Montefiore with appendix "Derachav le-Mosheh" on the Damascus affair (ib. 1845)

paragraph: BULLET::::14. "Hayyim Derachav" (ib. 1850)

paragraph: BULLET::::15. "Hayyim la-Roshe"

paragraph: BULLET::::16. "Re'e Hayyim" (3 vols., ib. 1860)

paragraph: BULLET::::17. "Hayyim ve-Shalom" (Smyrna, 1862)

paragraph: BULLET::::18. "Katub le-Hayyim"

paragraph: BULLET::::19. "Sippur Hayyim"

paragraph: BULLET::::20. "Birkat Mordekai le-Hayyim" (ib. 1868)

paragraph: BULLET::::21. "Sefer Hayyim" (Salonica, 1868)

paragraph: BULLET::::22. "Ginze Hayyim" (Smyrna, 1872)

paragraph: BULLET::::23. "Eine Kol Hai' " (Izmir, 1878), photo)

paragraph: BULLET::::24. "Refuat Hayyim", spiritual remedies for diseases

paragraph: BULLET::::25. "Mismatch Hayyim", on significance of names

paragraph: Section::::Miscellaneous.

paragraph: Palacci's professional stamp survives in a book (see photo).

paragraph: Section::::See also.

paragraph: BULLET::::- Ladino

paragraph: BULLET::::- Kemeraltı cemetery

paragraph: BULLET::::- Pallache family

paragraph: BULLET::::- Pallache (surname)

paragraph: BULLET::::- Joseph Palacci (son)

paragraph: BULLET::::- Abraham Palacci (son)

paragraph: BULLET::::- Rahamim Nissim Palacci (son)

paragraph: BULLET::::- Juda Lion Palache (relative)

paragraph: BULLET::::- Charles Palache (relative)

paragraph: BULLET::::- Samuel Pallache (ancestor)

paragraph: BULLET::::- Joseph Pallache (ancestor)

paragraph: BULLET::::- Moses Pallache (ancestor)

paragraph: BULLET::::- David Pallache (ancestor)

paragraph: BULLET::::- Isaac Pallache (ancestor)

paragraph: BULLET::::- Samuel ha-Levi (ancestor)

paragraph: BULLET::::- Hakham Bashi

paragraph: BULLET::::- History of the Jews in the Ottoman Empire

paragraph: BULLET::::- History of the Jews in Turkey

paragraph: Section::::External sources.

paragraph: Primary:

paragraph: Other:

paragraph: BULLET::::- Franco, "Histoire des Israélites de l'Empire Ottoman", pp. 198–202, 245

paragraph: BULLET::::- Hazan, Solomon, "Ha-Ma'alot li-Shelomoh", s.v.

alias:
Haim Palaggi
MaHaRHaF
HaVIF

description: Ottoman rabbi

wikidata_label: Haim Palachi

wikipedia_title: Haim Palachi


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text: Captured Live!

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text: The Woodstock Experience

text: Live at the Fillmore East 10/3/70

categories: American rock guitarists,Slide guitarists,20th-century male musicians,People with albinism,People from Beaumont, Texas,American male singers,Grammy Award winners,American blues singer-songwriters,American blues harmonica players,American blues mandolinists,2014 deaths,1944 births,Guitarists from Texas,Lead guitarists,Electric blues musicians,American male guitarists,20th-century American guitarists,Disease-related deaths in Switzerland,Songwriters from Texas,American blues guitarists,Blues rock musicians

paragraph: Johnny Winter

paragraph: John Dawson Winter III (February 23, 1944 – July 16, 2014), known as Johnny Winter, was an American musician, singer, songwriter, multi-instrumentalist, and producer. Best known for his high-energy blues-rock albums and live performances in the late 1960s and 1970s, Winter also produced three Grammy Award-winning albums for blues singer and guitarist Muddy Waters. After his time with Waters, Winter recorded several Grammy-nominated blues albums. In 1988, he was inducted into the Blues Foundation Hall of Fame and in 2003, he was ranked 63rd in "Rolling Stone" magazine's list of the "100 Greatest Guitarists of All Time".

paragraph: Section::::Early career.

paragraph: Johnny Winter was born in Beaumont, Texas, on February 23, 1944. Winter and younger brother Edgar (born 1946) were nurtured at an early age by their parents in musical pursuits. Their father, Leland, Mississippi, native John Dawson Winter, Jr. (1909-2001), was also a musician who played saxophone and guitar and sang at churches, weddings, Kiwanis and Rotary Club gatherings. Johnny and his brother, both of whom were born with albinism, began performing at an early age. When he was ten years old, the brothers appeared on a local children's show with Johnny playing ukulele.

paragraph: His recording career began at the age of fifteen, when his band Johnny and the Jammers released "School Day Blues" on a Houston record label. During this same period, he was able to see performances by classic blues artists such as Muddy Waters, B.B. King, and Bobby Bland. In the early days, Winter would sometimes sit in with Roy Head and the Traits when they performed in the Beaumont area, and in 1967, Winter recorded a single with the Traits: "Tramp" backed with "Parchman Farm" (Universal Records 30496). In 1968, he released his first album "The Progressive Blues Experiment", on Austin's Sonobeat Records.

paragraph: Section::::Signing with Columbia Records.

paragraph: Winter caught his biggest break in December 1968, when Mike Bloomfield, whom he met and jammed with in Chicago, invited him to sing and play a song during a Bloomfield and Al Kooper concert at the Fillmore East in New York City. As it happened, representatives of Columbia Records (which had released the Top Ten Bloomfield/Kooper/Stills "Super Session" album) were at the concert. Winter played and sang B.B. King's "It's My Own Fault" to loud applause and, within a few days, was signed to what was reportedly the largest advance in the history of the recording industry at that time—$600,000.

paragraph: Winter's first Columbia album, "Johnny Winter", was recorded and released in 1969. It featured the same backing musicians with whom he had recorded "The Progressive Blues Experiment", bassist Tommy Shannon and drummer Uncle John Turner, plus Edgar Winter on keyboards and saxophone, and (for his "Mean Mistreater") Willie Dixon on upright bass and Big Walter Horton on harmonica. The album featured a few selections that became Winter signature songs, including his composition "Dallas" (an acoustic blues, on which Winter played a steel-bodied, resonator guitar), John Lee "Sonny Boy" Williamson's "Good Morning Little School Girl", and B.B. King's "Be Careful with a Fool".

paragraph: The album's success coincided with Imperial Records picking up "The Progressive Blues Experiment" for wider release. The same year, the Winter trio toured and performed at several rock festivals, including Woodstock. With brother Edgar added as a full member of the group, Winter also recorded his second album, "Second Winter", in Nashville in 1969. The two-record album, which only had three recorded sides (the fourth was blank), introduced a couple more staples of Winter's concerts, including Chuck Berry's "Johnny B. Goode" and Bob Dylan's "Highway 61 Revisited". Also at this time Johnny entered into an intimate, albeit short-lived affair with Janis Joplin, which culminated in a concert at New York's Madison Square Garden, where Johnny joined her on stage to sing and perform.

paragraph: Section::::Unofficial albums.

paragraph: Contrary to urban legend, Johnny Winter did not perform with Jimi Hendrix and Jim Morrison on the infamous 1968 Hendrix bootleg album "Woke up this Morning and Found Myself Dead" from New York City's the Scene club. According to Winter, "I never even met Jim Morrison! There's a whole album of Jimi and Jim and I'm supposedly on the album but I don't think I am 'cause I never met Jim Morrison in my life! I'm sure I never, never played with Jim Morrison at all! I don't know how that [rumor] got started."

paragraph: Beginning in 1969, the first of numerous Johnny Winter albums was released which were cobbled together from approximately fifteen singles (about 30 "sides") he recorded before signing with Columbia in 1969. Many were produced by Roy Ames, owner of Home Cooking Records/Clarity Music Publishing, who had briefly managed Winter. According to an article from the "Houston Press", Winter left town for the express purpose of getting away from him. Ames died on August 14, 2003, of natural causes at age 66. As Ames left no obvious heirs, the ownership rights of the Ames master recordings remains unclear. As Winter stated in an interview when the subject of Roy Ames came up, "This guy has screwed so many people it makes me mad to even talk about him."

paragraph: Section::::Johnny Winter And.

paragraph: In 1970, when his brother Edgar released a solo album "Entrance" and formed Edgar Winter's White Trash, an R&B/jazz-rock group, the original trio disbanded. Johnny Winter then formed a new band with the remnants of the McCoys—guitarist Rick Derringer, bassist Randy Jo Hobbs, and drummer Randy Z (who was Derringer's brother, their family name being Zehringer). Originally to be called "Johnny Winter and the McCoys", the name was shortened to "Johnny Winter And", which was also the name of their first album. The album included Derringer's "Rock and Roll, Hoochie Koo" and signaled a more rock-oriented direction for Winter. When Johnny Winter And began to tour, Randy Z was replaced with drummer Bobby Caldwell. Their mixture of the new rock songs with Winter's blues songs was captured on the live album "Live Johnny Winter And". It included a new performance of "It's My Own Fault", the song which brought Winter to the attention of Columbia Records.

paragraph: Winter's momentum was throttled when he sank into heroin addiction during the Johnny Winter And days. After he sought treatment for and recovered from the addiction, Winter was courageously put in front of the music press by manager Steve Paul to discuss the addiction candidly. By 1973, he returned to the music scene with the release of "Still Alive and Well", a basic blend between blues and hard rock, whose title track was written by Rick Derringer. His comeback concert at Long Island, New York's Nassau Coliseum featured the "And" line-up minus Rick Derringer and Bobby Caldwell. Also performing on stage was Johnny's wife Susie. "Saints & Sinners" and "John Dawson Winter III", two albums released in 1974, continue in the same direction. In 1975, Johnny returned to Bogalusa, Louisiana, to produce an album for Thunderhead, a Southern rock band which included Pat Rush and Bobby "T" Torello, who would later play with Winter. A second live Winter album, "Captured Live!", was released in 1976 and features an extended performance of "Highway 61 Revisited".

paragraph: Section::::Muddy Waters sessions.

paragraph: In live performances, Winter often told the story about how, as a child, he dreamed of playing with the blues guitarist Muddy Waters. He got his chance in 1974, when renowned blues artists and their younger brethren came together to honor the musician (Muddy Waters) responsible for bringing blues to Chicago, and the resulting concert presented many blues classics and was the start of an admired TV series: Soundstage (this particular session was called "Blues Summit in Chicago"). And in 1977, after Waters' long-time label Chess Records went out of business, Winter brought Waters into the studio to record "Hard Again" for Blue Sky Records, a label set up by Winter's manager and distributed by Columbia. In addition to producing the album, Winter played guitar with Waters veteran James Cotton on harmonica. Winter produced two more studio albums for Waters, "I'm Ready" (with Big Walter Horton on harmonica) and "King Bee" and a best-selling live album "Muddy "Mississippi" Waters – Live". The partnership produced three Grammy Awards for Waters and an additional Grammy for Winter's own "Nothin' But the Blues", with backing by members of Waters' band. Waters told "Deep Blues" author Robert Palmer that Winter had done remarkable work in reproducing the sound and atmosphere of Waters's vintage Chess Records recordings of the 1950s. AllMusic writer Mark Deming noted: "Between "Hard Again" and "The Last Waltz" [1976 concert film by The Band], Waters enjoyed a major career boost, and he found himself touring again for large and enthusiastic crowds".

paragraph: Section::::Lawsuit against DC Comics.

paragraph: In 1996, Johnny and Edgar filed suit against DC Comics and the creators of the "Jonah Hex: Riders of the Worm and Such" limited series, claiming, among other things, defamation: two characters named Johnny and Edgar Autumn in the series strongly resemble the Winters. The brothers claimed the comics falsely portrayed them as "vile, depraved, stupid, cowardly, subhuman individuals who engage in wanton acts of violence, murder and bestiality for pleasure and who should be killed." The California Supreme Court sided with DC Comics, holding that the comic books were deserving of First Amendment protection.

paragraph: Section::::Later career and death.

paragraph: After his time with Blue Sky Records, Winter began recording for several labels, including Alligator, Point Blank, and Virgin, where he focused on blues-oriented material. In 1992, he married Susan Warford. In 2004, he received a Grammy Award nomination for his "I'm a Bluesman" album. Beginning in 2007, a series of live Winter albums titled the "Live Bootleg Series" and a live DVD all entered the Top 10 "Billboard" Blues chart. In 2009, "The Woodstock Experience" album was released, which includes eight songs that Winter performed at the 1969 festival. In 2011, Johnny Winter released "Roots" on Megaforce Records. It includes Winter's interpretation of eleven early blues and rock 'n' roll classics and features several guest artists (Vince Gill, Sonny Landreth, Susan Tedeschi, Edgar Winter, Warren Haynes, and Derek Trucks). His last studio album, "Step Back" (which features appearances by Joe Bonamassa, Eric Clapton, Billy Gibbons, Leslie West, Brian Setzer, Dr. John, Paul Nelson, Ben Harper and Joe Perry), was released on September 2, 2014. Nelson and Winter won a Grammy Award in the Best Blues Album category for "Step Back" in 2015. Nelson said Winter knew it was an award winner and Winter told him "If we don't win a Grammy for this, they're nuts."

paragraph: Winter continued to perform live, including at festivals throughout North America and Europe. He headlined such prestigious events as the New Orleans Jazz & Heritage Festival, Chicago Blues Festival, the 2009 Sweden Rock Festival, the Warren Haynes Christmas Jam, and Rockpalast. He also performed with the Allman Brothers at the Beacon Theater in New York City on the 40th anniversary of their debut. In 2007 and 2010, Winter performed at Eric Clapton's Crossroads Guitar Festivals. Two guitar instructional DVDs were produced by Cherry Lane Music and the Hal Leonard Corporation. The Gibson Guitar Company released the signature Johnny Winter Firebird guitar in a ceremony in Nashville with Slash presenting.

paragraph: Winter was professionally active until the time of his death near Zurich, Switzerland, on July 16, 2014. He was found dead in his hotel room two days after his last performance, at the Cahors Blues Festival in France. The cause of Winter's death was not officially released. According to his guitarist friend and record producer Paul Nelson, Winter died of emphysema combined with pneumonia.

paragraph: Writing in "Rolling Stone" magazine, after Winter's death, David Marchese said, "Winter was one of the first blues rock guitar virtuosos, releasing a string of popular and fiery albums in the late Sixties and early Seventies, becoming an arena-level concert draw in the process ... [he] made an iconic life for himself by playing the blues.

paragraph: Section::::Material loss.

paragraph: On June 25, 2019, "The New York Times Magazine" listed Johnny Winter among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

paragraph: Section::::Recognition and legacy.

paragraph: Winter produced three Grammy Award-winning albums by Muddy Waters – "Hard Again" (1977), "I'm Ready" (1978), and "Muddy "Mississippi" Waters – Live" (1979). Several of Winter's own albums were nominated for Grammy Awards – "Guitar Slinger" (1984) and "Serious Business" (1985) for Best Traditional Blues Album, and "Let Me In" (1991) and "I'm a Bluesman" (2004) for Best Contemporary Blues Album. In 2015 Winter posthumously won the Grammy Award for Best Blues Album for "Step Back". The album also won the 2015 Blues Music Award for Best Rock Blues Album. At the 18th Maple Blues Awards in 2015, Winter was also posthumously awarded the B.B. King International Artist of The Year Award.

paragraph: In 1980, Winter was on the cover of the first issue of "Guitar World". In 1988, he was inducted into the Blues Hall of Fame, the first non-African-American performer to be inducted into the Hall. There was a character in the video game "Heavy Rain" named after Winter.

paragraph: Multiple guitarists have cited Winter as an influence, including Joe Perry, Frank Marino, Michael Schenker, and Alex Skolnick.

paragraph: Section::::Guitars and picking style.

paragraph: Winter played a variety of guitars during his career, but he is probably best known for his use of Gibson Firebirds. He owned several, but favored a 1963 Firebird V model. Winter explained:

paragraph: The Firebird V was a departure from Gibson's traditional configuration, with mini-humbucker pickups in place of the company's PAF, 490, or P-90 models. In a 2014 interview, Winter described the tone:

paragraph: In 2008, the Gibson Custom Shop issued a signature Johnny Winter Firebird V in a ceremony in Nashville with Slash presenting.

paragraph: In 1984, luthier Mark Erlewine approached Winter with his Lazer electric guitar. With its unusual design (for the time) without a headstock and having a small body, Winter responded immediately: "the first day I plugged it in, it sounded so good that I wanted to use it for a gig that night." He commented:

paragraph: Other guitars that Winter owned and played include a Gibson ES-125 (his first electric guitar), a Fender Stratocaster, a Gibson Les Paul/SG Custom, a Fender Mustang, a Gibson Les Paul Goldtop with P-90 pickups, a Gibson Flying V, an Epiphone Wilshire, a Gibson Black Beauty, a Fender Electric XII (with only the regular six strings), and an acoustic National Resonator.

paragraph: Winter played with a thumb pick and his fingers. His picking style was inspired by Chet Atkins and Merle Travis and he never used a flat pick. Winter preferred a plastic thumb pick sold by Gibson and a steel pinky slide, later marketed by Dunlop.

paragraph: Section::::Discography.

paragraph: Studio albums

paragraph: BULLET::::- "The Progressive Blues Experiment" (Sonobeat 1968, re-released by UA/Imperial 1969)

paragraph: BULLET::::- "Johnny Winter" (Columbia 1969)

paragraph: BULLET::::- "Second Winter" (Columbia 1969)

paragraph: BULLET::::- "Johnny Winter And" (Columbia 1970)

paragraph: BULLET::::- "Still Alive and Well" (Columbia 1973)

paragraph: BULLET::::- "Saints & Sinners" (Columbia 1974)

paragraph: BULLET::::- "John Dawson Winter III" (Columbia 1974)

paragraph: BULLET::::- "Nothin' but the Blues" (Blue Sky 1977)

paragraph: BULLET::::- "White, Hot and Blue" (Blue Sky 1978)

paragraph: BULLET::::- "Raisin' Cain" (Blue Sky 1980)

paragraph: BULLET::::- "Guitar Slinger" (Alligator 1984)

paragraph: BULLET::::- "Serious Business" (Alligator 1985)

paragraph: BULLET::::- "Third Degree" (Alligator 1986)

paragraph: BULLET::::- "The Winter of '88" (MCA/Voyager 1988)

paragraph: BULLET::::- "Let Me In" (Point Blank 1991)

paragraph: BULLET::::- "Hey, Where's Your Brother?" (Point Blank 1992)

paragraph: BULLET::::- "I'm a Bluesman" (Virgin 2004)

paragraph: BULLET::::- "Roots" (Megaforce 2011)

paragraph: BULLET::::- "Step Back" (Megaforce 2014)

paragraph: Live albums

paragraph: BULLET::::- "Live Johnny Winter And" (Columbia 1971)

paragraph: BULLET::::- "Captured Live!" (Blue Sky 1976)

paragraph: BULLET::::- "" (Blue Sky 1976) – with Edgar Winter

paragraph: BULLET::::- "Live in NYC '97" (Virgin 1998)

paragraph: BULLET::::- "The Woodstock Experience" (Sony/Legacy 2009)

paragraph: BULLET::::- "Live at the Fillmore East 10/3/70" (Collectors' Choice 2010)

description: American blues guitarist, singer, and record producer

wikidata_label: Johnny Winter

wikipedia_title: Johnny Winter


text: Liberal

text: Lord Chamberlain of the Household

text: Lord Steward of the Household

text: Marquess Townshend

text: John Townshend, 2nd Viscount Sydney

text: Robert Clements, 1st Earl of Leitrim

text: Eton

text: St John's College, Cambridge

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text: Groom of the Bedchamber

text: Gentleman of the Bedchamber

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text: Lord Palmerston

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text: Chislehurst

categories: People educated at Eton College,Townshend family,1805 births,Alumni of St John's College, Cambridge,Lord-Lieutenants of Kent,Members of the Privy Council of the United Kingdom,Captains of Deal Castle,UK MPs 1826–1830,Members of the Parliament of the United Kingdom for English constituencies,Earls in the Peerage of the United Kingdom,UK MPs 1830–1831,1890 deaths

paragraph: John Townshend, 1st Earl Sydney

paragraph: John Robert Townshend, 1st Earl Sydney (9 August 1805 – 14 February 1890), known as The Viscount Sydney between 1831 and 1874, was a British Liberal politician. In a ministerial career spanning over 30 years, he was twice Lord Chamberlain of the Household and twice Lord Steward of the Household.

paragraph: Section::::Background.

paragraph: A member of the Townshend family headed by the Marquess Townshend, Sydney was the son of John Townshend, 2nd Viscount Sydney, by his second wife Lady Caroline Elizabeth Letitia, daughter of Robert Clements, 1st Earl of Leitrim. He was educated at Eton and St John's College, Cambridge, graduating MA in 1824.

paragraph: Section::::Political career.

paragraph: Sydney was first elected to parliament for Whitchurch in 1826, a seat he held until 1831, when he succeeded his father in the viscountcy and entered the House of Lords. From 1828 to 1831 served Kings George IV and William IV as Groom of the Bedchamber and from 1835 to 1837 was a Gentleman of the Bedchamber to William IV.

paragraph: In December 1852 he was appointed Captain of the Yeomen of the Guard, Deputy Chief Whip in the House of Lords in Lord Aberdeen's coalition government and was sworn of the Privy Council in early 1853. He continued as Captain of the Yeomen of the Guard when Lord Palmerston became prime minister in 1855, but relinquished the position when the Liberals lost power in February 1858. The Liberals returned to office under Palmerston already in June 1859, when Sydney was made Lord Chamberlain of the Household, a post he held until 1866, the last year under the premiership of Lord Russell. In February 1866 he was appointed a Knight Grand Cross of the Order of the Bath.

paragraph: Sydney was once again Lord Chamberlain of the Household between 1868 and 1874 in William Ewart Gladstone's first administration. In 1874 he was created Earl Sydney, of Scadbury in the County of Kent. He later served under Gladstone as Lord Steward of the Household between 1880 and 1885 and between February and July 1886. However, despite Lord Sydney's ministerial career lasting over 30 years he was never a member of the cabinet.

paragraph: Apart from his political career he was also Colonel of the Kent Militia Artillery from when it was raised in May 1853 until 1890, Lord Lieutenant of Kent between 1856 and 1890 and Captain of Deal Castle between 1879 and 1890.

paragraph: Section::::Family.

paragraph: Lord Sydney married Lady Emily Paget, daughter of Field Marshal Henry Paget, 1st Marquess of Anglesey, on 4 August 1832. They had no children. He died in February 1890, aged 84, when all his titles became extinct. The Countess Sydney survived her husband by three years and died in March 1893. The family seat of Frognal House was inherited by Lord Sydney's nephew Robert Marsham, who assumed the additional surname of Townshend in accordance with his uncle's will.

paragraph: Section::::Other notes.

paragraph: The Sydney Arms on Old Perry Street, Chislehurst, was previously known as The Swan, and in Pigot's Directory of 1832 known as the White Swan. It was renamed in the 1880s in honour of John Robert Townshend, 3rd Viscount Sydney. The pub sign is a diagram of the Sydney family arms.

description: British politician

wikidata_label: John Townshend, 1st Earl Sydney

wikipedia_title: John Townshend, 1st Earl Sydney


text:
Charles d'Évreux
Maria de La Cerda y Lara
Froissart
Poitiers
Edward III of England
Treaty of Brétigny
John, Duke of Berry
Raoul I of Brienne, Count of Eu
Walter VI of Brienne

categories: 1400 deaths,1336 births,Counts of Étampes,14th-century peers of France,House of Évreux,Counts of Gien,French prisoners of war in the Hundred Years' War

paragraph: Louis I, Count of Étampes

paragraph: Louis d'Évreux, Count of Étampes (1336 – 6 May 1400) was the son of Charles d'Évreux and Maria de La Cerda y Lara.

paragraph: According to Froissart he was captured at Poitiers and ransomed. He later served as one of the royal hostages given to Edward III of England to guarantee the Treaty of Brétigny. In the 1390s, Louis was included in the entourage of John, Duke of Berry, who ultimately succeeded him in Étampes.

paragraph: He married Jeanne (d. 1389), daughter of Raoul I of Brienne, Count of Eu and widow of Walter VI of Brienne, but they had no children.

description: European noble

wikidata_label: Louis I, Count of Étampes

wikipedia_title: Louis I, Count of Étampes


text:
professional boxer
WBA
interim
super-middleweight
British
middleweight
amateur
Islington
stoppage
Billy Joe Saunders
British
Commonwealth
middleweight
unanimous decision
WBO
Nick Blackwell
WBA
Sergey Khomitsky
Jack Arnfield
Adam Etches
super-middleweight
Rocky Fielding
split decision
John Ryder profile
Matchroom Boxing

categories: English male boxers,Boxers from Greater London,Middleweight boxers,1988 births,People from Islington (district),Living people

paragraph: John Ryder (boxer)

paragraph: John Ryder (born 19 July 1988) is a British professional boxer who has held the WBA interim super-middleweight title since May 2019. At regional level he has challenged twice for the British middleweight title in 2013 and 2015, and once for the British super-middleweight title in 2017.

paragraph: Section::::Amateur career.

paragraph: As an amateur, Ryder fought for Angel Amateur Boxing Club in his birthplace of Islington, winning 30 fights out of 35.

paragraph: Section::::Professional career.

paragraph: Ryder turned professional on 10 September 2010, scoring a first-round stoppage against Ben Deghani. Having won his first fifteen fights, Ryder faced fellow undefeated prospect Billy Joe Saunders for his British and Commonwealth middleweight titles on 21 September 2013, losing a close unanimous decision (UD) with scores of 115–113, 115–113 and 115–114 for Saunders. Ryder won his first regional championship—the vacant WBO Inter-Continental middleweight title—on 11 October 2014, stopping Theophilus Tetteh in five rounds. He defended this title once, against Billi Facundo Godoy with a tenth-round stoppage.

paragraph: After Saunders vacated the British middleweight title, a bout was held between top contenders Ryder and Nick Blackwell on 30 May 2015. Ryder was widely ahead on the scorecards when he was stopped on his feet by Blackwell in the seventh round. Ryder bounced back on 30 January 2016, winning his second regional championship—the vacant WBA International middleweight title—with a UD over Sergey Khomitsky.

paragraph: Ryder faced Jack Arnfield on 24 September 2016, losing a close and controversial UD over twelve rounds. Ryder rebounded in his next fight by defeating Adam Etches by UD again in twelve rounds. On 22 April 2017, Ryder moved up to super-middleweight in facing Rocky Fielding for the British title, but lost a split decision. Despite judges' scores of 116–113 and 115–114 for Fielding, and 115–114 for Ryder, many observers felt the latter won the fight.

paragraph: Section::::External links.

paragraph: BULLET::::- John Ryder profile at Matchroom Boxing

description: British boxer

wikidata_label: John Ryder

wikipedia_title: John Ryder (boxer)