text:
humanist
Aldine Press
enchiridia
Greek
Aristotle
Aristophanes
Latin
italic type
Erasmus
Iphigenia in Aulis
Rome
Giovanni Pico
Venice
Aldine Press
Aldus Manutius the Younger
Bassiano
Italian Renaissance
humanist scholar
Rome
Latin
Gaspare da Verona
Domizio Calderini
Greek
Ferrara
Guarino da Verona
Mirandola
Giovanni Pico della Mirandola
Greek literature
Alberto
Carpi
Caterina Pico
printing press
Andrea Torresani
Aldine Press
Constantine Lascaris
Pier Francesco Barbarigo
Doge
Agostino Barbarigo
Aristotle
Aristophanes
Pietro Bembo
Petrarch's
Florence
Milan
Second Italian War
Desiderius Erasmus
Hecuba
Iphigenia in Aulis
Plato
polyglot
octavo
Girolamo Aleandro
Adagiorum Chiliades
Marcus Musurus
Ioannis Grigoropoulos
orator
Plutarch
League of Cambrai
Pope Leo X
Italy
typography
Venice
Vicenza
Florence
Theocritus
Isocrates
Homer
John Speyer
Constantinople
Crete
Cardinal Bessarion
ancient Greek literature
Scipio Fortiguerra
Crete
manuscripts
typesetter
binder
Musaeus Grammaticus
Italian
De Aetna
Dante
Cuspinianus
Poliziano's
Pietro Bembo's
Francesco Colonna
Hypnerotomachia Poliphili
Divine Comedy
Virgil
italic print
publisher's device
festina lente
Vespasian
William Pickering
Doubleday
Beta Phi Mu
Enchiridion
editio minor
soldi
ducat
cursive
Pierpont Morgan Library
punchcutter
Francesco Griffo
Bologna
italic type
Ovid
Sabinus
Asola
Marquisate of Mantua
Francesco Gonzaga
Casal Romano
Geoffroy Carles
Horace
Giulio Campagnola
Aldine Press
Aldus Manutius the Younger
trilingual
Septuagint
Old Testament
Hebrew
Italian
Project Gutenberg
Hermann Zapf
Mr. Penumbra’s 24-Hour Bookstore
Robin Sloan
secret society
Francesco Griffo
Aldus
PageMaker
FreeHand
Apple Macintosh
Adobe Systems
Brown University
vanity publisher
Umberto Eco's
Foucault's Pendulum
Lucretius
Prudentius
Prosper
John of Damascus
Vergil
Horace
Juvenal
Persius
Catullus
Tibullus
Propertius
Cicero
Lucan
Sedulius
Iuvencus
Arator
Statius
Valerius Maximus
Metamorphoses
Ovid
Heroides
Amores
Remedia amoris
Fasti
Tristia
Ex Ponto
Origen
Pliny the Younger
Sallust
Atticus
Brutus
Quintus
Julius Caesar
Cato
Varro
Columella
Palladius
Quintilian
Angelo Poliziano
Niccolò Perotti
Gianfrancesco Pico
Giovanni Pontano
Adriano Castellesi
Adages
Ercole Strozzi
Jacopo Sannazaro
Aldine Press Collections
Incunabulum
Editio princeps
History of Western typography
Printing
Exhibit on Aldus Manutius and his press
Harold B. Lee Library
Works by Aldus Manutius

categories: People from the Province of Latina,Italian Renaissance humanists,Italian typographers,15th-century Italian people,Printers of incunabula,Italian printers,1515 deaths,15th-century births]]<!--[[Category:1449 births,Italian publishers (people),16th-century Italian people

paragraph: Aldus Manutius

paragraph: Aldus Pius Manutius (; ; 1449/14526 February 1515) was a humanist, scholar, educator, and the founder of the Aldine Press. Manutius devoted the later part of his life to publishing and disseminating rare texts. His interest in and preservation of Greek manuscripts mark him as an innovative publisher of his age dedicated to the editions he produced. His enchiridia, small portable books, revolutionized personal reading and are the predecessor of the modern paperback.

paragraph: Manutius wanted to produce Greek texts for his readers because he believed that works by Aristotle or Aristophanes in their original Greek form were pure and unadulterated by translation. Before Manutius, publishers rarely printed volumes in Greek, mainly due to the complexity of providing a standardized Greek typeface. Manutius published rare manuscripts in their original Greek and Latin forms. He commissioned the creation of typefaces in Greek and Latin resembling humanist handwriting of his time; typefaces that are the first known precursor of italic type. As the Aldine Press grew in popularity, Manutius's innovations were quickly copied across Italy despite his efforts to prevent piracy of Aldine editions.

paragraph: Because of the Aldine Press's growing reputation of meticulous, accurate publications, Erasmus sought out Manutius to publish his translations of "Iphigenia in Aulis".

paragraph: In his youth, Manutius studied in Rome to become a humanist scholar. He was friends with Giovanni Pico and tutored Pico's nephews, the princes of Carpi, Alberto and Leonello Pio. While a tutor, Manutius published two works for his pupils and their mother. In his late thirties or early forties Manutius settled in Venice to become a print publisher. He met Andrea Torresani in Venice and the two cofounded the Aldine Press.

paragraph: Manutius is also known as "Aldus Manutius the Elder" to distinguish him from his grandson, Aldus Manutius the Younger.

paragraph: Section::::Early life.

paragraph: Aldus Manutius was born close to Rome in Bassiano between 1449 and 1452. He grew up in a wealthy family during the Italian Renaissance and in his youth was sent to Rome to become a humanist scholar. In Rome, he studied Latin under Gaspare da Verona and attended lectures by Domizio Calderini in the early 1470s. From 1475 to 1478, Manutius studied Greek in Ferrara with Guarino da Verona as his teacher.

paragraph: Most of Manutius's early life is rather unknown. According to the "1911 Encyclopædia Britannica, Volume 17", Manutius was granted citizenship of the town of Carpi on 8 March 1480 where he owned local property, and in 1482 he traveled to Mirandola for a time with his longtime friend and fellow student, Giovanni Pico della Mirandola, where he stayed two years to study Greek literature. Pico recommended Manutius to become the tutor of his nephews, Alberto and Leonello Pio, princes of the town of Carpi. In Carpi, Manutius shared a close bond with his student, Alberto Pio. At the end of the 1480s, Manutius published two works addressed to his two pupils and their mother, Caterina Pico — both works were published in Venice by Baptista de Tortis: "Musarum Panagyris" with its "Epistola Catherinae Piae" (March/May 1487 to March 1491) and the "Paraenesis" (1490).

paragraph: Giovanni Pico and Alberto Pio's families funded the starting costs of Manutius's printing press and gave him lands in Carpi. Manutius determined that Venice was the best location for his work, settling there in 1490. In Venice, Manutius began gathering publishing contracts, at which point he met Andrea Torresani, who was also engaged in print publishing. Torresani and Manutius became lifelong business partners, and for their first contract together Manutius hired Torresani to print the first edition of his Latin grammar book the "Institutiones grammaticae", published on 9 March 1493.

paragraph: Section::::Aldine Press.

paragraph: The Aldine Press, established in 1494, had its first publication in March 1495: "Erotemata cum interpretatione Latina" by Constantine Lascaris. Andrea Torresani and Pier Francesco Barbarigo, nephew of the Doge, Agostino Barbarigo, each held fifty percent of the press. Of Torresani's fifty percent, Manutius was given one-fifth, but accounts are unclear as to whether Manutius's one-fifth refers to ten percent of the Aldine Press or ownership exclusively to one-fifth of Torresani's share.

paragraph: The press's first great achievement was a five-volume folio edition of Aristotle. Manutius started the first volume of his Aristotle edition in 1495. Four more volumes were published together in 1497 and 1498. The Aldine Press produced nine comedies of Aristophanes in 1498, and Pietro Bembo edited Petrarch's poems that Manutius published in July 1501. In addition to editing Greek manuscripts, Manutius corrected and improved texts originally published in Florence, Rome, and Milan.

paragraph: The Second Italian War suspended the press for a time. During that time, Desiderius Erasmus asked Manutius to publish his translations of "Hecuba" and "Iphigenia in Aulis" through the Aldine Press. Erasmus's original letter to Manutius inquires about the printer's proposed plans: a Greek Plato and a polyglot bible. Through correspondence, the two came to an agreement. In December 1507, the Aldine Press published "Iphigenia in Audlis" in an 80-page octavo with Erasmus's translation from Greek into Latin. With the success and accuracy of their first collaboration, Manutius agreed to publish the expanded version of the "Adagiorum collectanea" Erasmus was working on. Erasmus traveled to Venice, where he spent his first ten months working at the Aldine Press. He lived in Manutius and Torresani's home, where he shared a room with Girolamo Aleandro. His research using Manutius's resources and Greek scholars enabled him to expand his collection of proverbs from 819 entries to 3,260 entries. The Aldine press published this newly expanded collection of proverbs, "Adagiorum Chiliades", in 1508. After the publication of "Adagiorum Chiliades", Erasmus helped Manutius proofread a Greek edition of Plutarch's "Moralia" along with many other Aldine Press publications.

paragraph: Manutius relied on Marcus Musurus, Ioannis Grigoropoulos, and other Greek collaborators to translate for the Aldine Press. He published an edition of minor Greek orators (1508) and the lesser works of Plutarch (1509). Printing work halted again while the League of Cambrai tried to lessen Venice's influence. Manutius reappeared in 1513 with an edition of Plato that he dedicated to Pope Leo X in a preface that compares the miseries of warfare and the woes of Italy with the sublime and tranquil objects of the student's life.

paragraph: With the Aldine Press's increasing popularity, people would come to visit the shop, interrupting Manutius's work. Manutius put up a sign that read, "Whoever you are, Aldus asks you again and again what it is you want from him. State your business briefly and then immediately go away."

paragraph: Manutius strove for excellence in typography and book design while publishing lower-cost editions. This was carried out under continual difficulties, including problems arising from strikes among his workmen, unauthorized use of Manutius's materials by rivals, and frequent interruptions by war.

paragraph: Section::::Aldine Press.:Greek classics.

paragraph: Before Manutius, there were fewer than ten Greek titles in print, most of which had to be imported from the Accursius Press of Milan. Only four Italian towns were authorized to produce Greek publications: Milan, Venice, Vicenza, and Florence, and they only published works by Theocritus, Isocrates, and Homer. Venice printer John Speyer produced Greek passages but required the minimal Greek letters to be left blank and later filled in by hand.

paragraph: Manutius desired to “inspire and refine his readers by inundating them with Greek." He originally came to Venice because of its many Greek resources; Venice held Greek manuscripts from the time of Constantinople and was home to a large cluster of Greek scholars who traveled there from Crete. Venice was also where Cardinal Bessarion, in 1468, donated his large Greek manuscript collection. To preserve ancient Greek literature, the Aldine Press commissioned a typeface based on classical Greek manuscripts so that readers could experience the original Greek text more authentically.

paragraph: While publishing Greek manuscripts, Manutius founded the New Academy, a group of Hellenist scholars, in 1502 to promote Greek studies. The "Encyclopædia Britannica Eleventh Edition" writes that the New Academy's "rules were written in Greek, its members spoke Greek, their names were Hellenized, and their official titles were Greek." Members of the New Academy included Desiderius Erasmus, Pietro Bembo, and Scipio Fortiguerra. M.J.C. Lowry, a lecturer in history at the University of Warwick, has a different view, regarding the New Academy as a hopeful dream rather than an organized institute.

paragraph: Manutius spoke Greek in his household, and employed thirty Greek speakers at the Aldine Press. Greek speakers from Crete prepared and proofed manuscripts and their calligraphy was a model for the casts used for Greek type. Instructions for typesetters and binders were written in Greek, and the prefaces to Manutius's editions were also in Greek. Manutius printed editions of "Hero and Leander" by Musaeus Grammaticus, the "Galeomyomachia", and the Greek "Psalter." He called these "Precursors of the Greek Library" because they served as guides to the Greek language. Under Manutius's supervision, the Aldine Press published 75 texts by Classical Greek and Byzantine authors.

paragraph: Section::::Aldine Press.:Latin and Italian classics.

paragraph: Along with Greek classics, the Aldine Press published Latin and Italian authors. Manutius launched Pietro Bembo's career as a writer by publishing "De Aetna" in 1496, which was the Aldine Press's first Latin publication by a contemporary author. The Bembo family hired the Aldine Press to produce accurate texts of Dante and Petrarch using Bernardo Bembo's personal manuscript collection. Pietro Bembo worked with Manutius from 1501 to 1502 to provide an accurate edition of Dante and Petrarch and also introduced punctuation. Bembo later made a diagram of sins to illustrate the 1515 Aldine edition of Dante.

paragraph: Manutius did not hold the same power of innovation over Latin classics as with Greek classics because publication of these works started 30 years before his time. To promote the Aldine editions in Latin, Manutius promoted the quality of his publications through his prefaces. Manutius was on the lookout for rare manuscripts, but often found instead missing parts of previously published works. Cuspinianus let Manutius publish the missing parts of Valerius Maximus's work, which Cuspinianus "had found in a manuscript in Vienna." Francesco Negri let Manutius publish the missing text of "Julius Firmicus", which Negri found in Romania, and "a manuscript from Britain made an improved edition of Prudentius possible."

paragraph: The press printed first editions of Poliziano's collected works, Pietro Bembo's "Asolani", Francesco Colonna's "Hypnerotomachia Poliphili", and Dante's "Divine Comedy". The 1501 publication of Virgil introduced the use of italic print and was produced in higher-than-normal print runs (1,000 rather than the usual 200 to 500 copies).

paragraph: Section::::Aldine Press.:Imprint and motto.

paragraph: Manutius adopted the image of a dolphin wrapped around an anchor as his publisher's device in June 1502. The dolphin-and-anchor symbol is associated with the phrase "festina lente," meaning "make haste slowly," indicating quickness combined with firmness in the execution of a great scheme. The symbol and phrase were taken from a Roman coin minted during Emperor Vespasian's reign that was given to Manutius by Pietro Bembo.

paragraph: Manutius's editions of the classics were so highly respected that the dolphin-and-anchor device was almost immediately pirated by French and Italian publishers. Many modern organizations use the image of a dolphin wrapped around an anchor. The device has been used by the nineteenth-century London firm of William Pickering, and by Doubleday. The international honor society for library and information science, Beta Phi Mu, uses the dolphin and anchor as its insignia.

paragraph: Section::::Aldine Press.:Enchiridia.

paragraph: Manutius described his new format of books as "libelli portatiles in formam enchiridii" ("portable small books in the form of a manual"). Enchiridion, described in "A Legacy More Lasting than Bronze", also refers to a handheld weapon, a hint that Aldus intended the books in his Portable Library to be the weapons of scholars. It was for these pocket-sized classics Aldus designed the italic font.

paragraph: Manutius converted to the smaller format in 1501 with the publication of Virgil. As time went on, Manutius self-advertised his portable format through the dedication pages he published.

paragraph: Many scholars consider the development of the portable book as Manutius's most celebrated contribution to printing and publishing. These mobile books were the first known appearance of an editio minor, a straightforward text. During the 15th century, books were often chained to a reading platform to protect valuable property, requiring the reader to stay stationary. Publishers often added commentary to their published classics. Thus, pages became overloaded with scholarship and serious material which produced a large book that was difficult to transport. The Aldine Press removed these inconveniences; Manutius’s books were "published without commentary and in smaller sizes, usually octavos of five by eight or four by six inches." His famous octavo editions are often regarded as the first prototype of the mass-market paperback.

paragraph: The octavos were moderately priced considering the known average salaries of the time, but they were not cheap. Manutius's priced his Latin octavos at 30 soldi, which was a fourth of a ducat. His Greek octavos were double the price at 60 soldi. For context, a master mason would earn about 50 soldi a day to make between 50–100 ducats a year.

paragraph: Section::::Aldine Press.:Typefaces.

paragraph: Everyday handwriting in Venice was in cursive, but at the time, published works contained only block lettering. Manutius commissioned typefaces designed to look like the handwriting of humanists both in Latin and Greek in order to uphold the manuscript tradition. In the "New Aldine Studies," Harry George Fletcher III, Pierpont Morgan Library's curator for printed books and bindings, writes that Manutius intended "to make available in type a face comfortable for its readers" with the cursive typeface.

paragraph: Manutius commissioned the punchcutter Francesco Griffo of Bologna to create the new typeface. The handwriting reproduced for the many Aldine Press typefaces is a topic of conflicting opinions by scholars; the "1911 Encyclopædia Britannica" suggests Petrarch's handwriting, while the "New Aldine Studies" presumes the handwriting of scribes Pomponio Leto and Bartolomeo Sanvito was the inspiration for the typeface. Other scholars believe the first Greek typeface was derived from the handwriting of Immanuel Rhusotas, another scribe during the time of Manutius. The Aldine Press commissioned the first Greek script designed "with accents and letters cast separately and combined by the compositor." The typeface was first used in publishing "Erotemata" by Constantine Lascaris in 1495. The Roman typeface was finished later the same year and Pietro Bembo's "De Aetna" was the first book published in the new Roman script.

paragraph: Manutius and Griffo's original typeface is the first known model of italic type and was used by Manutius until 1501. Five italic words were printed in "St. Catherine of Siena" in 1500 and in 1501 an "Opera" by Virgil was the first completed book in italic type. A falling out between Manutius and Griffo brought Griffo to leave and supply other publishers with the italic type originally commissioned by the Aldine Press. Griffo only made one set of punches for the Aldine Press, which were used until 1559. Griffo's original italic type did not include capital letters, so many of the Aldine Press publications forewent capital letters.

paragraph: The 1502 publication of the "Metamorphoses" included Manutius's privilege from the Doge of Venice indicating that any use or imitation of Manutius's Greek and Italic typefaces was forbidden. Despite trying to have the typeface protected legally, Manutius could not stop printers outside of Venice from using his work, which led to the typeface's popularity outside of Italy.

paragraph: Section::::Aldine Press.:Counterfeits and piracy.

paragraph: As the Aldine Press grew in popularity, Aldine counterfeits also increased. Manutius acquired privileges for his printing press from the Venetian Senate, specifically, for "his types, his pioneering octavo format, and even individual texts." Pope Alexander VI in 1502 and Pope Julius II in 1514 granted Manutius printing privileges from the papacy. This did not stop Aldine Press counterfeits, as there was little penalty for piracy at the time.

paragraph: Manutius attempted to discourage piracy with blunt warnings at the end of his publications, as in "Sylvarum libri quinque", by Publius Papinius Statius, where he warned "no one is allowed to print this without penalty." In the Bibliothèque du Roi on 16 March 1503, Manutius tried to warn off those who plagiarized his content, "it happens that in the city of Lyon our books appeared under my name, but full of errors... and deceived unwary buyers due to the similarity of typography and format...Furthermore, the paper is of poor quality and has a heavy odor, and the typography, if you examine it closely, exudes a sort of (as one might phrase it) 'Frenchiness'." He described the counterfeit's typographical errors in detail so that readers might distinguish a real Aldine from a fake. In spite of his efforts, the Lyonese printers were quick to use Manutius's critique to improve their counterfeits.

paragraph: Section::::Aldine Press.:Illuminated manuscripts and Aldine prefaces.

paragraph: Before the printing press and during the Italian Renaissance, illuminated manuscripts were individually created by a credited artist. When print publishing became popular, woodcuts were used to mass-illuminate works. The woodcuts were often reused in several editions, thereby decreasing their value. These woodcuts soon came to Venice and were viewed as part of the "new humanist manuscript." The woodcut images "included aspects of both continuity and discontinuity that involved the activity of Manutius, who was called upon to wholly explicate the new potential of the printed book and deal with the crisis of the illumination." Many of the Aldine Press's publications contained illumination, but Manutius let patrons decide the illumination details while he worked to translate and publish.

paragraph: Prefatory letters, popular in first editions of Latin works years before, were also common for Aldine editions. Manutius used the Aldine editions to ask scholarly questions and provide information for his readers. In the preface of Ovid (1502), he argues that Heroides 17, 19, and 21 (the letters of Helen, Hero, and Cudippe, respectively) were the work of the poet Sabinus, whom Ovid refers to as Amores. In another preface Manutius explains how a sundial works.

paragraph: Section::::Personal life.

paragraph: In 1505, Manutius married Maria, the daughter of Andrea Torresani of Asola. Torresani and Manutius were already business partners, but the marriage combined the two partners' shares in the publishing business. After the marriage, Manutius lived at Torresani's house. Shrinking in popularity, in 1506 the Aldine Press was moved to a house now covered by a bank building in the Venice square, "Campo Manin".

paragraph: In March 1506, Manutius decided to travel for six months in search of new and reliable manuscripts. While traveling with a guide, Manutius was stopped by border guards of the Marquisate of Mantua who were looking for two criminals. Manutius's guide ran in fear, taking with him all of Manutius's personal effects. This suspicious activity led the guards to arrest Manutius. Manutius knew the Marquis of Mantua, Francesco Gonzaga, and wrote letters to him to explain the situation, but it took six days until Manutius's imprisonment was brought to Gonzaga's attention. While waiting, Manutius spent five days in jail in Casal Romano and another night in Canneto. He was eventually released by Geoffroy Carles, president of the Milanese Senate. A new, improved edition of Horace (after 30 March 1509) with an accompanying work by Manutius on Horatian metrics dedicated to Carles was contingent on this experience and Manutius's connection with Carles.

paragraph: Manutius wrote his will on 16 January 1515 instructing Giulio Campagnola to provide capital letters for the Aldine Press's italic type. He died the next month, 6 February, and "with his death the importance of Italy as a seminal and dynamic force in printing came to an end." Torresani and his two sons carried on the business during the youth of Manutius's children, and eventually Paulus, Manutius's son, took over the business. The publishing symbol and motto were never wholly abandoned by the Aldine Press until the expiration of their firm in its third generation of operation by Aldus Manutius the Younger.

paragraph: Manutius dreamed of a trilingual Bible but never saw it come to fruition. However, before his death Manutius had begun an edition of the Septuagint, also known as the Greek Old Testament translated from Hebrew, the first ever to be published; it appeared posthumously in 1518.

paragraph: Section::::Modern influence.

paragraph: 1994 marked the 500th anniversary of Aldus Manutius's first publication. On Manutius, Paul F. Grendler wrote, "Aldus ensured the survival of a large number of ancient texts and greatly facilitated the diffusion of the values, enthusiasms, and scholarship of Italian Renaissance Humanism to the rest of Europe". "He jettisoned commentary because he felt that it prevented the dialogue between author and reader that the Renaissance prized."

paragraph: Section::::Modern influence.:Legacy.

paragraph: The Aldine Press produced more than 100 editions from 1495 to 1505. The majority were Greek classics, but many notable Latin and Italian works were published as well.

paragraph: Erasmus was impressed by Manutius; "in a long passage he extols the 'tireless efforts' of Manutius in restoring ancient learning, truly 'a Herculean task,' and he announces that 'Aldus is building up a library which has no other limits than the world itself'."

paragraph: The Palazzo dei Pio chapel in Carpi has a painted mural that includes Aldus Manutius along with Alberto and Leonello Pio. In Bassiano, Manutius's birthplace, a monument was erected to commemorate the 450th year since Manutius's death. The inscription is Manutius's own words: "for the abundance of good books which, we hope, will finally put to flight all ignorance."

paragraph: The quality and popularity of Manutius's work made it more expensive in the 20th century than others published around the same time. In 1991, Martin Lowry found that an auction in New York took place where "initial prices of $6,000 – $8,000 and $8,000 – $12,000 were quotes on copies of "Decor Puellarum" and "Aulus Gellius" in Jenson’s editions: Aldus' "Hypnerotomachia Polifili" started at $25,000 – $30,000."

paragraph: Section::::Modern influence.:References.

paragraph: BULLET::::- Manutius's name is the inspiration for Progetto Manuzio, an Italian free text project similar to Project Gutenberg.

paragraph: BULLET::::- A typeface created by Hermann Zapf was named after Aldus Manutius and dedicated to his memory.

paragraph: BULLET::::- The novel "Mr. Penumbra’s 24-Hour Bookstore" by Robin Sloan features a fictionalized version of Aldus Manutius, as well as a fictional secret society devoted to him. One of the novel's characters, Griffo Gerritszoon, designs a fictitious font called "Gerritszoon" that is preinstalled on every Mac, in allusion to Manutius's associate Francesco Griffo, the designer of italic type. The Aldine Press' motto "festina lente" is used as the name of the fictional corporation that owns and markets the "Gerritszoon" font.

paragraph: BULLET::::- Aldus, a software company founded in Seattle in 1985, known for PageMaker and FreeHand for the Apple Macintosh, was named after Manutius and used his profile as part of their company logo. Aldus was purchased by Adobe Systems in 1994.

paragraph: BULLET::::- The "Aldus Journal of Translation", a publication from Brown University, is named after Aldus Manutius.

paragraph: BULLET::::- The book "John Henry Nash: The Aldus of San Francisco" relates John Nash to Aldus Manutius and San Francisco to Venice.

paragraph: BULLET::::- "Manutius" is the name of a vanity publisher in the English translation of Umberto Eco's 1988 novel "Foucault's Pendulum".

paragraph: Section::::Publications.

paragraph: A partial list of works translated and published by the Aldine Press under Manutius's supervision.

paragraph: Section::::Publications.:Greek editions.

paragraph: Greek editions published during Manutius's lifetime:

paragraph: BULLET::::- "Galeomyomachia", c. 1494–1495

paragraph: BULLET::::- "Hero and Leander", Musaeus, c. 1495

paragraph: BULLET::::- "Psalter", c. 1497

paragraph: BULLET::::- "Rules of the New Academy", c. 1501

paragraph: BULLET::::- "Epitome of the Eight Parts of Speech", Lascaris, 1495

paragraph: BULLET::::- "Organon", Aristotle, 1495

paragraph: BULLET::::- "Grammar", Theodorus Gaza, 1495

paragraph: BULLET::::- "Idylls", Theocritus, 1495–1496

paragraph: BULLET::::- "Thesaurus, Corn of Amalthea and Gardens of Adones", 1496

paragraph: BULLET::::- "Historia Plantarum", Theophrastus, 1497

paragraph: BULLET::::- "Dictionarium Graecum", I. Crastonus, 1497

paragraph: BULLET::::- "Hours of the Virgin", 1497

paragraph: BULLET::::- "Institutiones Graecae Grammatices", U. Bolzanius, 1497/1498

paragraph: BULLET::::- "Physics", Aristotle, 1497

paragraph: BULLET::::- "History of animals", Aristotle, 1497

paragraph: BULLET::::- "Prolegomena to the Deipnosophists", Athenaeus, 1498

paragraph: BULLET::::- "Nicomachean Ethics", Aristotle, 1498

paragraph: BULLET::::- "Nine Comedies", Aristophanes, 1498

paragraph: BULLET::::- "Catalogues of Aldus's editions"

paragraph: BULLET::::- "Epistolae diversorum philosophorum oratorum...", 1499

paragraph: BULLET::::- "Phaenomena", Aratus, 1499

paragraph: BULLET::::- "Metabole [Paraphrase of John]", Nonnus of Panopolis, 1501

paragraph: BULLET::::- "Bibbia", 1501

paragraph: BULLET::::- "Poetae Christiani Veteres, first volume", 1501

paragraph: BULLET::::- "Poetae Christiani Veteres, second volume", 1502

paragraph: BULLET::::- "De octo partibus orationis", Constantine Lascaris, 1501–1503

paragraph: BULLET::::- "De urbibus", Stephanus Byzantius, 1502

paragraph: BULLET::::- "Onomasticon", Julius Pollux, 1502

paragraph: BULLET::::- "History of the Peloponnesian War", Thucydides, 1502

paragraph: BULLET::::- "Tragedies", Sophocles, 1502

paragraph: BULLET::::- "Complete works", Lucian, 1503

paragraph: BULLET::::- "De interpretatione", Ammonius Hermiae, 1503

paragraph: BULLET::::- "Prolegomena", Ulpian, 1503

paragraph: BULLET::::- "Anthology of Epigrams", M. Planudes, 1503

paragraph: BULLET::::- "Commentary on Aristotle's Posterior Analytics", Ioannes Grammaticus (Philoponus), 1504

paragraph: BULLET::::- "Life of Apollonius of Tyana", Flavius Philostratus, 1504

paragraph: BULLET::::- "Carmina ad bene...", Gregorius Nazianzenus, 1504

paragraph: BULLET::::- Homer, 1504

paragraph: BULLET::::- "Orations", Demosthenes, 1504

paragraph: BULLET::::- "Horae in Laudem...", 1504

paragraph: BULLET::::- "Posthomerica", Quintus Smyrnaeus, 1504–1505

paragraph: BULLET::::- Aesop, 1505

paragraph: BULLET::::- "Adagiorum", Erasmus, 1508

paragraph: BULLET::::- Greek Orators (2 volumes), 1508–1509

paragraph: BULLET::::- "Opuscula", Plutarch, 1509

paragraph: BULLET::::- "Erotemata", M. Chrysoloras, 1512

paragraph: BULLET::::- "Epitome", C. lascaris, 1512

paragraph: BULLET::::- Pindar, 1513

paragraph: BULLET::::- "Orators' Speeches", 1513

paragraph: BULLET::::- Greek Orators, 1513

paragraph: BULLET::::- "Complete works", Plato, 1513

paragraph: BULLET::::- "Commentary On the Topics of Aristotle", Alexander of Aphrodisias, 1513/1514

paragraph: BULLET::::- "Suda", 1514

paragraph: BULLET::::- "Lexikon", Hesychius, 1514

paragraph: BULLET::::- "Deipnosophists", Athenaeus, 1514

paragraph: BULLET::::- "Grammar", Aldus Manutius, 1515

paragraph: Section::::Publications.:Latin classics.

paragraph: Partial list of Latin editions published during his lifetime:

paragraph: BULLET::::- "Astronomica", Julius Firmicus, October 1499. & "Astronomica", Manilius (October 1499)

paragraph: BULLET::::- Lucretius (December 1500)

paragraph: BULLET::::- "Christian Poets, Volume 1", Prudentius, Prosper, John of Damascus (January 1501)

paragraph: BULLET::::- Vergil (April 1501)

paragraph: BULLET::::- Horace (May 1501)

paragraph: BULLET::::- Juvenal & Persius (August 1501)

paragraph: BULLET::::- Catullus, Tibullus, Propertius (January 1502)

paragraph: BULLET::::- "Letter to Friends", Cicero (April 1502)

paragraph: BULLET::::- Lucan (April 1502)

paragraph: BULLET::::- "Christian Poets, Volume 2", Sedulius, Iuvencus, Arator (June 1502)

paragraph: BULLET::::- Statius (August 1502)

paragraph: BULLET::::- Valerius Maximus (October 1502)

paragraph: BULLET::::- "Metamorphoses", Ovid (October 1502)

paragraph: BULLET::::- "Heroides, Amores, Ars amandi, Remedia amoris, etc.", Ovid (December 1502)

paragraph: BULLET::::- "Fasti, Tristia, Ex Ponto", Ovid (February 1503)

paragraph: BULLET::::- "Homilies", Origen (after 4 April 1503)

paragraph: BULLET::::- Vergil (December 1505)

paragraph: BULLET::::- "Letters", Pliny the Younger (November 1508)

paragraph: BULLET::::- Horace (after 30 March 1509)

paragraph: BULLET::::- Sallust (April 1509)

paragraph: BULLET::::- "Letters to Atticus, Brutus and his brother Quintus", Cicero (June 1513)

paragraph: BULLET::::- "On the Meaning of Archaic Words", Festus (June 1513)

paragraph: BULLET::::- Julius Caesar (December 1513)

paragraph: BULLET::::- "Rhetorical Works", Cicero (March 1514)

paragraph: BULLET::::- "On Agriculture", Cato, Varro, Columella, Palladius (May 1514)

paragraph: BULLET::::- Quintilian (August 1514)

paragraph: BULLET::::- Vergil (October 1514)

paragraph: BULLET::::- Lucretius (January 1515)

paragraph: Section::::Publications.:Humanist works.

paragraph: Partial list of Humanist authors translated and published by the Aldine Press under Manutius's supervision:

paragraph: BULLET::::- "Instructional Principles of Latin Grammar", Aldus Manutius (5 March 1493)

paragraph: BULLET::::- "Gleanings in Dialectics", Lorenzo Maioli (July 1497)

paragraph: BULLET::::- "Complete Works", Angelo Poliziano (July 1498)

paragraph: BULLET::::- "Cornucopiae", Niccolò Perotti (July 1499)

paragraph: BULLET::::- "Rudiments of Latin Grammar", Aldus Manutius (February–June 1501)

paragraph: BULLET::::- "On Imagination", Gianfrancesco Pico (April 1501)

paragraph: BULLET::::- "The Land and Customs of the Zygians call Circassians", Giorgio Interiano (October 1502)

paragraph: BULLET::::- "Urania, Meteora, The Gardens of the Hesperides, etc.", Giovanni Pontano (May–August 1505)

paragraph: BULLET::::- "On Hunting", Adriano Castellesi (September 1505)

paragraph: BULLET::::- "Adages" or "Adagiorum Chiliades", Desiderius Erasmus Roterodamus (September 1508)

paragraph: BULLET::::- "Poems", Tito and Ercole Strozzi (January 1513)

paragraph: BULLET::::- "Arcadia", Jacopo Sannazaro (September 1514)

paragraph: Section::::Publications.:Archives.

paragraph: For substantial collections of Aldus Manutius's publications, see Aldine Press Collections.

paragraph: Section::::See also.

paragraph: BULLET::::- Incunabulum — books, pamphlets, or broadsides printed in Europe before the year 1501

paragraph: BULLET::::- Editio princeps — the first printed edition of a book

paragraph: BULLET::::- History of Western typography

paragraph: BULLET::::- Printing

paragraph: Section::::External links.

paragraph: BULLET::::- Exhibit on Aldus Manutius and his press at the Harold B. Lee Library, Brigham Young University

paragraph: BULLET::::- Works by Aldus Manutius at Archive.org

alias:
Aldus Pius Manutius
Aldo Manuzio
Aldus Manutius, the Elder
Aldo Pio Manuzio
Aldus Mannucius
Aldus Manucius
Aldus Mandutius
Teobaldo Manucci
Aldus, the Elder Manutius
Aldo Manoutio
Aldo Manuzio il Vecchio
Aldo Manuccio
Alde Manuce
Aldus Manucjusz

description: Italian printer and humanist

wikidata_label: Aldus Manutius

wikipedia_title: Aldus Manutius


text:
India
FIA Formula 2 Championship
MP Motorsport
JK Racing Asia Series
MRF Challenge
Formula Masters China
Shanghai International Circuit
Cebu Pacific Air by KCMG
Italian F4 Championship
F & M
Monza
Imola
MRF Challenge Formula 2000
Madras Motor Race Track
European Formula 3 Championship
Motopark
Norisring
GP3
Campos
Trident
2016 GP3 Series
Auto GP
BOSS GP
FIA Formula 2 Championship
MP Motorsport
Formula 3
Virtual Safety Car
Jack Aitken
Driver Database

categories: 1998 births,Living people,GP3 Series drivers

paragraph: Mahaveer Raghunathan

paragraph: Mahaveer Raghunathan (born 17 November 1998) is an Indian racing driver. He currently competes in the FIA Formula 2 Championship, driving for MP Motorsport.

paragraph: Section::::Career.

paragraph: Raghunathan started his racing career in karting in 2011, where he remained active until 2013. He also made his Formula racing debut in 2012, in four races of the JK Racing Asia Series for the Meco Racing team.

paragraph: In 2013, Raghunathan competed in the MRF Challenge Formula 1600, finishing sixth. He also took part in the final race weekend of the Formula Masters China series at the Shanghai International Circuit for the Cebu Pacific Air by KCMG team, finishing the races in 14th, 15th and 12th respectively.

paragraph: In 2014 Raghunathan moved to the new Italian F4 Championship, debuting on the second race weekend for the F & M team. With four sixth places at Monza and Imola as best results, he finished twelfth in the championship with 45 points.

paragraph: At the beginning of 2015, Raghunathan took part in the final race weekend of the MRF Challenge Formula 2000 series at the Madras Motor Race Track. He then returned to Europe to take part in the European Formula 3 Championship for the Motopark team. With a 20th place at the Norisring as his best result, he finished 39th in the standings with zero points. Raghunathan took part in the official GP3 post season test with the Campos and Trident teams, in preparation for the 2016 GP3 Series. He also tested with the Coloni Motorsport team in Auto GP.

paragraph: In 2016, Raghunathan raced in the Auto GP championship with Italian team PS Racing, securing nine podium finishes. In the same year, he also raced in the BOSS GP series in the Formula Class and secured two podiums.

paragraph: In 2017, he continued racing in the BOSS GP-Formula Class Championship with Italian team Coloni Racing. He won 13 podiums out of 14 races, scoring three wins, and ending the season as champion. He is the first Indian to win the BOSS GP Championship.

paragraph: In 2019, Raghunathan began racing in the FIA Formula 2 Championship for MP Motorsport, and currently sits 20th in the drivers' championship. Raghunathan's F2 career has so far been marred by a string of penalties and poor results, whilst being on average over 4.5 seconds off the pole-position time at the first five rounds and even occasionally running slower than Formula 3 drivers in inferior machinery. He was subsequently suspended for the Austrian round based on the accumulation of penalty points, including picking up 9 points for infringements under all 3 Virtual Safety Car procedures in the Feature Race in France and taking him over the 12 required for a ban, having previously been reprimanded for passing the chequered flag twice at the opening round in Bahrain and colliding with Jack Aitken in Monaco.

paragraph: Section::::Racing record.

paragraph: Section::::Racing record.:Career summary.

paragraph: As Raghunathan was a guest driver, he was ineligible for championship points

paragraph: * Season still in progress.

paragraph: Section::::Racing record.:Complete FIA Formula 2 Championship results.

paragraph: * Season still in progress.

paragraph: Section::::External links.

paragraph: BULLET::::- Profile at Driver Database

description: Indian racing driver

wikidata_label: Mahaveer Raghunathan

wikipedia_title: Mahaveer Raghunathan


text:
Occitan
Latin
French
poet
scholar
The Pléiade
Limoges
Paris
Francis I of France
classical scholar
Lazare de Baif
Jean-Antoine de Baif
Antoine de Baif
Pierre de Ronsard
Remy Belleau
Pontus de Tyard
Joachim du Bellay
French language
Étienne Jodelle
Alexandria
Pindar
England
Italy
Germany
Collège Royal
Charles IX
Charles Marty-Laveaux
claque
Eduard Fraenkel
Joseph Justus Scaliger

categories: French poets,People from Limoges,1508 births,Collège de France faculty,1588 deaths,French classical scholars

paragraph: Jean Daurat

paragraph: Jean Daurat (Occitan: Joan Dorat; Latin: Auratus) (3 April 15081 November 1588) was a French poet, scholar and a member of a group known as "The Pléiade".

paragraph: Section::::Early life.

paragraph: He was born Joan Dinemandy in Limoges and was a member of a noble family. After studying at the College of Limoges, he came to Paris to be presented to King Francis I of France, who made him tutor to his pages. He rapidly gained an immense reputation as a classical scholar.

paragraph: Section::::Career.

paragraph: As a private tutor in the house of Lazare de Baif, he had Jean-Antoine de Baif for his pupil. His son, Louis, showed great precocity and at the age of ten, translated into French verse one of his father's Latin pieces. His poems were published with his father's.

paragraph: Daurat became director of the College de Coqueret, where he had among his pupils Antoine de Baif, Pierre de Ronsard, Remy Belleau, and Pontus de Tyard. Joachim du Bellay was added by Ronsard to this group, and these five young poets, under the direction of Daurat, formed a society for the reformation of the French language and literature. They increased their number to seven by the initiation of the dramatist Étienne Jodelle, and thereupon they named themselves "La Pléiade", in emulation of the seven Greek poets of Alexandria. The election of Daurat as their leader proved his personal influence, and the value his pupils set on the learning to which he introduced them, but as a writer of French verse he is the least important of the seven. Meanwhile, he collected around him a sort of Academy, and encouraged the students in a passionate study of Greek and Latin poetry. He himself wrote incessantly in both those languages, and was styled "the modern Pindar". His influence extended beyond the bounds of his own country, and he was famous as a scholar in England, Italy, and Germany.

paragraph: In 1556 he was appointed professor of Greek at the Collège Royal. In 1567, he resigned the post in favour of his nephew, Nicolas Goulu. King Charles IX gave him the title of "poeta regius" ("the king's poet"). His prolific output was the wonder of his time; he is said to have composed more than 15,000 Greek and Latin verses. The best of these he published at Paris in 1586. He died at Paris, having survived all his illustrious pupils of the "Pléiade", except Pontus de Tyard. The "Œuvres poétiques" in the vernacular of Jean Daurat were edited in 1875 with biographical notice and bibliography by Charles Marty-Laveaux in his "Pléiade française".

paragraph: Daurat has been credited with the development of the claque in the French theatre, in which professional applauders are paid to ensure the success of (or in other cases, booed to ensure the failure of) certain plays, playwrights, and actors.

paragraph: Section::::Scholarship.

paragraph: Daurat is described by Eduard Fraenkel as "the true initiator of the study of Greek poetry in France". His pupils, including Joseph Justus Scaliger, were responsible for circulating the numerous textual conjectures made by Daurat, especially in Aeschylus' "Agamemnon", which Daurat himself left unpublished.

description: French writer and scholar

wikidata_label: Jean Daurat

wikipedia_title: Jean Daurat


text: French

text: poet

text: critic

text: Pléiade

text: Liré

text: Angers

text: cardinal

text: Jean du Bellay

text: Guillaume du Bellay

text: law

text: University of Poitiers

text: Poitiers

text: humanist

text: Marc Antoine Muret

text: Jean Salmon Macrin

text: Latin

text: Jacques Peletier du Mans

text: Horace

text: La Pléiade

text: Ronsard

text: Renaissance

text: Paris

text: Jean Dorat

text: Jean-Antoine de Baïf

text: Latinist

text: poetry

text: Thomas Sébillet

text: Clément Marot

text: Sperone Speroni

text: mother tongue

text: Euripides

text: Guillaume des Autels

text: Lyon

text: Barthélemy Aneau

text: French language

text: Petrarch

text: Ariosto

text: Gabriele Giolito de' Ferrari

text: Marguerite de Valois

text: Henry II

text: Aeneid

text: occasional poems

text: Rome

text: Edmund Spenser

text: The Ruins of Rome

text: Volney

text: Chateaubriand

text: Regrets

text: Adrien Turnèbe

text: Mellin de Saint-Gelais

text: Michel de l'Hôpital

text: Eustache du Bellay

text: bishop of Paris

text: Savoy

text: Notre Dame

text: archbishop of Bordeaux

text: C. Marty-Laveaux

text: L. Becq de Fouquières

text: Xenia

text: Sainte-Beuve

text: Léon Séché

text: Pierre de Nolhac

text: Walter Pater

text: George Wyndham

text: Hilaire Belloc

text: Arthur Tilley

text: Biography, Bibliography, Analysis

text: University of Virginia's Gordon Project

categories: 16th-century Latin-language writers,People from Maine-et-Loire,16th-century French writers,French male poets,16th-century male writers,1520s births,New Latin-language poets,University of Poitiers alumni,Sonneteers,French Renaissance,Clerks,16th-century French poets,1560 deaths

paragraph: Joachim du Bellay

paragraph: Joachim du Bellay (also Joachim Du Bellay; ; c. 1522 – 1 January 1560) was a French poet, critic, and a founder of the Pléiade. He notably wrote the manifesto of the group: "Défense et illustration de la langue française", which aimed at promoting French as an artistic language, equal to Greek and Latin.

paragraph: Section::::Biography.

paragraph: Joachim du Bellay was born at the Castle of La Turmelière, not far from Liré, near Angers, being the son of Jean du Bellay, Lord of Gonnor, first cousin of the cardinal Jean du Bellay and of Guillaume du Bellay. His mother was Renée Chabot, daughter of Perceval Chabot and heiress of La Turmelière ("Plus me plaît le séjour qu'ont bâti mes aïeux").

paragraph: Both his parents died while he was still a child, and he was left to the guardianship of his elder brother, René du Bellay, who neglected his education, leaving him to run wild at La Turmelière. When he was twenty-three, however, he received permission to study law at the University of Poitiers, no doubt with a view to his obtaining preferment through his kinsman the Cardinal Jean du Bellay. At Poitiers he came in contact with the humanist Marc Antoine Muret, and with Jean Salmon Macrin (1490–1557), a Latin poet famous in his day. There too he probably met Jacques Peletier du Mans, who had published a translation of the "Ars Poetica" of Horace, with a preface in which much of the program advocated later by La Pléiade is to be found in outline.

paragraph: It was probably in 1547 that du Bellay met Ronsard in an inn on the way to Poitiers, an event which may justly be regarded as the starting-point of the French school of Renaissance poetry. The two had much in common, and became fast friends. Du Bellay returned with Ronsard to Paris to join the circle of students of the humanities attached to Jean Dorat at the Collège de Coqueret.

paragraph: While Ronsard and Jean-Antoine de Baïf were most influenced by Greek models, du Bellay was more especially a Latinist, and perhaps his preference for a language so nearly connected with his own had some part in determining the more national and familiar note of his poetry. In 1548 appeared the "Art poétique" of Thomas Sébillet, who enunciated many of the ideas that Ronsard and his followers had at heart, though with essential differences in the point of view, since he held up as models Clément Marot and his disciples. Ronsard and his friends dissented violently from Sébillet on this and other points, and they doubtless felt a natural resentment at finding their ideas forestalled and, moreover, inadequately presented.

paragraph: The famous manifesto of the Pléiade, the "Défense et illustration de la langue française" (Defense and Illustration of the French Language, 1549), was at once a complement and a refutation of Sébillet's treatise. This book (inspired in part by Sperone Speroni's "Dialogo delle lingue", 1542) was the expression of the literary principles of the Pléiade as a whole, but although Ronsard was the chosen leader, its redaction was entrusted to du Bellay. This work also bolstered French political debate as a means of learned men to reform their country. To obtain a clear view of the reforms aimed at by the Pléiade, the Defence should be further considered in connection with Ronsard's "Abrégé d'art poétique" and his preface to the "Franciade". Du Bellay maintained that the French language as it was then constituted was too poor to serve as a medium for the higher forms of poetry, but he contended that by proper cultivation it might be brought on a level with the classical tongues. He condemned those who despaired of their mother tongue, and used Latin for their more serious and ambitious work. For translations from the ancients he would substitute imitations, though he does not in the Defense explain precisely how one is to go about this. Not only were the forms of classical poetry to be imitated, but a separate poetic language and style, distinct from those employed in prose, were to be used. The French language was to be enriched by a development of its internal resources and by discreet borrowing from Italian, Latin and Greek. Both du Bellay and Ronsard laid stress on the necessity of prudence in these borrowings, and both repudiated the charge of wishing to Latinize their mother tongue. The book was a spirited defence of poetry and of the possibilities of the French language; it was also a declaration of war on those writers who held less heroic views.

paragraph: The violent attacks made by du Bellay on Marot and his followers, and on Sébillet, did not go unanswered. Sébillet replied in the preface to his translation of the "Iphigenia" of Euripides; Guillaume des Autels, a Lyonnese poet, reproached du Bellay with ingratitude to his predecessors, and showed the weakness of his argument for imitation as opposed to translation in a digression in his "Réplique aux furieuses defenses de Louis Meigret" (Lyons, 1550); Barthélemy Aneau, regent of the Collège de la Trinité at Lyons, attacked him in his " Horatian" (Lyons, 1551), the authorship of which was commonly attributed to Charles Fontaine. Aneau pointed out the obvious inconsistency of inculcating imitation of the ancients and depreciating native poets in a work professing to be a defence of the French language.

paragraph: Du Bellay replied to his various assailants in a preface to the second edition (1550) of his sonnet sequence "Olive", with which he also published two polemical poems, the "Musagnaeomachie", and an ode addressed to Ronsard, "Contre les envieux fioles". "Olive", a collection of sonnets modeled after the poetry of Petrarch, Ariosto, and contemporary Italians published by Gabriele Giolito de' Ferrari, first appeared in 1549. With it were printed thirteen odes entitled "Vers lyriques". "Olive" has been supposed to be an anagram for the name of a "Mlle Viole", but there is little evidence of real passion in the poems, and they may perhaps be regarded as a Petrarchan exercise, especially as, in the second edition, the dedication to his lady is exchanged for one to Marguerite de Valois, daughter of Henry II. Du Bellay did not actually introduce the sonnet into French poetry, but he acclimatized it; and when the fashion of sonneteering became a mania he was one of the first to ridicule its excesses.

paragraph: About this time du Bellay had a serious illness of two years' duration, from which dates the beginning of his deafness. He had further anxieties in the guardianship of his nephew. The boy died in 1553, and Joachim, who had up to this time borne the title of "sieur de Liré", became "seigneur" of Gonnor. In 1549 he had published a "Recueil de poésies" dedicated to the Princess Marguerite. This was followed in 1552 by a version of the fourth book of the "Aeneid", with other translations and some occasional poems.

paragraph: In the next year he went to Rome as one of the secretaries of Cardinal du Bellay. To the beginning of his four and a half years' residence in Italy belong the forty-seven sonnets of his "Antiquités de Rome", published in 1558. Sonnet III of the "Antiquités", "Nouveau venu qui cherches Rome en Rome," has been shown to reflect the direct influence of a Latin poem by a Renaissance writer named Jean or Janis Vitalis. The "Antiquités" were rendered into English by Edmund Spenser ("The Ruins of Rome", 1591), and the sonnet "Nouveau venu qui cherches Rome en Rome" was rendered into Spanish by Francisco de Quevedo ("A Roma sepultada en sus ruinas," 1650). These sonnets were more personal and less imitative than the Olive sequence, and struck a note which was revived in later French literature by Volney and Chateaubriand. His stay in Rome was, however, a real exile. His duties were those of an attendant. He had to meet the cardinal's creditors and to find money for the expenses of the household. Nevertheless, he found many friends among Italian scholars, and formed a close friendship with another exiled poet whose circumstances were similar to his own, Olivier de Magny.

paragraph: Towards the end of his sojourn in Rome he fell violently in love with a Roman lady called Faustine, who appears in his poetry as Columba and Columbelle. This passion finds its clearest expression in the Latin poems. Faustine was guarded by an old and jealous husband, and du Bellay's eventual conquest may have had something to do with his departure for Paris at the end of August 1557. In the next year he published the poems he had brought back with him from Rome, the Latin Poemata, the "Antiquités de Rome", the "Divers Jeux Rustiques", and the 191 sonnets of the "Regrets", the greater number of which were written in Italy. The "Regrets" show that he had moved away from the theories of the "Défence".

paragraph: The simplicity and tenderness specially characteristic of du Bellay appear in the sonnets telling of his unlucky passion for Faustine, and of his nostalgia for the banks of the Loire. Among them are some satirical sonnets describing Roman manners, and the later ones written after his return to Paris are often appeals for patronage. His intimate relations with Ronsard were not renewed, but he formed a close friendship with the scholar Jean de Morel, whose house was the centre of a learned society. In 1559 du Bellay published at Poitiers "La Nouvelle Manière de faire son profit des lettres", a satirical epistle translated from the Latin of Adrien Turnèbe, and with it "Le Poète courtisan", which introduced the formal satire into French poetry. The Nouvelle Manière is believed to be directed at Pierre de Paschal, who was elected as royal historiographer, and who had promised to write Latin biographies of the great, but who in fact never wrote anything of the sort. Both works were published under the pseudonym of J Quintil du Troussay, and the courtier-poet was generally supposed to be Mellin de Saint-Gelais, with whom du Bellay had always, however, been on friendly terms.

paragraph: Section::::Last works and death.

paragraph: A long and eloquent "Discours au roi" (detailing the duties of a prince, and translated from a Latin original written by Michel de l'Hôpital, now lost) was dedicated to Francis II in 1559, and is said to have secured for the poet a tardy pension, although it was not published until 1567, after his death. In Paris he was still in the employ of the cardinal, who delegated to him the lay patronage which he still retained in the diocese. In the exercise of these functions Joachim quarrelled with Eustache du Bellay, bishop of Paris, who prejudiced his relations with the cardinal, less cordial since the publication of the outspoken "Regrets". His chief patron, Marguerite de Valois, to whom he was sincerely attached, had gone to Savoy. Du Bellay's health was weak; his deafness seriously hindered his official duties; and on 1 January 1560 he died at the age of 38. There is no evidence that he was in priest's orders, but he was a clerk, and as such held various preferments. He had at one time been a canon of Notre Dame of Paris, and was accordingly buried in the cathedral. The statement that he was nominated archbishop of Bordeaux during the last year of life is unauthenticated by documentary evidence and is in itself extremely improbable.

paragraph: Section::::Bibliography.

paragraph: The best edition of his collected works in French is still that produced by Henri Chamard in six volumes. Also, there are the "Œuvres francaises" (2 vols., 1866–1867), edited with introduction and notes by C. Marty-Laveaux in his "Pléiade française". His "Œuvres choisies" were published by L. Becq de Fouquières in 1876. The chief source of his biography is his own poetry, especially the Latin elegy addressed to Jean de Morel, ""Elegia ad Janum Morellum Ebredunensem, Pytadem suum"," printed with a volume of Xenia (Paris, 1569). A study of his life and writings by H. Chamard, forming vol. viii. of the "Travaux et mémoires de l'université de Lille" (Lute, 1900), contains all the available information and corrects many common errors.

paragraph: Section::::Further reading.

paragraph: BULLET::::- Sainte-Beuve, "Tableau de la poésie française au XVI siècle" (1828)

paragraph: BULLET::::- "La Défense et illust. de la langue française" (1905), with biographical and critical introduction by Léon Séché, who also wrote "Joachim du Bellay--documents nouveaux et inédits" (1880), and published in 1903 the first volume of a new edition of the "Œuvres"

paragraph: BULLET::::- "Lettres de Joachim du Bellay" (1884), edited by Pierre de Nolhac

paragraph: BULLET::::- Walter Pater, "Joachim du Bellay", essay in "The Renaissance" (1873)  pp. 155–176

paragraph: BULLET::::- George Wyndham, "Ronsard and La Pléiade" (1906)

paragraph: BULLET::::- Hilaire Belloc, "Avril" (1905)

paragraph: BULLET::::- Arthur Tilley, "The Literature of the French Renaissance" (2 vols., 1904).

paragraph: BULLET::::- Ursula Hennigfeld, "Der ruinierte Körper. Petrarkistische Sonette in transkultureller Perspektive." Königshausen & Neuman, Würzburg (2008).

paragraph: Section::::External links.

paragraph: BULLET::::- Biography, Bibliography, Analysis

paragraph: BULLET::::- University of Virginia's Gordon Project A 1569 edition of du Bellay's works and background information

paragraph: BULLET::::- The first complete translation into English of Du Bellay's "Antiquités de Rome" since Spenser

paragraph: BULLET::::- Lyrics of the French Renaissance: Marot, Du Bellay, Ronsard By Norman R. Shapiro - (in French and English) - Google books

description: French poet, critic, and a member of the Pléiade

wikidata_label: Joachim du Bellay

wikipedia_title: Joachim du Bellay


text:
Viking
Dublin
Viking Northumbria
Gofraid ua Ímair
Ímar
Uí Ímair
King of Dublin
Limerick
Amlaíb Cenncairech
Constantine II of Scotland
Kingdom of Northumbria
Æthelstan
Battle of Brunanburh
York
Blácaire mac Gofraid
Edmund
Leicester
Five Boroughs
Derby
Leicester
Lincoln
Nottingham
Stamford
Olaf Cuaran
Irish annals
Fair Foreigners and the Dark Foreigners
Armagh
overking of Ulaid
Sliabh Beagh
Muirchertach mac Néill
Ailech
Kildare
Gofraid ua Ímair
King of Dublin
County Meath
Knowth
Lough Ree
Amlaíb Cenncairech
King of Limerick
Northumbria
Æthelstan of England
Constantine II of Scotland
Battle of Brunanburh
Bromborough
Cheshire
Edmund
poetic telling of the battle
Anglo-Saxon Chronicle
Kilcullen
County Kildare
king of Northumbria
Olaf Cuaran
Blácaire
Symeon of Durham
Historia Regum
Five Boroughs
Derby
Leicester
Lincoln
Nottingham
Stamford
Chronicle of Melrose
Anglian
Tyninghame
Scottish Borders
Fair Foreigners and the Dark Foreigners
Auldhame
East Lothian
Saint Baldred
Alex Woolf
Ímar
Ivar the Boneless
Uí Ímair
Ragnall mac Gofraid
Edmund I of England
John of Worcester
Roger of Wendover
Cammán mac Amlaíb
Conaille Muirtheimne
Howth
Uí Liatháin
Ireland's Eye
Anglesey
Olaf Cuaran
Internet Archive
Internet Archive
Internet Archive
UK public library membership
UK public library membership
CELT: Corpus of Electronic Texts
University College Cork

categories: 10th-century rulers of the Kingdom of the Isles,Uí Ímair,10th-century Irish monarchs,Monarchs of Dublin,10th-century English monarchs,941 deaths,People from County Dublin,Viking warriors,Monarchs of Jorvik

paragraph: Olaf Guthfrithson

paragraph: Olaf Guthfrithson (; ; ; died 941) was a Viking leader who ruled Dublin and Viking Northumbria in the 10th century. He was the son of Gofraid ua Ímair and great-grandson of Ímar, making him one of the Uí Ímair. Olaf succeeded his father as King of Dublin in 934 and succeeded in establishing dominance over the Vikings of Limerick when he captured their king, Amlaíb Cenncairech, in 937. That same year he allied with Constantine II of Scotland in an attempt to reclaim the Kingdom of Northumbria which his father had ruled briefly in 927. The forces of Olaf and Constantine were defeated by the English led by Æthelstan at the Battle of Brunanburh.

paragraph: Olaf returned to Ireland in 938 but after Æthelstan's death the following year Olaf left for York where he was quickly able to establish himself as king, with his brother Blácaire mac Gofraid being left to rule in Dublin. Olaf and Æthelstan's successor Edmund met in 939 at Leicester where they came to an agreement regarding the division of England between them. This agreement proved short-lived, however, and within a few years Vikings had occupied the Five Boroughs of Derby, Leicester, Lincoln, Nottingham and Stamford. Olaf died in 941 and was succeeded in Northumbria by his cousin Olaf Cuaran. At the time of his death, the Irish annals title him "king of Danes" and "king of the Fair Foreigners and the Dark Foreigners".

paragraph: Section::::Biography.

paragraph: Olaf first conclusively appears in contemporary records in 933 when the annals describe him plundering Armagh on 10 November. He is then recorded as allying with Matudán mac Áeda, overking of Ulaid and raiding as far as Sliabh Beagh, where they were met by an army led by Muirchertach mac Néill of Ailech, and lost 240 men in the ensuing battle along with much of their plunder. An earlier reference to a "son of Gofraid" who plundered the monastery at Kildare in 928 might refer to Olaf but no name is given. Olaf's father Gofraid ua Ímair, King of Dublin died in 934 and Olaf succeeded him as king. The following year Olaf carried out a raid at Lagore crannog in County Meath, and then looted the burial chamber at Knowth the following week.

paragraph: Olaf is described as "Lord of the Foreigners" by the "Annals of the Four Masters" in 937, at which time he went to Lough Ree and captured Amlaíb Cenncairech, King of Limerick and his troops after breaking their boats. This conflict can be ascribed to rivalry between the competing Viking settlements of Dublin and Limerick, with this event marking victory for Dublin. This period is considered to be the high-point of Viking influence in Ireland. Having secured his position in Ireland, Olaf turned his attention to England and Northumbria, which had once been ruled by Olaf's father and had been conquered in 927 by Æthelstan of England. Olaf allied with Constantine II of Scotland, whose kingdom had been invaded by Æthelstan in 934, and in 937, the same year as the victory over Limerick, Olaf and the Vikings of Dublin left for England.

paragraph: The allied forces of Olaf and Constantine met the forces of Æthelstan at the Battle of Brunanburh, at a site which is the subject of much debate, although current scholarly consensus identifies the site as Bromborough in Cheshire. Olaf and Constantine commanded the Viking troops while Æthelstan alongside his brother Edmund led the English troops into the battle. Contemporary accounts indicate both sides suffered many casualties but the result was a decisive English victory. Olaf and Constantine survived the battle and returned to Ireland and Scotland respectively, however one of Constantine's sons died. The battle is well-attested, with references in Irish chronicles, and a poetic telling of the battle in the "Anglo-Saxon Chronicle". The numerous references to it in various chronicles throughout the British Isles testify to its perceived importance at the time.

paragraph: The annals record Olaf's return to Ireland in 938 as well as a raid he carried out that year on Kilcullen in modern-day County Kildare, where he is said to have taken a thousand prisoners. Æthelstan died in October 939 and very soon afterwards Olaf left for York where he was able to quickly establish himself as king of Northumbria. Olaf was joined in England by his cousin Olaf Cuaran, and Olaf's brother Blácaire was left to rule in Dublin while he was away. Symeon of Durham's "Historia Regum" records that Olaf and the new English king Edmund met at Leicester in 939 and came to an agreement on dividing England between the two of them. This peace was short-lived and within a few years of the agreement the Vikings had seized the Five Boroughs of Derby, Leicester, Lincoln, Nottingham and Stamford.

paragraph: In 941 the "Chronicle of Melrose" records that Olaf raided an ancient Anglian church at Tyninghame in what is now the Scottish Borders and at the time was a part of Northumbria. This attack may have been more than just a raid, and may have been intended to secure a route through Scotland upon which communication between York and Dublin was reliant. Olaf died in 941 and he was succeeded in Northumbria by Olaf Cuaran. In recording his death, the annals title him "king of Danes" ("Chronicon Scotorum") and "king of the Fair Foreigners and the Dark Foreigners" ("Annals of Clonmacnoise").

paragraph: Section::::Burial.

paragraph: In 2005 a skeleton was excavated in an archaeological dig at Auldhame, East Lothian. Grave goods including a belt similar to others known to have been worn in Viking-age Ireland indicate that the skeleton belonged to a high-status individual. The presence of such goods, and the age of the skeleton, has led to speculation among historians and archaeologists that the remains could be those of Olaf. Olaf is known to have conducted raids on Auldhame and Tyninghame shortly before his death in 941. Auldhame and Tyninghame were two of several local churches dedicated to Saint Baldred. According to Alex Woolf although the skeleton cannot be definitively identified with Olaf, the date and nature of the burial make it very likely the deceased individual died as a consequence of Olaf's attacks in the area in 941. Woolf has also suggested that "there is a strong likelihood that the king’s followers hoped that by burying him in the saint’s cemetery he might have benefitted from some sort of post-mortem penance".

paragraph: Section::::Family.

paragraph: Olaf's father is identifiable as Gofraid, who was king of Dublin between 920 and 934, and also briefly ruled Northumbria in 927. Gofraid was a grandson of Ímar but no patronymic is given in the original sources. This may be because he was a child of a son of Ímar who never ruled Dublin, or he was a child of a daughter of Ímar, which in either case would mean his legitimacy to rule in the eyes of his contemporaries was dependent on the identity of his grandfather, not his parents. Ímar, possibly identical to Ivar the Boneless, was the founder of the Uí Ímair and was one of the earliest kings of Dublin in the mid-ninth century.

paragraph: Three other individuals are identifiable as sons of Gofraid; Albann, Blácaire and Ragnall. Albann was killed in battle against Muirchertach mac Néill in 926. Blácaire ruled Dublin from 939 onwards, and Ragnall mac Gofraid ruled Northumbria in 943 and 944, probably along with his cousin Olaf Cuaran, until they were driven out by Edmund I of England. John of Worcester, writing in the twelfth century, claimed that Olaf had married a daughter of Constantine II of Scotland prior to 937, but this evidence is considered unreliable. The thirteenth century chronicler Roger of Wendover wrote that Olaf married Aldgyth, the daughter of a Northumbrian earl called Orm as a consequence of the agreement at Leicester between Olaf and King Edmund.

paragraph: An individual named Cammán mac Amlaíb is identifiable as a son of Olaf. The "Annals of Ulster" record he was defeated at a place called Dub in 960. Cammán may have been one of the meic Amlaíb (sons of Olaf) who the "Annals of the Four Masters" mention in 962. According to this account the sons of Olaf and the Ladgmanns (lawmen) came to Ireland and plundered Conaille Muirtheimne and Howth. Afterward the lawmen went to Munster to avenge their brother Oin. They continued the plunder there and were defeated by the Irish in Uí Liatháin where 365 of them died. In the same year an unnamed son of Olaf led a raid from Ireland's Eye on Anglesey and Britain. Cammán may be identical to Sitriuc Cam, an individual who in 962 made a naval attack on Uí Cholgain, but was forced to flee back to ships after a force of Dubliners and Leinstermen overtook him and slaughtered some of his men. An individual named Gofraid mac Amlaíb recorded by the annals as dying in 963 may have been a son of Olaf or he may have been a son of Olaf Cuaran. The "Annals of Clonmacnoise" list an Ímar, a "son of the king", among the dead at Brunanburh who might be a son of Olaf, although the origin of this list is uncertain.

paragraph: Section::::References.

paragraph: Section::::References.:Primary sources.

paragraph: BULLET::::- Accessed via Internet Archive.

paragraph: Section::::References.:Secondary sources.

paragraph: BULLET::::- Subscription or UK public library membership required.

paragraph: Section::::External links.

paragraph: BULLET::::- CELT: Corpus of Electronic Texts at University College Cork. The Corpus of Electronic Texts includes the "Annals of Ulster" and "the Four Masters", the "Chronicon Scotorum" and the "Book of Leinster" as well as Genealogies, and various Saints' Lives. Most are translated into English, or translations are in progress.

alias:
Óláfr Guðfriðarson
Ánláf
Amlaíb mac Gofraid
Anlaf
Amlaib mac Gofraid
Olaf Godfreyson

description: King of Dublin

wikidata_label: Olaf III Guthfrithson

wikipedia_title: Olaf Guthfrithson


text:
German
Classical era
France
Wertheim am Main
Niccolò Jommelli
Paris
harpsichord
string quartet
symphonies
concerto
Concert Spirituel
hiérodrame
oratorio
Christoph Willibald Gluck
opera
opéra comique
Centre de Musique Baroque de Versailles

categories: German classical composers,German male classical composers,1741 births,Pupils of Niccolò Jommelli,1799 deaths,18th-century classical composers,People from Wertheim am Main,German Classical-period composers,German opera composers,Male opera composers,Academics of the Conservatoire de Paris

paragraph: Henri-Joseph Rigel

paragraph: Henri-Joseph Rigel (9 February 1741 – 2 May 1799) was a German-born composer of the Classical era who spent most of his working life in France. He was born in Wertheim am Main where his father was musical intendant to the local prince. After an education in Germany, where his teachers included Niccolò Jommelli, Rigel moved to Paris in 1767. He quickly acquired a reputation in musical circles and published harpsichord pieces, string quartets, symphonies and concertos. He began composing for the Concert Spirituel, most notably four hiérodrames (oratorios on sacred themes): "La sortie d'Egypte" (1774), "La destruction de Jericho" (1778), "Jephté" (1783) and "Les Macchabées" (score lost). These show the influence of Christoph Willibald Gluck, and Gluck himself praised "La sortie d'Égypte". Between 1778 and 1799 Rigel also wrote 14 operas, including the "opéra comique" "Le savetier et le financier" (1778).

paragraph: Section::::Recordings.

paragraph: BULLET::::- "Six quatuors dialogués, Opus 10": Quatuor Franz Joseph (Atma Records, 2005)

paragraph: BULLET::::- "La sortie d'Égypte", "La destruction de Jéricho", "Jephté", three oratorios: Les Chantres du Centre de Musique Baroque de Versailles, Orchestre des Folies Françoises, conducted by Olivier Schneebeli (K617 Records, 2007)

paragraph: BULLET::::- "Symphonies": Concerto Köln (Berlin Classics, 2009)

paragraph: Section::::Sources.

paragraph: BULLET::::- Booklet notes to the Schneebeli recording.

description: French composer of German birth

wikidata_label: Henri-Joseph Rigel

wikipedia_title: Henri-Joseph Rigel


text: Test Icicles

text: Tinashe

text: Solange Knowles

text: Sky Ferreira

text: FKA twigs

text: Haim

text: Florence and the Machine

text: Carly Rae Jepsen

text: Diana Vickers

text: The Chemical Brothers

text: Kylie Minogue

text: A$AP Rocky

text: Mac Miller

text: Blondie

text: Mariah Carey

text: Ilford

text: East London

text: Chadwell Heath Academy

text: dance-punk

text: Test Icicles

text: For Screening Purposes Only

text: Omaha, Nebraska

text: Saddle Creek

text: Mike Mogis

text: Nate Walcott

text: The Faint

text: Clark Baechle

text: Emmy the Great

text: Cursive

text: Tilly and the Wall

text: Galaxy of the Lost

text: Falling Off the Lavender Bridge

text: Florence Welch

text: Florence and the Machine

text: Hope of the States

text: Anna Prior

text: Dead Disco

text: Alex Turner

text: Arctic Monkeys

text: Faris Badwan

text: The Horrors

text: Ox.Eagle.Lion.Man

text: Jack Peñate

text: We Are Scientists

text: Late Night with Conan O'Brien

text: NME 2008 Awards

text: Channel 4

text: Star Wars

text: Princess Leia

text: Wireless Festival

text: Mike Siddell

text: SXSW

text: The Wombats

text: Royal Albert Hall

text: Glastonbury

text: Pukkelpop

text: Carling Festival

text: British Film Institute

text: Hal Ashby

text: Harold and Maude

text: Latitude Festival

text: Barbican Centre

text: Moondog

text: London Saxophonic

text: Sax Pax for a Sax

text: The Triffids

text: David McComb

text: Warren Ellis

text: Tindersticks

text: The Brian Jonestown Massacre

text: bootlegs

text: EP

text: Green Day

text: Life Is Sweet! Nice to Meet You

text: R&B

text: It's On with Alexa Chung

text: Terrible Records

text: Pitchfork TV

text: Coastal Grooves

text: Skins

text: Florence and the Machine

text: Cupid Deluxe

text: Dirty Projectors

text: (Chairlift)

text: Samantha Urbani

text: (Friends)

text: Clams Casino

text: Despot

text: (Kindness)

text: Skepta

text: I Can Only Disappoint U

text: Mansun

text: The Fader

text: Palo Alto

text: Gia Coppola

text: psychedelic pop

text: Connan Mockasin

text: Freetown Sound

text: Freetown Sound

text: IMPALA

text: Negro Swan

text: Angel's Pulse

text: The Chemical Brothers

text: Grammy Award

text: We Are the Night

text: Basement Jaxx

text: Scars

text: Diana Vickers

text: Songs from the Tainted Cherry Tree

text: UK Albums Chart

text: Theophilus London

text: Vibes

text: MacGruber

text: Saturday Night Live

text: Kristen Wiig

text: noise pop

text: Bleeding Knees Club

text: Solange Knowles

text: True

text: Everything Is Embarrassing

text: Sky Ferreira

text: Britney Spears

text: Britney Jean

text: Kylie Minogue

text: Crystallize

text: All That

text: Carly Rae Jepsen

text: E•MO•TION

text: Spector

text: Moth Boys

text: A$AP Rocky

text: Testing

text: Mac Miller

text: "Swimming"

text: Deborah Harry

text: Blondie

text: Long Time

text: Pollinator

text: Philip Glass

text: Palo Alto

text: Coastal Grooves

text: Cupid Deluxe

text: Freetown Sound

text: Negro Swan

text: Falling Off the Lavender Bridge

text: Life Is Sweet! Nice to Meet You

text: Dev Hynes

text: Facebook

text: Dev Hynes

text: YouTube

text: Lightspeed Champion

text: Myspace

categories: English people of Guyanese descent,English folk musicians,Musicians from London,Domino Recording Company artists,British expatriates in the United States,Black British musicians,1985 births,English record producers,English people of Sierra Leonean descent,Living people

paragraph: Dev Hynes

paragraph: Devonté Hynes (born David Joseph Michael Hynes, 23 December 1985), better known as Blood Orange and formerly Lightspeed Champion, is an English singer, songwriter, and record producer. From 2004 to 2006, Hynes was a member of the band Test Icicles, playing guitar, synth, and occasionally performing vocals. They released one full-length album in 2005. Hynes went on to release two solo studio albums as Lightspeed Champion and subsequently four more as Blood Orange, between 2008 and 2018.

paragraph: He has written, played or produced for artists such as Tinashe, Solange Knowles, Sky Ferreira, FKA twigs, Haim, Florence and the Machine, Carly Rae Jepsen, Diana Vickers, The Chemical Brothers, Kylie Minogue, A$AP Rocky, Mac Miller, Blondie and Mariah Carey.

paragraph: Section::::Early life.

paragraph: David Hynes was born and raised in Ilford, East London to a Guyanese father and a Sierra Leonean mother. He was educated at the Chadwell Heath Foundation School, now known as Chadwell Heath Academy. From their formation in 2004 until their break-up in 2006, Hynes was a member of the dance-punk band Test Icicles, playing guitar, synth, and occasionally performing vocals. They released one full-length album, "For Screening Purposes Only", in 2005. Hynes relocated to New York in 2007 where he resides.

paragraph: Section::::Solo work.

paragraph: Section::::Solo work.:Lightspeed Champion.

paragraph: In early 2007, Hynes, under the name Lightspeed Champion, recorded his debut album in Omaha, Nebraska with Saddle Creek producer Mike Mogis. A number of Omaha-based musicians appeared on the record, including Mogis himself, trumpet player and pianist Nate Walcott, The Faint's drummer Clark Baechle and guest vocalist Emmy the Great, along with moonlighting members of Cursive and Tilly and the Wall. These recording sessions resulted in the single "Galaxy of the Lost", released on 30 July 2007, and the album "Falling Off the Lavender Bridge", released on 21 January 2008. The name 'Lightspeed Champion' comes from a series of comic strips Hynes drew as a teenager in his school mathematics books.

paragraph: The touring band for the "Falling Off the Lavender Bridge" album at various points consisted of friends of Hynes' from other bands, including Florence Welch of Florence and the Machine and Emmy the Great. Mike Siddell, formerly of Hope of the States, played violin with the band. Anna Prior, formerly of Leeds bands Dead Disco and The Ivories, played drums for most of the tour. Other guest members to have contributed in live shows include Alex Turner of the Arctic Monkeys, Faris Badwan of The Horrors, Frederick Blood-Royale of Ox.Eagle.Lion.Man, Jack Peñate and Eugene McGuinness as well as We Are Scientists' Keith Murray on "Late Night with Conan O'Brien" on 6 June 2008.

paragraph: Backed by a full band, he appeared at the NME 2008 Awards, broadcast on Channel 4 on 29 February 2008, dressed as characters from "Star Wars", including Princess Leia on the drums. The band's affinity with "Star Wars" continued when they played the main theme to the trilogy at the Wireless Festival in 2008. Hynes and a violinist Mike Siddell began a short US tour in March 2008, ending with an appearance at SXSW in 2008. At SXSW, they befriended The Wombats, who they supported them at a Royal Albert Hall concert. Hynes also performed with We Are Scientists at the Glastonbury in 2008 (John Peel Stage) and appeared at Belgian music festival Pukkelpop in August 2008.

paragraph: By the end of what became a two-year touring period, Hynes had suffered severe damage to his throat, and had to undergo extensive surgery. He took a two and a half-year hiatus from touring, appearing occasionally to play shows in New York and a top billed slot at the Carling Festival in 2009. In December 2008, Hynes was asked on behalf of the British Film Institute to perform the soundtrack of the cult Hal Ashby film "Harold and Maude" after a screening of the performance. Hynes had to cancel this due to an operation he had to undergo on his throat. The event was rescheduled for May 2009. In July 2009 Hynes reprised the soundtrack and performed at Latitude Festival. In June 2009, Hynes performed at the Barbican Centre in London in commemoration of the composer Moondog. Singing renditions along with London Saxophonic of songs from the Moondog album "Sax Pax for a Sax". He also sang "Fujiyama Part 2" backed by The Britten Sinfonia. In April 2010, Hynes returned to the Barbican to perform with The Triffids for a special concert in honour of their singer David McComb along with Warren Ellis, Tindersticks and members of The Brian Jonestown Massacre. He returned for a two-week European tour in June 2010.

paragraph: Hynes has recorded a number of bootlegs and unofficial releases, made available to the public through his blog and MySpace. These include an album written and recorded entirely in a day and an EP consisting of covers of Green Day songs. The second Lightspeed Champion album, "Life Is Sweet! Nice to Meet You", was released in 2010. Hynes retired the project to focus fully on his Blood Orange project.

paragraph: Section::::Solo work.:Blood Orange.

paragraph: With Lightspeed Champion on effective hiatus, Hynes decided to concentrate on a new musical project more focused on R&B and electronica, called Blood Orange. Various live performances under this alias have taken place in New York and London within November and December 2009, consisting of Hynes, a guitar, and a laptop. On 17 December 2009, Hynes performed a song titled "Forget It" on the final "It's On with Alexa Chung" show on MTV. He performed to a backing track dressed in a wizard costume.

paragraph: Hynes' debut single under the moniker Blood Orange, "Dinner", was released in January 2011 on Terrible Records, with an accompanying video directed by Alan Del Rio that debuted on Pitchfork TV. Following this, his full-length record "Coastal Grooves" was released in August 2011 on Domino Records. The song "Sutphin Boulevard" featured in 17 January 2011 premiere episode of the MTV show "Skins". On 9 April 2012, Hynes embarked on a tour as Blood Orange opening for Florence and the Machine.

paragraph: In November 2013, Hynes released the second Blood Orange album, "Cupid Deluxe". The album features guest appearances, including performances from David Longstreth (Dirty Projectors), Caroline Polachek (Chairlift), Samantha Urbani (Friends), Clams Casino, Despot, Adam Bainbridge (Kindness), Skepta and more. The album was promoted by three singles: "Chamakay", "You're Not Good Enough" and "Uncle ACE". The album was streamed in full on Hynes' own YouTube channel on 5 November 2013. The album also includes a cover of "I Can Only Disappoint U", originally by the British rock group Mansun under the title "Always Let You Down". In November, Blood Orange appeared on the cover of "The Fader" in its 89th issue. Hynes scored the 2013 film "Palo Alto", directed by Gia Coppola.

paragraph: On 8 January 2014, it was announced that Blood Orange was on the line-up for Coachella Valley Music and Arts Festival in Indio, California. In November 2015, Hynes released a collaborative EP with New Zealand psychedelic pop artist Connan Mockasin titled "Myths 001: Collaborative Recordings Captured in Marfa, TX 9–16 March 2015".

paragraph: On 18 April 2016, Hynes announced his third record under the Blood Orange moniker would be entitled "Freetown Sound". It was released on 28 June 2016, three days ahead of the planned 1 July 2016 release. His album "Freetown Sound" was shortlisted by IMPALA (The Independent Music Companies Association) for the Album of the Year Award 2016, which rewards on a yearly basis the best album released on an independent European label.

paragraph: On 19 July 2018, Hynes announced his fourth studio album under the Blood Orange moniker, "Negro Swan", and released in the following week its first two singles: "Charcoal Baby" and "Jewelry". The album was released on 24 August 2018.

paragraph: On 25 June 2019, Hynes announced his fifth release under the Blood Orange moniker in an interview with "Cultured Magazine". The mixtape, titled "Angel's Pulse", was released on 12 July 2019.

paragraph: Section::::Writing and producing for other artists.

paragraph: Hynes has written and contributed songs to a number of other acts. His arrangements and vocals have appeared on songs by The Chemical Brothers ("All Rights Reversed", from 2007's Grammy Award winning album "We Are the Night", and Basement Jaxx, on their album "Scars".

paragraph: Hynes has co-written and produced songs for Diana Vickers on "Songs from the Tainted Cherry Tree", another No. 1 debutante on the UK Albums Chart. He has also produced and written songs for Theophilus London, including his second album, "Vibes", released in 2014, and the 2011 EP, "Lovers Holiday", which he also featured on.

paragraph: Hynes contributed music to the 2010 film "MacGruber", including the duet "Rock My Body" with "Saturday Night Live" cast member Kristen Wiig. In late 2011, he produced Australian noise pop duo Bleeding Knees Club's debut album "Noth ing to Do", which was released on 2 March 2012. He co-wrote and co-produced Solange Knowles' 2012 EP "True".

paragraph: Hynes has written the song "Everything Is Embarrassing" for Sky Ferreira. He worked with Britney Spears on her eighth album, "Britney Jean", however, none of his songs made the final cut.

paragraph: He co-wrote and co-produced Kylie Minogue's song "Crystallize", a charity single for One Note Against Cancer.

paragraph: Hynes co-wrote and produced "All That" with Carly Rae Jepsen for her album "E•MO•TION", and also co-wrote "Body Language" for her EP "".

paragraph: Hynes co-wrote two songs on Spector's second album, "Moth Boys", "Cocktail Party / Heads Interlude" and "Decade of Decay". Hynes also co-wrote "Difficult Phone Call", a track on the extended version of the album. Hynes was also one of the producers on the album.

paragraph: Hynes produced and was featured on Hun43rd by A$AP Rocky, off of Rocky's third studio album, "Testing".

paragraph: Hynes was also featured on Self Care by Mac Miller, off of Mac's last album, "Swimming".

paragraph: Hynes co-wrote with Deborah Harry Blondie's single "Long Time", included on the band's eleventh album "Pollinator". it was released as its second single and reached the #5 on the Billboard's Hot Dance Chart and #19 on the Adult Alternative Songs. It was also a hit in United Kingdom.

paragraph: Section::::Classical music and scores.

paragraph: Hynes has performed numerous times with composer Philip Glass, performing his piano Etudes for radio, at Carnegie Hall and the Kennedy Center. As well as a number of solo piano and cello performances, most often improvisational.

paragraph: Hynes has written scores for art pieces and film in collaboration with Alex Da Corte, Josh Kline & the "Palo Alto" score for the movie of the same name by Gia Coppola.

paragraph: A special performance of Eastern Sports was performed at ICA Philadelphia in 2015 and at the Whitney Museum of Art in 2017.

paragraph: Two performances of the "Palo Alto" score took place in 2016.

paragraph: Section::::Discography.

paragraph: BULLET::::- Blood Orange

paragraph: BULLET::::- "Coastal Grooves" (2011)

paragraph: BULLET::::- "Cupid Deluxe" (2013)

paragraph: BULLET::::- "Freetown Sound" (2016)

paragraph: BULLET::::- "Negro Swan" (2018)

paragraph: BULLET::::- Lightspeed Champion

paragraph: BULLET::::- "Falling Off the Lavender Bridge" (2008)

paragraph: BULLET::::- "Life Is Sweet! Nice to Meet You" (2010)

paragraph: Section::::External links.

paragraph: BULLET::::- Dev Hynes on Facebook

paragraph: BULLET::::- Dev Hynes on YouTube

paragraph: BULLET::::- Lightspeed Champion on Myspace

alias:
Lightspeed Champion
Blood Orange
Devonté Hynes

description: British musician

wikidata_label: Dev Hynes

wikipedia_title: Dev Hynes


text:
Bishop of Ely
Northwold
Abbey of Bury St Edmunds
Abbot of Bury St. Edmunds
John of England
see of Ely
Canterbury
Henry III of England
Eleanor of Provence
Robert Grosseteste
Thorney Abbey
Ely Cathedral
Matthew Paris
Etheldreda
Downham Market

categories: 1254 deaths,Abbots of Bury St. Edmunds,Burials at Ely Cathedral,People from Downham Market,13th-century Roman Catholic bishops,Year of birth unknown,Bishops of Ely

paragraph: Hugh of Northwold

paragraph: Hugh of Northwold (died 1254) was a medieval Bishop of Ely.

paragraph: Section::::Life.

paragraph: Hugh was born in the parish of Northwold in Norfolk, the son of Peter and Emma. He became a monk at Abbey of Bury St Edmunds in 1202.

paragraph: Hugh was elected Abbot of Bury St. Edmunds on 7 August 1213. King John of England, however, contested the election until 10 June 1215, when he finally accepted it.

paragraph: Hugh was elected to the see of Ely about 3 February 1229. He was consecrated on 19 June 1229 at Canterbury. While bishop, he built extensively, was sent on diplomatic missions for King Henry III of England, and escorted Eleanor of Provence to England for her marriage to King Henry. He was also a good friend of Robert Grosseteste. His greatest work as bishop was his increase in the estates of the bishoprics, through buying new lands and increasing the rents on extant manors. He also worked with Thorney Abbey on reclamation of the fenlands surrounding Ely.

paragraph: The presbytery of Ely Cathedral was built while Hugh was bishop. This was an example of Early English Gothic, and earned praise from the medieval chronicler Matthew Paris. However, much of the work done during Northwold's episcopate was later reworked during the 14th century, with the buttresses and some of the exterior and interior walls still remaining. The presbytery was built in order house a shrine to St. Etheldreda.

paragraph: Hugh died on 6 August 1254 at Downham Market and was buried in his presbytery in Ely Cathedral. The tomb is still extant. He was buried at the feet of the shrine to Etheldreda, but whether he was buried where the tomb now stands is unclear. The tomb is now located near the high altar in the north choir aisle of Ely Cathedral.

alias:
de Northwold, Bishop of Ely Hugh
Bishop of Ely Hugh of Northwold
of Northwold, Bishop of Ely Hugh
of Northwold Hugh Bishop of Ely

description: Bishop of Ely

wikidata_label: Hugh of Northwold

wikipedia_title: Hugh of Northwold


text:
Bishop of Ely
Louth, Lincolnshire
Henry III of England
Edward I of England
Rhuddlan
prebend
deanery
Archdeacon of Durham
see of Ely
Ely Cathedral

categories: People from Louth, Lincolnshire,1298 deaths,Archdeacons of Durham,Year of birth unknown,Bishops of Ely

paragraph: William of Louth

paragraph: William of Louth (died 1298) was a medieval Bishop of Ely.

paragraph: Section::::Life.

paragraph: William probably was born in Louth, Lincolnshire but his parentage is unknown. William attended a university and held a university degree. He probably held an office in the chancery under King Henry III of England. Soon after the coronation of King Edward I of England, Edward appointed William cofferer of the wardrobe, on 18 October 1274. The cofferer was in charge of the money of that department of the administration. In 1278 through 1280, William was put in charge of the construction of the town and castle at Rhuddlan by the king.

paragraph: William held prebends in the dioceses of Lincoln, London, Wells, and York as well as the deanery of St Martin le Grand in London before being named Archdeacon of Durham by 22 August 1284. In 1286 he was sent on a diplomatic mission to France by the king.

paragraph: William was elected to the see of Ely on 12 May 1290 and consecrated on 1 October 1290. He died on 25 March 1298 or 27 March. He was buried in Ely Cathedral. His only known relative was a nephew William Tuchet, who was his heir. His tomb, with an elaborate canopy, still is located close to where it was originally placed near the high altar in the south choir aisle near the entrance to the Lady Chapel of Ely Cathedral.

description: Bishop of Ely

wikidata_label: William of Louth

wikipedia_title: William of Louth


text:
bishop
Catholic Church
United States
priest
Archdiocese of Dubuque
Iowa
Davenport
Mount Vernon, Iowa
valedictorian
Cornell College
actuary
Cedar Rapids, Iowa
University of Iowa College of Law
Juris Doctor
Theological College
Catholic University of America
Master's degree
licentiate
Canon Law
Saint Paul University
Ottawa
Canada
Daniel Kucera
O.S.B.
St. Raphael's Cathedral
Dubuque
pastor
Rickardsville
Balltown
Judicial Vicar
Holy Ghost parish
Sacred Heart
Episcopal Vicar
St. Pius X Seminary
Monsignor
Pope Benedict XVI
Pope Francis
Bettendorf, Iowa
Michael Jackels
Martin Amos
Jerome Hanus, OSB

categories: Roman Catholic Archdiocese of Dubuque,American Roman Catholic bishops,Saint Paul University alumni,1957 births,Catholic University of America alumni,Cornell College alumni,University of Iowa College of Law alumni,People from Mount Vernon, Iowa,Living people

paragraph: Thomas Zinkula

paragraph: Thomas Robert Zinkula (born April 19, 1957) is a bishop of the Catholic Church in the United States. He was a priest in the Archdiocese of Dubuque, Iowa until he was named the ninth bishop of Davenport, Iowa in 2017.

paragraph: Section::::Biography.

paragraph: Section::::Biography.:Early life and education.

paragraph: Thomas Zinkula was born on April 19, 1957 in Mount Vernon, Iowa to Robert and Mary (Volz) Zinkula. He grew up on a farm with eight siblings. He graduated as the valedictorian from Mount Vernon High School in 1975. He went on to earn a bachelor's degree in mathematics, economics and business from Cornell College (Mount Vernon, Iowa), and worked as an actuary for Life Investors in Cedar Rapids, Iowa. After a year he entered the University of Iowa College of Law and earned a Juris Doctor in 1983. He practiced law for three years with the Simmons, Perrine, Albright & Ellwood law firm in Cedar Rapids. Zinkula studied for the priesthood at Theological College at the Catholic University of America, and received a Master's degree in Theology in 1990. He earned a licentiate in Canon Law from Saint Paul University in Ottawa, Canada in 1998. Zinkula was inducted into the Athletic Hall of Fame at Cornell College for football.

paragraph: Section::::Biography.:Priesthood.

paragraph: Zinkula was ordained a priest for the Archdiocese of Dubuque by Archbishop Daniel Kucera, O.S.B. on May 26, 1990 at St. Raphael's Cathedral. He served as the assistant pastor of St. Columbkille's parish in Dubuque from 1990 to 1993 and as the assistant pastor at St. Joseph the Worker parish in Dubuque from 1993 to 1996. After studying Canon Law, Zinkula became the pastor of St. Joseph parish in Rickardsville and sacramental priest for St. Francis parish in Balltown and Saints Peter and Paul parish in Sherill (1998-2002). He served as a judge at the Archdiocesan Tribunal from 1998 to 2000 and Judicial Vicar from 2000 to 2010. He was named pastor of Holy Ghost parish in Dubuque, and served from 2005 to 2007. Holy Ghost was clustered with Sacred Heart and Holy Trinity parishes to form the Holy Spirit Pastorate, which he served as pastor from 2007 to 2011. Zinkula served as the Episcopal Vicar for the Cedar Rapids region of the archdiocese from 2012 to 2014, and as the rector of St. Pius X Seminary in Dubuque from 2014 to 2017. Zinkula was named a Monsignor by Pope Benedict XVI in 2012.

paragraph: Section::::Biography.:Bishop of Davenport.

paragraph: On April 19, 2017 Pope Francis named Zinkula to be the ninth bishop of the Diocese of Davenport. He was ordained a bishop at St. John Vianney Church in Bettendorf, Iowa by Archbishop Michael Jackels of Dubuque, with Bishop Emeritus Martin Amos of Davenport, and Archbishop Emeritus Jerome Hanus, OSB of Dubuque as co-consecrators.

paragraph: Section::::Episcopal succession.

wikidata_label: Thomas Zinkula

wikipedia_title: Thomas Zinkula