text: Greek

text: Sophist

text: Christian

text: hegemony

text: Roman Empire

text: pagan Hellene

text: Antioch

text: rhetoric

text: Latin literature

text: Athens

text: Constantinople

text: Nicomedia

text: Julian

text: Aristides

text: concert dance

text: pantomime

text: Christians

text: John Chrysostom

text: Theodore of Mopsuestia

text: Julian

text: praetorian prefect

text: Theodosius I

text: oration

text: Loeb Classical Library

text: mythological

text: Demosthenes

text: humanist

text: Censorius Datianus

text: Reviewed in Bryn Mawr Classical Reviews

text: Reviewed in Bryn Mawr Classical Reviews

text: Lieve Van Hoof

text: Libanius: "Funeral Oration on Julian"

text: Libanius: "16 letters to Julian"

text: Libanius: Oration 30: for the temples

text: Centre Libanios

text: CRISES

text: education

text: Thersites

text: Open Greek & Latin Project

categories: Correspondents of Libanius,Ancient Greek rhetoricians,394 deaths,Roman-era students in Athens,Ancient Greek writers,4th-century Romans,Byzantine-era pagans,Roman-era Sophists,4th-century writers,Ancient Greek educators,314 births

paragraph: Libanius

paragraph: Libanius (, "Libanios"; c. 314 – 392 or 393) was a Greek teacher of rhetoric of the Sophist school. During the rise of Christian hegemony in the later Roman Empire, he remained unconverted and in religious matters was a pagan Hellene.

paragraph: Section::::Life.

paragraph: Libanius was born into a once-influential, deeply cultured family of Antioch that had recently come into diminished circumstances. At fourteen years old he began his study of rhetoric, for which he withdrew from public life and devoted himself to philosophy. Unfamiliar with Latin literature, he deplored its influence.

paragraph: Libanius used his arts of rhetoric to advance various private and political causes. He attacked the increasing imperial pressures on the traditional city-oriented culture that had been supported and dominated by the local upper classes.

paragraph: He studied in Athens and began his career in Constantinople as a private tutor. He was temporarily exiled to Nicomedia but returned to Constantinople and taught there until 354. Before his exile, Libanius was a friend of the emperor Julian, with whom some correspondence survives, and in whose memory he wrote a series of orations; they were composed between 362 and 365. In 354 he accepted the chair of rhetoric in Antioch, his birthplace, where he stayed until his death. His pupils included both pagans and Christians.

paragraph: The surviving works of Libanius, which include over 1,600 letters and 64 speeches, are valuable as a historical source for the changing world of the later 4th century. His oration "A Reply To Aristides On Behalf Of The Dancers" is one of the most important records of Roman concert dance, particularly that immensely popular form known as pantomime. His first "Oration I" is an autobiographical narrative, first written in 374 and revised throughout his life, a scholar's account that ends as an old exile's private journal.

paragraph: Although Libanius was not a Christian his students included such notable Christians as John Chrysostom and Theodore of Mopsuestia. Despite his friendship with the restorationist Emperor Julian he was made an honorary "praetorian prefect" by the Christian Emperor Theodosius I.

paragraph: Section::::Works.

paragraph: BULLET::::- 64 orations in the three fields of oratory: judicial, deliberative and epideictic, both orations as if delivered in public and orations meant to be privately read (aloud) in the study. The two volumes of selections in the Loeb Classical Library devote one volume to Libanius' orations that bear on the emperor Julian, the other on Theodosius; the most famous is his "Lamentation" about the desecration of the temples (Περὶ τῶν Ἱερῶν);

paragraph: BULLET::::- 51 "declamationes", a traditional public-speaking format of Rhetoric in Antiquity, taking set topics with historical and mythological themes (translations into English by e.g. D.A. Russell, "Libanius: Imaginary Speeches"; M. Johansson, "Libanius' Declamations 9 and 10";

paragraph: BULLET::::- 57 "hypotheses" or introductions to Demosthenes' orations (written "ca" 352), in which he sets them in historical context for the novice reader, without polemics;

paragraph: BULLET::::- several dozen model writing exercises, "Progymnasmata," that were used in his courses of instruction and became widely admired models of good style;

paragraph: BULLET::::- 1545 letters have been preserved, more letters than those of Cicero. Some 400 additional letters in Latin were later accepted, purporting to be translations, but a dispassionate examination of the texts themselves shows them to be misattributed or forgeries, by the Italian humanist Francesco Zambeccari in the 15th century. Among his correspondents there was Censorius Datianus.

paragraph: Section::::English editions.

paragraph: BULLET::::- Scott Bradbury, "Selected Letters of Libanius". Liverpool, University Press, 2004.

paragraph: BULLET::::- Raffaella Cribiore, "The School of Libanius in Late Antique Antioch". Princeton: Princeton University Press, 2007. (Includes translation of c. 200 letters dealing with the school and its students. Reviewed in Bryn Mawr Classical Reviews.)

paragraph: BULLET::::- Margaret E. Molloy: "Libanius and the Dancers", Olms-Weidmann, Hildesheim 1996

paragraph: BULLET::::- A.F. Norman, "Libanius: Selected Works", 2 volumes. Cambridge, Massachusetts: Loeb Classical Library, 1969-1977.

paragraph: BULLET::::- A.F. Norman, "Libanius: Autobiography and Selected Letters", 2 volumes. Cambridge, Massachusetts: Loeb Classical Library, 1993. Reviewed in Bryn Mawr Classical Reviews.)

paragraph: BULLET::::- Lieve Van Hoof, "Libanius: a critical introduction" (Cambridge University Press, 2014)

paragraph: Section::::External links.

paragraph: BULLET::::- Libanius: "Funeral Oration on Julian"

paragraph: BULLET::::- Libanius: "16 letters to Julian"

paragraph: BULLET::::- Libanius: "On the temple of Apollo destroyed by fire"

paragraph: BULLET::::- Libanius: "On Nicomedia, destroyed by an earthquake"

paragraph: BULLET::::- Libanius: Oration 30: for the temples

paragraph: BULLET::::- Centre Libanios, the Libanius Site by P.-L. Malosse, part of CRISES research centre.

paragraph: BULLET::::- Two moral anecdotes from the "Progymnasmata": (in English) on the harshness of classical Roman education and an encomium of Thersites

paragraph: BULLET::::- Craig Gibson, translator, Summary of “Libanius, Hypotheses to the Orations of Demosthenes”

paragraph: BULLET::::- Open source XML version of Libanius' works by the University of Leipzig, at Open Greek & Latin Project

description: ancient Greek philosopher

wikidata_label: Libanius

wikipedia_title: Libanius


text:
Greek
Soter
Greek
Hellenistic
Seleucid Empire
Rome
hostage
Seleucus IV Philopator
Laodice IV
Heliodorus
Antiochus IV
Antiochus V Eupator
Lysias
Antiochus V
Peace of Apamea
Lysias
Jewish
Maccabees
Judas Maccabaeus
Nisan
Babylonia
satrap
Timarchus
Media
Parthians
Ariarathes
Cappadocia
Laodice V
Demetrius II Nicator
Antiochus VII Sidetes
Alexander Balas
Antiochus IV Epiphanes
Roman Senate
Ptolemais
Seleucids
Jonathan Maccabaeus
Tishri
Constantine Cavafy
List of Syrian monarchs
Timeline of Syrian history

categories: 2nd-century BC Babylonian kings,185 BC births,2nd-century BC Seleucid rulers,Seleucid rulers,Seleucid people in the books of the Maccabees,150 BC deaths,2nd-century BC rulers

paragraph: Demetrius I Soter

paragraph: Demetrius I (Greek: "Δημήτριος Α`", 185 – June 150 BC, reigned September/October 161 – June 150 BC), surnamed Soter (Greek: "Σωτήρ" - "Savior"), was a ruler of the Hellenistic Seleucid Empire.

paragraph: Section::::Biography.

paragraph: Section::::Biography.:Early confinement and escape.

paragraph: Demetrius was sent to Rome as a hostage during the reign of his father Seleucus IV Philopator and his mother Laodice IV. When his father was murdered by his finance minister Heliodorus in 175 BC., his uncle Antiochus IV Epiphanes killed the usurper, but usurped the throne himself. When Antiochus IV died in 163 BC, his 9-year-old son Antiochus V Eupator was made king by Lysias. Demetrius was then 22 years old (thus he was born in 185 BC). He requested the Roman Senate to restore the Syrian throne to him, but was rejected, since the Romans believed that Syria should be ruled by a boy rather than a man. Two years later, Antiochus V was greatly weakened because Rome sent an emissary to sink his ships and hamstring his elephants for his violation of the Peace of Apamea, storing up too much weaponry. Demetrius escaped from confinement and was welcomed back on the Syrian throne in 161 BC. He immediately killed Antiochus V and Lysias.

paragraph: Section::::Biography.:Reign as King.

paragraph: Demetrius I is infamous in Jewish history for his victory over the Maccabees, killing Judas Maccabaeus in Nisan, 160 BC. Demetrius acquired his surname of "Soter", or Savior, from the Babylonians, whom he delivered from the tyranny of the Median satrap, Timarchus. Timarchus, who had distinguished himself by defending Media against the emergent Parthians, seems to have treated Demetrius' accession as an excuse to declare himself an independent king and extend his realm into Babylonia. His forces were, however, not enough for the legal Seleucid king: Demetrius defeated and killed Timarchus in 160 BC, and dethroned Ariarathes, king of Cappadocia. The Seleucid empire was temporarily united again. Demetrius may have married his sister Laodice V, by whom he had three sons: Demetrius II Nicator, Antiochus VII Sidetes and Antigonus.

paragraph: Section::::Biography.:Downfall and death.

paragraph: Demetrius' downfall may be attributed to Heracleides, a surviving brother of the defeated rebel Timarchus, who championed the cause of Alexander Balas, a boy who claimed to be a natural son of Antiochus IV Epiphanes. Heracleides convinced the Roman Senate to support the young pretender against Demetrius I.

paragraph: The Jews also had a role in the downfall of Demetrius I. Alexander Balas came with a mercenary army, landed and occupied Ptolemais, and reigned as a rival king of the Seleucids in 152 BC. He appointed Jonathan Maccabaeus, the brother and successor of Judas Maccabaeus, as the high priest of Judea, in order to make the Jews his allies. Jonathan, who was born of a priestly family but not from Zadok, the high priestly stock, took the title in Tishri, 152 BC. When Demetrius heard of it, he wrote a letter granting more privileges to Jonathan (1 Macc. 10:25-45). The Jews did not believe in him, because of his past persecutions of the Jews. They joined with Balas, who defeated and killed Demetrius I in 150 BC.

paragraph: Section::::Legacy.

paragraph: In 1919 Constantine Cavafy published a poem about Demetrius's time as a hostage in Rome.

paragraph: Section::::See also.

paragraph: BULLET::::- List of Syrian monarchs

paragraph: BULLET::::- Timeline of Syrian history

description: ruler of the Seleucid Empire

wikidata_label: Demetrius I Soter

wikipedia_title: Demetrius I Soter


text:
Commagene
Roman Empire
Antiochus III of Commagene
Iotapa
Iotapa
Armenian
Greek
Median
Laodice VII Thea
Antiochus I Theos of Commagene
Seleucid kings
Roman emperor
Tiberius
Roman province
Syria
Roman citizenship
Rome
Antonia Minor
Augustus
Mark Antony
Caligula
Cilicia
Agrippa I
Claudius
C. Julius Archelaus Antiochus Epiphanes
Drusilla
Agrippa I
Callinicus
Iotapa
Nero
war
Parthia
Cn. Domitius Corbulo
Tiridates I of Armenia
Vologases I of Parthia
Armenia
Vespasian
Titus
Jerusalem
Germanicopolis
Iotapa
L. Caesennius Paetus
Syria
Parthia
Sparta
Rome
Philopappos
Greece
Cappadocia
Cilicia
Iotapa
Aytap
public domain
William Smith
Coinage of Antiochus IV

categories: 1st-century Romans,Kings of Commagene,Roman client rulers,1st-century monarchs in Asia

paragraph: Antiochus IV of Commagene

paragraph: Gaius Julius Antiochus IV Epiphanes (, before 17 AD – after 72 AD), the last king of Commagene, reigned between 38–72 as a client king to the Roman Empire. The epithet "Epiphanes" means "the Glorious".

paragraph: Section::::Life.

paragraph: Antiochus was born a prince of the royal family of Commagene. His parents King Antiochus III of Commagene and Queen Iotapa were full-blooded siblings who had married each other. The younger Antiochus himself would marry his full-blooded sister Iotapa. Antiochus was of Armenian, Greek and Median descent. Through his ancestor from Commagene, Queen Laodice VII Thea, who was the mother of King Antiochus I Theos of Commagene, he was a direct descendant of the Greek Seleucid kings.

paragraph: Antiochus appears to have been very young when his father died in 17. The Roman emperor Tiberius agreed with the citizens of Commagene to make their kingdom a part of the Roman province of Syria. Between 17 and 38, Antiochus seems to have gained Roman citizenship. He lived and was raised in Rome, along with his sister. While he and his sister were growing up in Rome, they were part of the remarkable court of Antonia Minor, a niece of the first Roman emperor Augustus and the youngest daughter of the triumvir Mark Antony. Antonia Minor was a very influential woman and supervised her circle of various princes and princesses. Her circle assisted in the political preservation of the Roman Empire's borders and affairs of the client states.

paragraph: In 38, Antiochus received his paternal dominion from Antonia's grandson, the Roman emperor Caligula. In addition, the emperor enlarged Antiochus' territory with a part of Cilicia bordering on the seacoast. Caligula also gave him the whole amount of the revenues of Commagene during the twenty years that it had been a Roman province. The reasons for providing a client king with such vast resources remain unclear; it was perhaps a stroke of Caligula's well-attested eccentricity. Antiochus was on most intimate terms with Caligula, and he and King Agrippa I are spoken of as the instructors of the emperor in the art of tyranny. This friendship, however, did not last very long, for he was subsequently deposed by Caligula.

paragraph: Antiochus did not regain his kingdom till the accession of Roman Emperor Claudius in 41. In 43 his first son, C. Julius Archelaus Antiochus Epiphanes, was betrothed to Drusilla, a daughter of Agrippa I. Apart from Epiphanes, Antiochus had another two children with Iotapa: Callinicus and a younger Iotapa. In 53, Antiochus put down an insurrection of some barbarous tribes in Cilicia, called Clitae. In 55 he received orders from the Roman emperor Nero to levy troops to make war against the Parthians, and in the year 59 he served under General Cn. Domitius Corbulo against King Tiridates I of Armenia, brother of the Parthian King Vologases I of Parthia. In consequence of his services in this war, in the year 61 he obtained parts of Armenia.

paragraph: He took the side of Vespasian when the latter was proclaimed Roman emperor in 70; and he is then spoken of as the richest of the tributary kings. In the same year he sent forces, commanded by his son Epiphanes, to assist prince Titus in the siege of Jerusalem. During his reign as king, he founded the following cities: Germanicopolis, Iotapa and Neronias.

paragraph: Antiochus' downfall came only two years afterwards, in 72, when he was accused by L. Caesennius Paetus, the governor of Syria, of conspiring with the Parthians against the Romans. He was therefore deprived of his kingdom, after a reign of thirty-four years from his first appointment by Caligula. Antiochus' sons, the princes Epiphanes and Callinicus, fled to Parthia after a brief encounter with Roman troops. Antiochus himself retired first to Sparta and then to Rome, where he passed the remainder of his life with his sons Epiphanes and Callinicus and was treated with great respect. Among the grandchildren of Antiochus and Iotapa was the prominent Athenian citizen Philopappos who lived in Greece between the 1st and 2nd centuries.

paragraph: Section::::Coinage.

paragraph: There are several coins of this king extant, and their die-marks prove he did rule large parts of Cappadocia and Cilicia as well as Commagene proper. In one of those coins he is called ΒΑΣΙΛΕΥΣ ΜΕΓΑΣ ΑΝΤΙΟΧΟΣ ("Great King Antiochus"), a testament to his political ambitions. On the reverse of that coin a scorpion is represented, surrounded with the foliage of the laurel, and inscribed ΚΟΜΜΑΓΗΝΩΝ ("of the Commagenians"). From his coins we also learn the name of his wife, Iotapa.

paragraph: Section::::See also.

paragraph: BULLET::::- Aytap

paragraph: Section::::References.

paragraph: BULLET::::- "This entry incorporates public domain text originally from:"

paragraph: BULLET::::- William Smith (ed.), "Dictionary of Greek and Roman Biography and Mythology", 1870.

paragraph: BULLET::::- A.K. Bowman, E. Champlin & A. Lintott, The Augustan Empire, 43 B.C.-A.D. 69, Cambridge University Press, 1996

paragraph: BULLET::::- The Building Program of Herod the Great, By Duane W. Roller, Published by University of California Press 1998,

paragraph: Section::::External links.

paragraph: BULLET::::- Coinage of Antiochus IV

description: last king of Commagene

wikidata_label: Antiochus IV of Commagene

wikipedia_title: Antiochus IV of Commagene


text: Ptolemy III

text: Berenice II

text: Pharaoh

text: Ptolemaic Egypt

text: Ptolemaic dynasty

text: Arsinoe III of Egypt

text: Ptolemy V Epiphanes

text: Cleopatra I Syra

text: Laodice III

text: Antiochus III the Great

text: Coele-Syria

text: Judea

text: Raphia

text: Egyptians

text: Hugronaphor

text: Ankmachis

text: Homer

text: Agathocles

text: Arsinoë III

text: Agathoclea

text: Ptolemy V

text: tessarakonteres

text: galley

text: Callixenus of Rhodes

text: Athenaeus

text: deuterocanonical

text: 3 Maccabees

text: Battle of Raphia

text: Jerusalem

text: Alexandria

text: Port Dunford

text: Nikon

text: Somalia

text: Ptolemy III

text: Ptolemy V

text: Imperial Rome

text: Mamluk Sultanate

text: Ptolemy Philopator I at LacusCurtius

text: Ptolemy IV

text: Ptolemy IV Philopator

categories: 3rd-century BC Egyptian people,3rd-century BC Macedonians,Pharaohs of the Ptolemaic dynasty,204 BC deaths,3rd-century BC Pharaohs,3rd-century BC births

paragraph: Ptolemy IV Philopator

paragraph: Ptolemy IV Philopator (, "Ptolemaĩos Philopátōr" "Ptolemy, lover of his Father"; 245/4–204 BC), son of Ptolemy III and Berenice II, was the fourth Pharaoh of Ptolemaic Egypt from 221 to 204 BC. The decline of the Ptolemaic dynasty began under the reign of Ptolemy IV.

paragraph: Section::::Family.

paragraph: Among the children of Ptolemy IV Philopator and his sister-wife Arsinoe III of Egypt was Ptolemy V Epiphanes, who married Cleopatra I Syra, daughter of Antiochus III the Great and Laodice III.

paragraph: Section::::Reign.

paragraph: Ptolemy IV's reign was inaugurated by the murder of his mother, and he was always under the dominion of favourites, male and female, who indulged his vices and conducted the government as they pleased. Self-interest led his ministers to make serious preparations to meet the attacks of Antiochus III the Great on Coele-Syria including Judea, and Ptolemy himself was present at the great Egyptian victory of Raphia (217 BC) which secured the northern borders of the kingdom for the remainder of his reign.

paragraph: The arming of Egyptians in this campaign had a disturbing effect upon the native population of Egypt, leading to the secession of Upper Egypt under pharaohs Harmachis (also known as Hugronaphor) and Ankmachis (also known as Chaonnophris), thus creating a kingdom that occupied much of the country and lasted nearly twenty years.

paragraph: Philopator was devoted to orgiastic forms of religion and literary dilettantism. He built a temple to Homer and composed a tragedy, to which his favourite Agathocles added a commentary. He married his sister Arsinoë III (about 220 BC), but continued to be ruled by his mistress Agathoclea, sister of Agathocles. In late c. 210 BC, Agathoclea may have given birth to a son from her affair with Ptolemy IV, who may have died shortly after his birth. Strabo, however, mentions that Ptolemy V was the son of Agathoclea but he may have been confused considering that she was his mistress.

paragraph: Ptolemy is said to have built a giant ship known as the tessarakonteres ("forty"), a huge galley and possibly the largest human-powered vessel ever built. This showpiece galley was described by Callixenus of Rhodes, writing in the 3rd century BC, and quoted by Athenaeus in the 2nd century AD. Plutarch also mentions that Ptolemy Philopator owned this immense vessel in his "Life of Demetrios". The current theory is that Ptolemy's ship was an oversized catamaran galley, measuring 128 m (420 ft.).

paragraph: Ptolemy IV is a major antagonist of the deuterocanonical biblical book 3 Maccabees, which describes events following the Battle of Raphia, in both Jerusalem and Alexandria.

paragraph: Section::::Legacy.

paragraph: Ptolemy IV's reign was also marked by trade with other contemporaneous polities. In the 1930s, excavations by Mattingly at a fortress close to Port Dunford (the likely Nikon of antiquity) in present-day southern Somalia yielded a number of Ptolemaic coins. Among these pieces were 17 copper mints from the reigns of Ptolemy III, Ptolemy IV and Ptolemy V, as well as late Imperial Rome and Mamluk Sultanate coins.

paragraph: Section::::External links.

paragraph: BULLET::::- Ptolemy Philopator I at LacusCurtius — (Chapter VII of E. R. Bevan's "House of Ptolemy", 1923)

paragraph: BULLET::::- Ptolemy IV — (Egyptian Royal Genealogy)

paragraph: BULLET::::- Ptolemaic Genealogy: Possible child of Ptolemy IV

paragraph: BULLET::::- The great revolt of the Egyptians:205–186 BC (2004)

paragraph: BULLET::::- Ptolemy IV Philopator entry in historical sourcebook by Mahlon H. Smith

description: Egyptian pharaoh

wikidata_label: Ptolemy IV Philopator

wikipedia_title: Ptolemy IV Philopator


text:
Ptolemy IV Philopator
Arsinoe III of Egypt
Ptolemaic dynasty
Rosetta Stone
Ptolemy Philopator
Agathocles
Sosibius
Tlepolemus
Pelusium
Antiochus III the Great
Philip V of Macedon
Caria
Thrace
Battle of Panium
Coele-Syria
Judea
Cleopatra I
Rome
Egypt
anacleteria
Polybius
Histories
Lycopolis
Ankhmakis
Upper Egypt
Thebes
Triakontaschoinos
Lower Egypt
Rosetta Stone
stelae
Ptolemy VI Philometor
Cleopatra the Syrian
Ptolemaic
Seleucid
Port Dunford
Nikon
Somalia
Ptolemy III
Imperial Rome
Mamluk Sultanate
Ptolemy V Epiphanes

categories: 3rd-century BC Egyptian people,210 BC births,Pharaohs of the Ptolemaic dynasty,181 BC deaths,3rd-century BC rulers,3rd-century BC Pharaohs,Ancient child rulers,2nd-century BC Pharaohs,2nd-century BC rulers

paragraph: Ptolemy V Epiphanes

paragraph: Ptolemy V Epiphanes (, "Ptolemaĩos Epiphanḗs" "Ptolemy the Illustrious"; 210–181 BC), son of the siblings Ptolemy IV Philopator and Arsinoe III of Egypt, was the fifth ruler of the Ptolemaic dynasty from 204 to 181 BC. He inherited the throne at the age of five, and under a series of regents, the kingdom was paralyzed. The Rosetta Stone was produced during his reign in 196 BC.

paragraph: Section::::Reign.

paragraph: Section::::Reign.:Regency infighting.

paragraph: Ptolemy Epiphanes was only a small boy when his father, Ptolemy Philopator, died. Philopator's two leading favorites, Agathocles and Sosibius, fearing that Arsinoe would secure the regency, had her murdered before she heard of her husband's death, thereby securing the regency for themselves. However, in 202 BC, Tlepolemus, the general in charge of Pelusium, put himself at the head of a revolt. Once Epiphanes was in the hands of Tlepolemus he was persuaded to give a sign that his mother's killers should be killed. The child king gave his consent, it is thought more from fear than anything else, and Agathocles along with several of his supporters were killed by the Alexandrian mob.

paragraph: Section::::Reign.:War with the Seleucid Empire and Macedonia.

paragraph: Antiochus III the Great and Philip V of Macedon made a pact to divide the Ptolemaic possessions overseas. Philip seized several islands and populated places in Caria and Thrace, whilst the Battle of Panium (198 BC) definitively transferred Coele-Syria, including Judea, from the Ptolemies to the Seleucids.

paragraph: Antiochus then concluded peace, giving his own daughter Cleopatra I to Epiphanes in marriage (193–192 BC). Nevertheless, when war broke out between Antiochus and Rome, Egypt ranged itself with the latter power.

paragraph: Epiphanes came of age in approximately 196 or 197 BC with a ceremony known as an anacleteria, which was described in Polybius' "Histories". Polybius writes that Ptolemy's courtiers "thought that the kingdom would gain a certain degree of firmness and a fresh impulse towards prosperity, if it were known that the king had assumed the independent direction of the government." In manhood, Epiphanes was a passionate sportsman; he excelled in athletic exercises and the chase.

paragraph: Section::::Reign.:The Egyptian Revolt.

paragraph: Great cruelty and treachery were shown in the suppression of the native rebellion, and some accounts represent Epiphanes as personally tyrannical. In 197 BC, Lycopolis was held by the forces of Ankhmakis (also known as Chaonnophris), the secessionist pharaoh of Upper Egypt, but he was forced to withdraw to Thebes. The war between Upper and Lower Egypt continued until 185 BC with the arrest of Ankhmakis by Ptolemaic general Conanus. This victory re-established Ptolemaic rule in Upper Egypt, as well as the Triakontaschoinos.

paragraph: In 183 BC/184 BC, the rebels in Lower Egypt surrendered on the basis of terms that Epiphanes had personally promised to honor. However, showing himself treacherous and vindictive, he had them put to death in a cruel manner.

paragraph: The Memphis Decree, published in three languages on the Rosetta Stone and other stelae, announced the rule and ascension to godhood of Ptolemy V, and contained concessions to the priesthood, and has been termed a reward for the priests' support.

paragraph: Section::::Succession.

paragraph: The elder of Ptolemy V's two sons, Ptolemy VI Philometor (181–145 BC), succeeded as an infant under the regency of his mother Cleopatra the Syrian. Her death was followed by a rupture between the Ptolemaic and Seleucid courts, on the old question of Coele-Syria.

paragraph: Section::::Legacy.

paragraph: Ptolemy V's reign was also marked by trade with other contemporaneous polities. In the 1930s, excavations by Mattingly at a fortress close to Port Dunford (the likely Nikon of antiquity) in present-day southern Somalia yielded a number of Ptolemaic coins. Among these pieces were 17 copper mints from the Ptolemy III to Ptolemy V dynasties, as well as late Imperial Rome and Mamluk Sultanate coins.

paragraph: Section::::External links.

paragraph: BULLET::::- Ptolemy V Epiphanes entry in historical sourcebook by Mahlon H. Smith

alias:
Ptolemy Epiphanes
Ptolemy V

description: fifth ruler of the Ptolemaic dynasty in Egypt

wikidata_label: Ptolemy V Epiphanes

wikipedia_title: Ptolemy V Epiphanes


text:
Ptolemy I Soter
Eurydice
Ptolemaic dynasty
Egypt
Eordaea
Antigone of Macedon
Greek Macedonian
Magas
Cassander
Antipater
Philip
Magas of Cyrene
Antigone
Pyrrhus of Epirus
Theoxena
Apollo
Eurydice
Alexander the Great
Ptolemaic dynasty
Ancient Egypt
Arsinoe II
Philotera
Ptolemy II Philadelphus
Red Sea
Berenice
Ptolemy IV Philopator
Theocritus
Magas of Cyrene
Antigone
Pyrrhus of Epirus
Theoxena
Arsinoe II
Lysimachus
Ptolemy Keraunos
Philotera
Ptolemy II Philadelphus

categories: 3rd-century BC Egyptian people,4th-century BC Pharaohs,Queens consort of the Ptolemaic dynasty,3rd-century BC Pharaohs,4th-century BC women,3rd-century BC women

paragraph: Berenice I of Egypt

paragraph: Berenice I (; c. 340 BC – between 279 and 268 BC) was Queen of Egypt by marriage to Ptolemy I Soter. She became the second queen, after Eurydice, of the Ptolemaic dynasty of Egypt.

paragraph: Section::::Life.

paragraph: Section::::Life.:Family.

paragraph: Berenice was originally from Eordaea. She was the daughter of princess Antigone of Macedon, and an obscure local, a Greek Macedonian nobleman called Magas. Her maternal grandfather was a nobleman called Cassander who was the brother of Antipater, the regent for Alexander's empire, and through her mother was a relation to his family.

paragraph: Section::::Life.:First marriage.

paragraph: In 325 BC, Berenice married an obscure local nobleman and military officer called Philip. Philip was previously married and had other children.

paragraph: Through her first marriage, she became the mother of King Magas of Cyrene, Antigone, who married King Pyrrhus of Epirus; and a daughter called Theoxena.

paragraph: Magas dedicated an inscription to himself and his father, when he served as a priest of Apollo. Pyrrhus gave her name to a new city called "Berenicis".

paragraph: Philip died around 318 BC.

paragraph: Section::::Life.:Queen of Egypt.

paragraph: After the death of her first husband, Berenice travelled to Egypt with her children as a lady-in-waiting for her mother's first cousin Eurydice who was the wife of Ptolemy I. Ptolemy I was one of the generals of King Alexander the Great and founder of the Ptolemaic dynasty of Ancient Egypt.

paragraph: Berenice became involved in a relationship with Ptolemy I, who married her in 317 BC. Berenice became the mother of Arsinoe II, Philotera, and a son, Ptolemy II Philadelphus.

paragraph: In an unknown Olympiad, she was a victor in the chariot races.

paragraph: Her son Ptolemy II was recognized as his father's heir in preference to Eurydice's children to Ptolemy I.

paragraph: During his reign, Ptolemy II built a port on the Red Sea and named it Berenice after his mother.

paragraph: After she died, Ptolemy II and later Ptolemy IV Philopator decreed divine honors to her (Theocritus, "Idylls" xv. and xvii.).

paragraph: Section::::Issue.

paragraph: With her first spouse Philip, she became the mother of:

paragraph: BULLET::::- King Magas of Cyrene

paragraph: BULLET::::- Antigone, who married King Pyrrhus of Epirus

paragraph: BULLET::::- Theoxena

paragraph: With her second spouse Ptolemy I, she became the mother of:

paragraph: BULLET::::- Arsinoe II, who married first Lysimachus, then her half-brother Ptolemy Keraunos and finally her full brother Ptolemy II.

paragraph: BULLET::::- Philotera c.312-c.275 BC, deified.

paragraph: BULLET::::- Ptolemy II Philadelphus, Pharaoh of Egypt.

description: Egyptian queen consort

wikidata_label: Berenice I of Egypt

wikipedia_title: Berenice I of Egypt


text: King of Mercia

text: English Midlands

text: Eowa

text: Ceolred

text: Mercia

text: Anglo-Saxons

text: Penda

text: Wulfhere

text: Wessex

text: Kent

text: Bede

text: Humber

text: Anglo-Saxon Chronicle

text: bretwalda

text: St. Boniface

text: council of Clovesho

text: Gumley

text: Beornred

text: Offa

text: civil war

text: Eowa

text: Penda

text: battle of the Winwaed

text: Historia Brittonum

text: Annales Cambriae

text: battle of Maserfield

text: Oswald of Northumbria

text: Oswiu

text: Ceolred

text: Guthlac

text: Repton

text: barrow

text: Crowland

text: Lichfield

text: ealdorman

text: Heardberht

text: Beornrad

text: Offa

text: Northumbria

text: Charter

text: Ismere Diploma

text: Wessex

text: Kent

text: Wihtred

text: Ine

text: Aethelheard

text: ealdorman

text: Ceawlin

text: charters

text: Aethelberht

text: Eadberht

text: Æthelred

text: Coenred

text: bishop of London

text: manor

text: Somerton

text: Cuthred

text: Penda

text: Wulfhere

text: Burford

text: Cynewulf

text: Óengus

text: Eadberht

text: York

text: Egbert of Wessex

text: Ismere Diploma

text: Worcester

text: Boniface

text: Ecgberht

text: Tatwin

text: Nothelm

text: Cuthbert

text: synod

text: Gumley

text: ecclesiastical

text: trinoda necessitas

text: Seckington

text: Warwickshire

text: Tamworth

text: Bede

text: Beornrad

text: Repton

text: Wigstan

text: diadem

text: John Leland

text: Earls of Rutland

text: Belvoir Castle

text: Grantham

text: Duke of Rutland

text: Kings of Mercia family tree

text: Bede

text: CCEL

text: Anglo-Saxon charters

text: Anglo-Saxons.net

categories: Burials at St. Wystan's Church, Repton,757 deaths,Anglo-Saxon warriors,Year of birth unknown,8th-century English monarchs,Mercian monarchs

paragraph: Æthelbald of Mercia

paragraph: Æthelbald (also spelled Ethelbald or Aethelbald; died 757) was the King of Mercia, in what is now the English Midlands from 716 until he was killed in 757. Æthelbald was the son of Alweo and thus a grandson of King Eowa. Æthelbald came to the throne after the death of his cousin, King Ceolred, who had driven him into exile. During his long reign, Mercia became the dominant kingdom of the Anglo-Saxons, and recovered the position of pre-eminence it had enjoyed during the strong reigns of Mercian kings Penda and Wulfhere between about 628 and 675.

paragraph: When Æthelbald came to the throne, both Wessex and Kent were ruled by stronger kings, but within fifteen years the contemporary chronicler Bede describes Æthelbald as ruling all England south of the river Humber. The "Anglo-Saxon Chronicle" does not list Æthelbald as a bretwalda, or "Ruler of Britain", though this may be due to the West Saxon origin of the "Chronicle".

paragraph: St. Boniface wrote to Æthelbald in about 745, reproving him for various dissolute and irreligious acts. The subsequent 747 council of Clovesho and a charter Æthelbald issued at Gumley in 749—which freed the church from some of its obligations—may have been responses to Boniface's letter. Æthelbald was killed in 757 by his bodyguards. He was succeeded briefly by Beornred, of whom little is known, but within a year, Offa, the grandson of Æthelbald's cousin Eanwulf, had seized the throne, possibly after a brief civil war. Under Offa, Mercia entered its most prosperous and influential period.

paragraph: Section::::Early life and accession.

paragraph: Æthelbald came of the Mercian royal line, although his father, Alweo, was never king. Alweo's father was Eowa, who may have shared the throne for some time with his brother, Penda. The "Anglo-Saxon Chronicle" does not mention Eowa; though it does date Penda's reign as the thirty years from 626 to 656, when Penda was killed at the battle of the Winwaed. Two later sources also name Eowa as king: the "Historia Brittonum" and the "Annales Cambriae". The "Annales Cambriae" is the source for Eowa's death in 644 at the battle of Maserfield, where Penda defeated Oswald of Northumbria. Details on Penda's reign are scarce, and it is a matter for speculation whether Eowa was an underking, owing allegiance to Penda, or if instead Eowa and Penda had divided Mercia between them. If they did divide the kingdom, it is likely that Eowa ruled northern Mercia, as Penda's son Peada was established later as the king of southern Mercia by the Northumbrian Oswiu, who defeated the Mercians and killed Penda in 656. It is possible that Eowa fought against Penda at Maserfield.

paragraph: During Æthelbald's youth, Penda's dynasty ruled Mercia; Ceolred, a grandson of Penda and therefore a second cousin of Æthelbald, was king of Mercia from 709 to 716. An early source, Felix's "Life of Saint Guthlac", reveals that it was Ceolred who drove Æthelbald into exile. Guthlac was a Mercian nobleman who abandoned a career of violence to become first a monk at Repton, and later a hermit living in a barrow at Crowland, in the East Anglian fens. During Æthelbald's exile he and his men also took refuge in the Fens in the area, and visited Guthlac. Guthlac was sympathetic to Æthelbald's cause, perhaps because of Ceolred's oppression of the monasteries. Other visitors of Guthlac's included Bishop Haedde of Lichfield, an influential Mercian, and it may be that Guthlac's support was politically useful to Æthelbald in gaining the throne. After Guthlac's death, Æthelbald had a dream in which Guthlac prophesied greatness for him, and Æthelbald later rewarded Guthlac with a shrine when he had become king.

paragraph: When Ceolred died of a fit at a banquet, Æthelbald returned to Mercia and became ruler. It is possible that a king named Ceolwald, perhaps a brother of Ceolred, reigned for a short while between Ceolred and Æthelbald. Æthelbald's accession ended Penda's line of descent; Æthelbald's reign was followed, after a brief interval, by that of Offa, another descendant of Eowa.

paragraph: Other than his father, Alweo, little of Æthelbald's immediate family is known, although in the witness list of two charters a leading ealdorman named Heardberht is recorded as his brother.

paragraph: Section::::Mercian dominance.

paragraph: Æthelbald's reign marked a resurgence of Mercian power, which would last until the end of the eighth century. With the exception of the short reign of Beornrad, who succeeded Æthelbald for less than a year, Mercia was ruled for eighty years by two of the most powerful Anglo-Saxon kings, Æthelbald and Offa. These long reigns were unusual at this early date; during the same period eleven kings reigned in Northumbria, many of whom died violent deaths.

paragraph: By 731, Æthelbald had all the English south of the Humber under his overlordship. There is little direct evidence of the relationship between Æthelbald and the kings who were dependent on him. Generally, a king subject to an overlord such as Æthelbald would still be regarded as a king, but would have his independence curtailed in some respects. Charters are an important source of evidence for this relationship; these were documents which granted land to followers or to churchmen, and were witnessed by the kings who had power to grant the land. A charter granting land in the territory of one of the subject kings might record the names of the king as well as the overlord on the witness list appended to the grant; such a witness list can be seen on the Ismere Diploma, for example. The titles given to the kings on these charters could also be revealing: a king might be described as a "subregulus", or underking.

paragraph: Enough information survives to suggest the progress of Æthelbald's influence over two of the southern kingdoms, Wessex and Kent. At the start of Æthelbald's reign, both Kent and Wessex were ruled by strong kings; Wihtred and Ine, respectively. Wihtred of Kent died in 725, and Ine of Wessex, one of the most formidable rulers of his day, abdicated in 726 to go on a pilgrimage to Rome. According to the "Anglo-Saxon Chronicle", Ine's successor, Aethelheard, fought that year with an ealdorman named Oswald, whom the "Chronicle" provides with a genealogy showing descent from Ceawlin, an early king of Wessex. Aethelheard ultimately succeeded in this struggle for the throne, and there are subsequent indications that he ruled subject to Mercian authority. Hence it may be that Æthelbald helped establish both Aethelheard and his brother, Cuthred, who succeeded Aethelheard in 739. There is also evidence of South Saxon territory breaking away from West Saxon dominance in the early 720s, and this may indicate Æthelbald's increasing influence in the area, though it could have been Kentish, rather than Mercian, influence that was weakening West Saxon control.

paragraph: As for Kent, there is evidence from Kentish charters that shows that Æthelbald was a patron of Kentish churches. There is no charter evidence showing Æthelbald's consent to Kentish land grants, and charters of Aethelberht and Eadberht, both kings of Kent, survive in which they grant land without Æthelbald's consent. It may be that charters showing Æthelbald's overlordship simply do not survive, but the result is that there is no direct evidence of the extent of Æthelbald's influence in Kent.

paragraph: Less is known about events in Essex, but it was at about this time that London became attached to the kingdom of Mercia rather than that of Essex. Three of Æthelbald's predecessors—Æthelred, Coenred, and Ceolred—had each confirmed an East Saxon charter granting Twickenham to Waldhere, the bishop of London. From Kentish charters it is known that Æthelbald was in control of London, and from Æthelbald's time on, the transition to Mercian control appears to be complete; an early charter of Offa's, granting land near Harrow, does not even include the king of Essex on the witness list. For the South Saxons, there is very little charter evidence, but as with Kent, what there is does not show any requirement for Æthelbald's consent to land grants. The lack of evidence should not obscure the fact that Bede, who was after all a contemporary chronicler, summarized the situation of England in 731 by listing the bishops in office in southern England, and adding that "all these provinces, together with the others south of the river Humber and their kings, are subject to Æthelbald, King of the Mercians."

paragraph: There is evidence that Æthelbald had to go to war to maintain his overlordship. In 733 Æthelbald undertook an expedition against Wessex and captured the royal manor of Somerton. The "Anglo-Saxon Chronicle" also tells how when Cuthred succeeded Aethelheard to the throne of Wessex, in 740, he "boldly made war against Aethelbald, king of Mercia". Three years later, Cuthred and Æthelbald are described as fighting against the Welsh. This could have been an obligation placed on Cuthred by Mercia; earlier kings had similarly assisted Penda and Wulfhere, two strong seventh-century Mercian rulers. In 752, Æthelbald and Cuthred are again on opposite sides of the conflict, and according to one version of the manuscript, Cuthred "put him [Æthelbald] to flight" at Burford. Æthelbald seems to have reasserted his authority over the West Saxons by the time of his death, since a later West Saxon king, Cynewulf, is recorded as witnessing a charter of Æthelbald at the very beginning of his reign, in 757.

paragraph: In 740, a war between the Picts and the Northumbrians is reported. Æthelbald, who might have been allied with Óengus, the king of the Picts, took advantage of Eadberht's absence from Northumbria to ravage his lands, and perhaps burn York.

paragraph: Section::::Titles and Bretwaldaship.

paragraph: Earlier in Bede's "Ecclesiastical History of the English People" chronicle, he lists seven kings who governed the southern provinces of the English, with reigns dating from the late fifth to the late seventh century. Subsequently, the "Anglo-Saxon Chronicle"—another important source for the period—describes these seven as or , a title translated as "Britain-ruler" or "Wide-ruler". The "Chronicle" adds just one king to the list: Egbert of Wessex, who reigned in the ninth century. The resulting list of eight omits several strong Mercian kings. It is possible that the chronicler was merely adding Egbert's name to Bede's original list of seven, rather than claiming that no other kings achieved similar powers in England. The chronicler was almost certainly a West Saxon, and since neither Æthelbald nor Offa were kings of Wessex it is possible the chronicler does not mention them out of regional pride. The meaning of the term "bretwalda", and the nature of the power that these eight kings wielded, has had much academic scrutiny. One suggested interpretation is that since Bede was writing during Æthelbald's reign, the original seven he listed were essentially those kings who could be seen as prototypes of Æthelbald in their domination of England south of the Humber.

paragraph: Further evidence of Æthelbald's power, or at least his titles, is provided by an important charter of 736, the Ismere Diploma, which survives in a contemporary (and possibly original) copy. It starts by describing Æthelbald as "king not only of the Mercians but also of all the provinces which are called by the general name South English"; in the witness list he is further named "Rex Britanniae", "King of Britain". One historian described this title as "a phrase which can only be interpreted as a Latin rendering of the English title "; but it may be that at that time these titles would not have been acknowledged much beyond Worcester, where this and other documents from the 730s that use similar titles were written.

paragraph: Section::::Relations with the church.

paragraph: In 745–746, the leading Anglo-Saxon missionary in Germany, Boniface, along with seven other bishops, sent Æthelbald a scorching letter reproaching him for many sins—stealing ecclesiastical revenue, violating church privileges, imposing forced labour on the clergy, and fornicating with nuns. The letter implored Æthelbald to take a wife and abandon the sin of lust:

paragraph: We therefore, beloved son, beseech Your Grace by Christ the son of God and by His coming and by His kingdom, that if it is true that you are continuing in this vice you will amend your life by penitence, purify yourself, and bear in mind how vile a thing it is through lust to change the image of God created in you into the image and likeness of a vicious demon. Remember that you were made king and ruler over many not by your own merits but by the abounding grace of God, and now you are making yourself by your own lust the slave of an evil spirit.

paragraph: Boniface first sent the letter to Ecgberht, the archbishop of York, asking him to correct any inaccuracies and reinforce whatever was right; and he requested Herefrith, a priest whom Æthelbald had listened to in the past, to read and explain it to the king in person. Though Boniface's letter praises Æthelbald's faith and alms-giving, its criticisms have strongly coloured subsequent opinion of Æthelbald. A claim made in a ninth-century list of donations from the abbey of Gloucester that Æthelbald had "stabbed—or smitten" to death the kinsman of a Mercian abbess has also contributed negatively to his reputation.

paragraph: Æthelbald may have influenced the appointment of successive archbishops of Canterbury in Tatwine, Nothelm, and Cuthbert, the last probably the former bishop of Hereford; and despite Boniface's strong criticisms, there is evidence of Æthelbald's positive interest in church affairs. A subsequent letter of Boniface's to Cuthbert, Archbishop of Canterbury, provided a good deal of information about Frankish synods, especially one held in 747, the decrees of which Boniface included in the letter. Boniface does not explicitly suggest to Cuthbert that he, too, should hold a synod, but it seems clear that this was Boniface's intent. A council was, in fact, subsequently held at Clovesho (the location of which is now lost); Æthelbald attended and perhaps presided. The council was concerned with the relationship between the church and the secular world, and it condemned many excesses on the part of the clergy. The council limited relations between monks and laymen and ruled that secular activities were impermissible for monks: secular business and secular songs were both forbidden, especially "ludicrous songs".

paragraph: Two years after this, in 749, at the synod of Gumley, Æthelbald issued a charter that freed ecclesiastical lands from all obligations except the requirement to build forts and bridges—obligations which lay upon everyone, as part of the "trinoda necessitas". This charter was witnessed only by Mercian bishops, and it is possible it had no effect outside Mercia, but it is also possible that it was essentially part of a reform programme inspired by Boniface and instigated at Clovesho.

paragraph: Section::::Death.

paragraph: In 757, Æthelbald was killed at Seckington, Warwickshire, near the royal seat of Tamworth. According to a later continuation of Bede's "Ecclesiastical History", he was "treacherously murdered at night by his own bodyguards", though the reason is unrecorded. He was succeeded, briefly, by Beornrad. Æthelbald was buried at Repton, in a crypt which still can be seen; a contemporary is reported to have seen a vision of him in hell, reinforcing the impression of a king not universally well-regarded. The monastery church on the site at that time was probably constructed by Æthelbald to house the royal mausoleum; other burials there include that of Wigstan.

paragraph: A fragment of a cross shaft from Repton includes on one face a carved image of a mounted man which, it has been suggested, may be a memorial to Æthelbald. The figure is of a man wearing mail armour and brandishing a sword and shield, with a diadem bound around his head. If this is Æthelbald, it would make it the earliest large-scale pictorial representation of an English monarch.

paragraph: Section::::Legend of Alfred III, King of Mercia.

paragraph: According to a story recorded by the 16th-century antiquarian John Leland, and derived by him from a now lost book in the possession of the Earls of Rutland at Belvoir Castle, there was once a King Alfred III of Mercia, who reigned in the 730s. Though no Mercian king was ever named Alfred, let alone three, if this story has any historical basis (which Leland himself rejected) it must presumably relate to Æthelbald. The legend states that Alfred III had occasion to visit a certain William de Albanac, alleged ancestor of the Earls of Rutland, at his castle near Grantham, and took a fancy to William's three comely daughters. It was the king's intention to take one as his mistress, but William threatened to kill whichever he chose rather than have her dishonoured in this way, whereupon Alfred "answerid that he meant to take one of them to wife, and chose Etheldrede that had fat bottoks, and of her he had Alurede that wan first all the Saxons the monarchy of England." A painting of this supposed incident was commissioned in 1778 by the Duke of Rutland, but was destroyed in a fire in 1816.

paragraph: Section::::See also.

paragraph: BULLET::::- Kings of Mercia family tree

paragraph: Section::::References.

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

paragraph: BULLET::::- (1991 edition: )

paragraph: BULLET::::- Bede, "Ecclesiastical History of the English People." Translated by Leo Sherley-Price, revised R.E. Latham, ed. D.H. Farmer. London: Penguin, 1990.

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

paragraph: BULLET::::- (2003 edition: )

paragraph: Section::::External links.

paragraph: BULLET::::- , at CCEL, tr. A.M. Sellar

paragraph: BULLET::::- Anglo-Saxon charters, at Anglo-Saxons.net.

alias:
Aethelbald of Mercia
King Æthelbald
King Æthelbald of Mercia
King Ethelbald of Mercia
Ethelbald, King of Mercia
Ethelbald of Mercia
Athelbald of Mercia
King AEthelbald
AEthelbald of Mercia
King AEthelbald of Mercia

description: King of Mercia

wikidata_label: Æthelbald of Mercia

wikipedia_title: Æthelbald of Mercia


text:
Matthew Fetherstonhaugh, 1st Baronet
Fetherstonhaugh baronets
Portsmouth
Grand Tour
Pompeo Batoni
Humphry Repton
Uppark
Prince of Wales
Emma Hamilton
Charles Greville

categories: Baronets in the Baronetage of Great Britain,British MPs 1784–1790,1754 births,1846 deaths,Members of the Parliament of Great Britain for English constituencies,British MPs 1780–1784

paragraph: Henry Fetherstonhaugh

paragraph: Sir Henry Fetherstonhaugh, 2nd Baronet (22 December 1754 – 24 October 1846), known as Harry, was an English politician.

paragraph: The son of Matthew Fetherstonhaugh, 1st Baronet (of the Fetherstonhaugh baronets), he was the Member of Parliament for Portsmouth from 1782 to 1796, but never once spoke in the House of Commons, and has been described as a "witless playboy".

paragraph: He made the Grand Tour in 1775-76 but passed most of it in sexual and hunting adventures. Like his parents and uncle 25 years earlier, he was painted by Pompeo Batoni in Rome, and later employed Humphry Repton to lay out the gardens to his country manor, Uppark.

paragraph: Sir Harry was a good friend of the Prince of Wales (later King George IV), who stayed at Uppark during the mid-1780s. He took the teenaged Emma Hamilton as a mistress to live with him at Uppark in 1780 as his mistress and to entertain his guests at the many parties he hosted, but rejected her when she became pregnant with his child in 1781. A frequent guest at Uppark, Charles Greville, took her in as his mistress on condition that the child, Emma Carew, was fostered out.

paragraph: On 12 Sept. 1825, when over 70, Fetherstonhaugh married Mary Ann Bullock, his head dairy maid, aged 18 or 21, and upon his death left his entire estate to her. After her husband's death Mary Ann continued living at Uppark with her sister, Frances (b.1817).

description: British Member of Parliament (1754-1846)

wikidata_label: Henry Fetherstonhaugh

wikipedia_title: Henry Fetherstonhaugh


text:
Conservatoire de Paris
opéra comique
Théâtre des Folies-Dramatiques
Les Cloches de Corneville
Théâtre de la Gaîté
La Fille du tambour-major
opéra-comique
Alfred Delacour
Paul Lacôme
Les Cloches de Corneville
Robert Planquette
Clairville
Charles Gabet
Théâtre des Bouffes-Parisiens
Madame Favart
Jacques Offenbach
Alfred Duru
Henri Chivot
Théâtre des Folies-Dramatiques
François les bas-bleus
Paul Burani
Firmin Bernicat
André Messager
Grand Théâtre de Bordeaux
operetta
Edmond Audran
Alfred Hennequin
Albert Millaud
opérette
Henri Blondeau
Hector Monréal
Théâtre des Célestins
La Fille du tambour-major
Conchita Gélabert
Conchita Gélabert soprano

categories: 1857 births,1922 deaths,19th-century French actresses,Conservatoire de Paris alumni,French operatic sopranos,People from Madrid,19th-century French singers

paragraph: Conchita Gélabert

paragraph: Maria Conchita Gélabert (1857–1922) was a lyrical artist and actress of Spanish origin who performed in France at the end of the 19th century.

paragraph: Section::::Biography.

paragraph: Born in Madrid, Gélabert entered the Conservatoire de Paris in 1873 and obtained a first run off in opéra comique in 1876. In 1877, she was hired at the Théâtre des Folies-Dramatiques where she created "Les Cloches de Corneville", then at the Théâtre de la Gaîté, "", "Le Voyage de Suzette", "La Fille du tambour-major".

paragraph: Because of an unfortunate love story, she abandoned the theatre in 1890, and lived in retirement since then. She died alone and forgotten in Paris.

paragraph: Section::::Repertoire.

paragraph: BULLET::::- 1876: "Jeanne, Jeannette et Jeanneton", opéra-comique by Charles Clairville, Alfred Delacour; music by Paul Lacôme, premiere on 27 October 1876, Théâtre des Folies-Dramatiques.

paragraph: BULLET::::- 1877: "Les Cloches de Corneville", opéra-comique by Robert Planquette, libretto by Clairville and Charles Gabet, at the Théâtre des Folies-Dramatiques.

paragraph: BULLET::::- 1878: "Le Buisson d'écrevisses", operetta by and , music by , premiered at the Théâtre des Bouffes-Parisiens.

paragraph: BULLET::::- 1879: "Madame Favart", opéra-comique in three acts by Jacques Offenbach, libretto by Alfred Duru and Henri Chivot, Théâtre des Folies-Dramatiques .

paragraph: BULLET::::- 1884: "François les bas-bleus" opéra-comique by Ernest Dubreuil, Eugène Humbert, Paul Burani, music by Firmin Bernicat, completed by André Messager at the Grand Théâtre de Bordeaux.

paragraph: BULLET::::- 1884: "Le Grand Mogol", operetta in four acts, lyrics by Chivot and Duru, music by Edmond Audran Théâtre de la Gaîté.

paragraph: BULLET::::- 1885: "Niniche", comédie-vaudeville in three acts, by Alfred Hennequin and Albert Millaud, music by Marius Boullard, Grand-Théâtre du Havre.

paragraph: BULLET::::- 1885: "Les Pommes d'Or", opérette-féerie in 3 acts by Chivot, Duru, Henri Blondeau, Hector Monréal, Théâtre des Célestins.

paragraph: BULLET::::- 1886: "La Fille du tambour-major", Théâtre des Célestins.

paragraph: Section::::External links.

paragraph: BULLET::::- Conchita Gélabert ("Les Archives du spectacle")

paragraph: BULLET::::- Conchita Gélabert soprano on Pinterest

description: French actress and singer

wikidata_label: Conchita Gélabert

wikipedia_title: Conchita Gélabert


text: Madrid

text: avant-garde

text: sculptor

text: surrealism

text: kinetic art

text: Museo del Prado

text: Paris

text: futurism

text: Marinetti

text: A Coruña

text: Escola de la Llotja

text: noucentisme

text: Vienna

text: Cercle Artístic de Sant Lluc

text: Alexander Calder

text: Alejandro Ferrant

text: Ricardo Gutiérrez Abascal

text: Museo del Prado

text: The Descent from the Cross

text: Rogier van der Weyden

text: Teatro Albéniz

text: Mathias Goeritz

text: Ángel Ferrant en la Guerra Civil

categories: 20th-century Spanish sculptors,Real Academia de Bellas Artes de San Fernando alumni,1890 births

paragraph: Ángel Ferrant

paragraph: Ángel Ferrant Vázquez (Madrid 1890 – 1961) was an avant-garde Spanish sculptor associated with surrealism and kinetic art.

paragraph: Section::::Biography and works.

paragraph: Son of the painter Alejandro Ferrant, he studied sculpture at the Escuela de Artes y Oficios in Madrid, the Real Academia de Bellas Artes de San Fernando, and at sculptor Aniceto Marinas’ studio. His first works fit into the academic realism of the new century and have hints of an aesthetic trend called tremendismo which uses realism to shock. The most outstanding one is "La cuesta de la vida" (Museo del Prado) for which he won the second medal at the Exposición Nacional de Bellas Artes in 1910. In 1913 he travelled to Paris where he came into contact with futurism and although he wasn't a futurist in the strict sense, the influence of Marinetti, with whom he had an epistolary relationship, contributed to the evolution of his sculpture.

paragraph: When he obtained the position of sculpture and casting teacher, he was assigned to the Escuela de Artes y Oficios in A Coruña. He lived there for two years and then, in 1920 he was transferred to the Escola de la Llotja in Barcelona. He stayed there until 1934, when he established himself permanently as a teacher at the Escuela de Artes y Oficios in Madrid.

paragraph: Section::::Biography and works.:First contact with the avant-garde.

paragraph: In Barcelona, he approached the noucentisme and avant-garde artists, whose influence is shown in "La escolar", for which he won the first prize at the National Competition of Sculpture in 1926. The Junta de Ampliación de Estudios gave him a scholarship and in 1927 he travelled to Vienna in order to update the pedagogical methods of the teaching of sculpture.

paragraph: During these years he spent in Barcelona, he exhibited his works in various art galleries and with different groups, as for instance, the I Exposición de la Sociedad de Artistas Ibéricos, in which he presented two nudes influenced by primitive art, the Saló dels Evolucionistes, the Cercle Artístic de Sant Lluc, and the Asociación de Escultores and Amigos de las Artes Nuevas (ADLAN.), a group akin to surrealism founded in 1931 that had Ángel Ferrant as a very active member. In 1936 he participated in the Exposición Logicofobista in Barcelona, which was part of the surrealistic trend. His student Eduald Serra was also involved in this exposition. During these years, Ferrant started his investigation about objects, trying out new artistic material within the aesthetic of the "objet trouvé". He also made contact with Alexander Calder, which had his "Circo en miniatura" exhibited by Amigos de las Nuevas Artes.

paragraph: Section::::Biography and works.:The Civil War and the Artistic Treasure Committee.

paragraph: When the war began, he signed the “Manifiesto de la Alianza de Intelectuales Antifascistas para la Defensa de la Cultura” published in the "La voz" newspaper on July 30, 1936. On early 1937, Ángel joined the Seizure, Protection and Rescue of the Artistic Treasure Committee which was set up on December 15, 1936, and had Roberto Fernández Balbuena as president and his brother Alejandro Ferrant as chairperson. One of his responsibilities as technical assistant was to organise photographic files from all Committee's works. He was also named provisional director of the Modern Art Museum around that time, since the former director Ricardo Gutiérrez Abascal moved to Valencia, and president of the Artistic Treasure Section of the Central Board of the Archives, Libraries and Artistic Treasure. These were positions that could truly exercised since the museum remained closed and the Central Board was an empty superstructure. Ángel was arrested in the Committee units by agents from the Servicio de Información Militar (Military Information Service) or SIM of the Ejército del Centro on May 27. The same agents which the night before arrested the architect Francisco Ordeig (responsible of the stores that the Junta de Incautación had in the Church of San Francisco el Grande), one of his sons and also the public employees from the Committee and members of the National Republican Guard who were in charge of the custody of the art works that were there. There was an accusation on these members because of connivance with the enemy. All Ferrant brothers were released on May 30, after the intervention of Fernández Balbuena and other colleagues from the Committee. They warned about exaggerations and forced interpretations of declarations heard by confidants in the accusations made by officers of the brigade. Apparently, there was no other reason for that arrest but their friendship with Ordeig, who was finally judged in Barcelona one year later.

paragraph: Ángel was appointed as spokesperson of the Committee that was in charge of the different town tours and seizures in the center of the area, among others. In January 1938, after Fernández Balbuena's designation as representative of the Dirección General de Bellas Artes in Madrid and deputy director of the Museo del Prado, Ángel Ferrant was named president of the Artistic Treasure Board in Madrid. Its reticences to some officials from the Ministry requests and to the Fine Arts management were causing continuous arguments. Ángel presented his resignation in March, but soon he canceled it because he was unwilling to move "The Descent from the Cross," of Rogier van der Weyden, to Valencia. In April 1938 Ángel Ferrant was asked to go to Barcelona, where he stayed until June leaving as responsible of the Committee Matilde López Serrano, a Francoist agent of the SIPM (Servicio de Información y Policía Militar). On September 6 those in charge of the Ministry of Finance, to which the competences of the Artistic Treasure were transferred, proceeded to reshuffle the Committees, headed by the civil governors. Ferrant became the technical assistant and had no executive functions.

paragraph: Section::::Biography and works.:Post-war.

paragraph: After the war, Ferrant and his brother were sued by the Duke of Valencia, whose properties had been saved thanks to the Committee of Madrid. In April, after facing disciplinary proceedings, Ferrant filed an exculpatory statement, in which he explained his actions towards the Committee. In July, Pedro Muguruza, Commissioner-general of the Servicio de Defensa del Patrimonio Artístico Nacional, submitted a report to the Military Tribunal of Officials explaining the Committee's role in the preservation of the patrimony in Madrid. After this dispute he retook the artistic creativity he had left during the war. In this context were highly significant the series of terracotta reliefs of "Tauromaquia" (Museo Nacional Centro de Arte Reina Sofía, Madrid), dating from 1939, in which Ferrant returns to figurative art with a budget unconnected to the academic field.

paragraph: In 1943 he was commissioned by the architects Durán de Cottes and López Izquierdo in collaborating in a set of sculptures designed for the façade of the Teatro Albéniz in Madrid, as a reinterpretation of the façades of the Spanish Baroque architecture. His task was to sculpt eleven wooden statues, which by a simple crankshaft mechanism and a small motor would move their jointed parts (they would appear playing guitar, fanning themselves, moving their torso, etc.). The statues could be seen in the façade until 1983. That year they were exhibited and, from then onwards, they were kept in the theatre's foyer. For economic reasons, Ferrant took different orders, such as some of the reliefs of the Descubrimiento column in La Rábida (Huelva), but he also started working again in "objetos hallados" - shells, stones, sticks - assembled in structures of “non-utilitarian expression”.

paragraph: In 1948 he met the German artist Mathias Goeritz and his Escuela de Altamira, which promoted working with stone or clay objects in which human figures would be outlined. Ferrant and Goeritz published "Figuras del mar", a book with texts in German and drawings made by Ferrant. In 1949, he exhibited his "móviles", similar to Calder and his sculpture "Estáticas". In 1960, Ferrant won the special sculpture award in the XXX Bienal of Valencia.

paragraph: Section::::Notes.

paragraph: BULLET::::- Alix, Josefina (1985). "Escultura Española 1900/1936". Madrid, Ed. El Viso. .

paragraph: BULLET::::- Álvarez Lopera, José, "Ángel Ferrant en la Guerra Civil", "Anales de Historia del Arte", vol. extraordinario (2008), pp. 335–355

paragraph: BULLET::::- "Arte protegido: memoria de la Junta del Tesoro Artístico durante la Guerra Civil", [exposición], catálogo coord. Isabel Argerich Fernández y Judith Ara Lázaro, 2009,

paragraph: Section::::External links.

paragraph: BULLET::::- Museo Patio Herreriano -Vida y obras de Ángel Ferrant

paragraph: BULLET::::- Exposición retrospectiva Ángel Ferrant en el Museo Nacional Centro de Arte Reina Sofía

alias:
Angel Ferrant
Angel Ferrant Vazquez
Ángel Ferrant Vázquez
Àngel Ferrant Vázquez
Ángel Ferrant

description: Spanish sculptor (1890-1961)

wikidata_label: Àngel Ferrant

wikipedia_title: Ángel Ferrant


text: Latinized

text: David Fabricius

text: Frisian

text: German

text: astronomer

text: sunspot

text: Galileo Galilei

text: Resterhafe

text: East Friesland

text: University of Helmstedt

text: Wittenberg University

text: Leiden University

text: Netherlands

text: Sun

text: sunspot

text: East Asian

text: Chinese

text: Wittenberg

text: camera obscura

text: Jules Verne

text: Fabricius crater

text: Moon

text: David Fabricius

text: Marienhafe

text: pastor

text: East Friesland

text: Walther Killy

text: The Galileo Project

categories: 1616 deaths,1587 births,Frisian scientists,German astronomers,East Frisians,Leiden University alumni

paragraph: Johannes Fabricius

paragraph: Johann Goldsmid, better known by his Latinized name Johann(es) Fabricius (8 January 1587 – 19 March 1616), eldest son of David Fabricius (1564–1617), was a Frisian/German astronomer and a discoverer of sunspots (in 1610), independently of Galileo Galilei.

paragraph: Section::::Biography.

paragraph: Johannes was born in Resterhafe (East Friesland). He studied at the University of Helmstedt, Wittenberg University and graduated from Leiden University in 1611. He returned from university in the Netherlands with telescopes that he and his father turned on the Sun. Despite the difficulties of observing the sun directly, they noted the existence of sunspots, the first confirmed instance of their observation (though unclear statements in East Asian annals suggest that Chinese and Korean astronomers may have discovered them with the naked eye previously, and Fabricius may have noticed them himself without a telescope a few years before). Johannes first observed a sunspot on February 27, 1611; in Wittenberg in that year he published the results of his observations in his 22-page pamphlet "De Maculis in Sole observatis...". It was the first publication on the topic of sunspots.

paragraph: The pair soon used camera obscura telescopy so as to save their eyes and get a better view of the solar disk, and observed that the spots moved. They would appear on the eastern edge of the disk, steadily move to the western edge, disappear, then reappear at the east again after the same amount of time that it had taken for it to cross the disk in the first place.

paragraph: He is also mentioned in Jules Verne's "From the Earth to the Moon" as someone who claimed to have seen lunar inhabitants through his telescope, though that particular fact is merely part of Verne's fiction. The large () Fabricius crater, on the Moon's southern hemisphere, is named after his father, David Fabricius.

paragraph: He died in Marienhafe, at the age of 29.

paragraph: Section::::Legacy.

paragraph: In 1895, a monument was erected to his memory in the churchyard at Osteel, where his father had been pastor from 1603 until 1616.

paragraph: Section::::Work.

paragraph: BULLET::::- Joh. Fabricii Phrysii "De Maculis in Sole observatis, et apparente earum cum Sole conversione, Narratio, etc. Witebergae, Anno M.DC.XI." (year 1611).

paragraph: Section::::References.

paragraph: BULLET::::- Gerhard Berthold: "Der Magister Johann Fabricius und die Sonnenflecken, nebst einem Excurs über David Fabricius" (Magister Johann Fabricius and Sunspots, together with a Digression on David Fabricius), Leipzig, 1894.

paragraph: BULLET::::- L. Häpke: "Fabricius und die Entdeckung der Sonnenflecken" ("Fabricius and the Discovery of Sunspots") in: "Abhandlungen des naturwissenschaftlichen Vereins zu Bremen", 10, 1888, pp. 249–272.

paragraph: BULLET::::- Bunte: "Über Johannes Fabricus, den Entdecker der Sonnenflecken" ("On Johannes Fabricius, the Discoverer of Sunspots") in: "Jahrbuch der Ges. für bildende Kunst und vaterländ. Altertümer zu Emden", 9, H. 1, 1890, pp. 59–77.

paragraph: BULLET::::- Diedrich Wattenberg: "David Fabricius. Der Astronom Ostfrieslands" (David Fabricius. Astronomer of East Friesland), Berlin 1964.

paragraph: BULLET::::- Fritz Krafft: in Walther Killy's "Literaturlexikon: Autoren und Werke deutscher Sprache" (Literature-Lexicon: Authors and Words of German Language), 15 volumes, Gütersloh; München: Bertelsmann-Lexikon-Verl. 1988-1991 (CD-ROM Berlin 1998 ), Vol. 3.

paragraph: BULLET::::- Wilfried Schroeder, "The Discovery of Sunspots," Bremen 2009

paragraph: Section::::External links.

paragraph: BULLET::::- The Galileo Project — biography of David and Johannes Fabricius.

paragraph: BULLET::::- Entry in the biographical encyclopedia of East Frisia (German)

paragraph: BULLET::::- Celebrating 400 Years of Sunspot Observations.

description: German astronomer

wikidata_label: Johannes Fabricius

wikipedia_title: Johannes Fabricius


text:
VC
County Fermanagh
Irish
Victoria Cross
British
Commonwealth
drummer
Duke of Wellington's Regiment
British Army
Ethiopia
Magdala
James Bergin
Corporal
Melbourne
Museum Victoria
The Register of the Victoria Cross
Ireland's VCs
Monuments to Courage
Irish Winners of the Victoria Cross

categories: 1897 deaths,Duke of Wellington's Regiment soldiers,19th-century Irish people,1840 births,British military musicians,British military personnel of the Abyssinian War,Irish recipients of the Victoria Cross,People from County Fermanagh,Irish soldiers in the British Army,Irish emigrants to Australia

paragraph: Michael Magner

paragraph: Michael Magner VC (21 June 1840 – 6 February 1897) was born in County Fermanagh, Ireland and was an Irish recipient of the Victoria Cross, the highest and most prestigious award for gallantry in the face of the enemy that can be awarded to British and Commonwealth forces.

paragraph: Section::::Details.

paragraph: He was 27 years old, and a drummer in the 33rd Regiment of Foot, later the Duke of Wellington's Regiment, British Army, during the Abyssinia Expedition when the following deed took place for which he was awarded the VC.

paragraph: On 13 April 1868 in Abyssinia (now Ethiopia), during the assault on Magdala, when the head of the column of attack was checked by the obstacles at the gate, a small stream of officers and men of the 33rd Regiment and an officer of the Royal Engineers broke away from the main approach to Magdala and, reaching the defences, climbed a cliff, forced their way over a wall and through a strong and thorny fence, thus turning the defenders of the gateway. The first two men to enter Magdala were Drummer Magner and a private (James Bergin).

paragraph: Magner later achieved the rank of Corporal. He died in Melbourne, Australia on 6 February 1897.

paragraph: Section::::The medal.

paragraph: Magner's medal is on public display in Museum Victoria, Carlton Gardens, Melbourne, Australia.

paragraph: Section::::References.

paragraph: Listed in order of publication year

paragraph: BULLET::::- "The Register of the Victoria Cross" (1981, 1988 and 1997)

paragraph: BULLET::::- "Ireland's VCs" (Dept of Economic Development, 1995)

paragraph: BULLET::::- "Monuments to Courage" (David Harvey, 1999)

paragraph: BULLET::::- "Irish Winners of the Victoria Cross" (Richard Doherty & David Truesdale, 2000)

description: Recipient of the Victoria Cross

wikidata_label: Michael Magner

wikipedia_title: Michael Magner


href: Amoraim Babylon Amemar Rav%20Ashi Yeshiva Pumbedita Rav%20Aha%20b.%20Rava Sherira%20Gaon Yeshiva

text:
Amora
Babylon
Amemar
Rav Ashi
Yeshiva
Pumbedita
Rav Aha b. Rava
Sherira Gaon
Yeshiva

categories: Talmud rabbis of Babylonia,Rabbis of Academy of Pumbedita

image: 512px-קבר_מר_זוטרא_בברעם.jpg

paragraph: Mar Zutra

paragraph: Mar Zutra () was a Jewish Amora sage of Babylon, of the sixth generation of the Amora era. He was a colleague of Amemar and Rav Ashi. He headed the Yeshiva of Pumbedita, and according to the book "Seder Tannaim ve-Amoraim", previous to Rav Aha b. Rava. In the "Iggeret Rav Sherira Gaon" (French version), he is not mentioned as a head of a Yeshiva, but in later sources he is noted as Mr Zutra, Head of a Yeshiva.

description: Jewish Amora sage of Babylon

wikidata_label: Mar Zutra

wikipedia_title: Mar Zutra


text:
Metro Area
Morgan Geist
The Rapture
House of Jealous Lovers
Morgan Geist
DFA Records
Resident Advisor
Metro Area
The Rapture
House of Jealous Lovers
Pitchfork Media
NME
The Silent League
Aarktica
Izititiz "With Our With Jazz
Sound@One
Izititiz
Forced Exposure
James Duncan
Discogs
Arthur's Landing CD release at NuBlu

categories: 21st-century trumpeters,Canadian guitarists,Male trumpeters,Living people,Canadian record producers,1968 births,Canadian trumpeters,Musicians from Toronto,Canadian male guitarists,21st-century male musicians,Avant-garde jazz musicians

paragraph: James Duncan (musician)

paragraph: James Duncan (born November 12, 1968) is a Canadian musician and trumpet player originally from Toronto, Ontario, now living in Brooklyn, NY.

paragraph: As a producer, he has recorded under his own name, releasing solo 12" singles on labels such as Dancetracks (NY), London's Real Soon, West Norwood Cassette Library (WNCL) and his own imprint, Le Systeme Records, which he founded in 1999.

paragraph: He has recorded and performed as a trumpet player with respected dance music artists Metro Area, Kelley Polar and Morgan Geist, all on Environ Records. He also appeared on The Rapture's "House of Jealous Lovers" 12" single (Morgan Geist Remix) on DFA Records. Resident Advisor named Metro Area's debut CD, which he played trumpet on, the 2nd Best Album of the 2000s and The Rapture's "House of Jealous Lovers" was rated 16th and 6th respectively on Pitchfork Media and "NME"s Top Tracks of the 2000s lists.

paragraph: An active musician, he has also toured and/or recorded with The Silent League (Mercury Rev//The Arcade Fire/Beirut), Aarktica, Arthur's Landing (Strut), Glenn Branca, Rhys Chatham and Jon DeRosa (One Little Indian). Appearances at concert venues include The Lincoln Center, MOMA's PS1, The Winter Music Conference in Miami, John Zorn's The Stone (New York), Joe's Pub, PS 122 (New York) and The Knitting Factory.

paragraph: Section::::External links.

paragraph: BULLET::::- Izititiz "With Our With Jazz at Sound@One

paragraph: BULLET::::- Izititiz at Forced Exposure

paragraph: BULLET::::- James Duncan on Discogs

paragraph: BULLET::::- Arthur's Landing CD release at NuBlu - 2011 in NYC/a

description: Canadian house musician

wikidata_label: James Duncan

wikipedia_title: James Duncan (musician)


text: Ukrainian

text: folk art

text: painter

text: naïve art

text: drawing

text: embroidery

text: ceramic

text: peasant

text: Kiev Oblast

text: Chernobyl

text: folk

text: fairy-tale

text: Kristina Isola

text: Finnair

text: Yuriy Khimich

categories: Ukrainian women artists,Ukrainian painters,20th-century Russian painters,1908 births,People from Ivankiv Raion,Recipients of the Shevchenko National Prize,1997 deaths,Naïve painters

paragraph: Maria Prymachenko

paragraph: Maria Pryimachenko () (1908–1997) was a Ukrainian village folk art painter, representative of naïve art. The artist was involved with drawing, embroidery and painting on ceramics.

paragraph: Section::::Biography.

paragraph: Maria was a peasant woman. She was born and spent all her life in the village of Bolotnya in the Ivankiv Raion, Kiev Oblast, situated only from Chernobyl.

paragraph: Іn her childhood Maria was taken ill with polio, and this painful disease influenced the girl's life. By reports of her relatives, Maria grew а thoughtful and considerate person, having compassion for nature and every living thing.

paragraph: Her way in art began, by her own words, like this: "Once, as a young girl, I was tending a gaggle of geese. When I got with them to a sandy beach, on the bank of the river, after crossing a field dotted with wild flowers, I began to draw real and imaginary flowers with a stick on the sand… Later, I decided to paint the walls of my house using natural pigments. After that I’ve never stopped drawing and painting."

paragraph: Section::::Creative works.

paragraph: Mysterious and emotionally charged, the works of Maria Pryimachenko, a folk master of Ukrainian decorative painting, seem to absorb the age-old traditions of many generations of Ukrainian master-craftsmen who, from the depths of the centuries, have brought forth their understanding of good and evil, of ugliness and beauty.

paragraph: Images often had арреаred to the artist in dreams and later materialized in her compositions. Maria Pryimachenko's art works depict fabulous mythological beasts and take their roots in folk legends and fairy-tales, nourished bу real life and culture of the Ukrainian реорlе.

paragraph: The works of Pryimachenko can be subdivided into thematic, symbolic and ornamental pieces. All compositions are characterized by a subtle and fluent rhythmical arrangement. There is a maxim: "Style makes man." As for Pryimachenko, one can state this in reverse: man makes style, for Maria Pryimachenko has developed a style of her own. In this evolution one can discern traces of constructivism (1930s); the victory of harmony (1960s- 1970s); and the decorative approach (1980s). Her latest works impress one by their daring decorativeness of form. Pryimachenko gravitates to the world of fairy-tale and mystery: her birds, beasts and plants interact on her pictures just as harmoniously and easily as they do in natural surroundings. Philosophy of the good animates the content of her works. The good embodied in the images of 'kind' beasts and birds (lions, bears, hares, storks, swallows) is juxtaposed against the evil, this mighty force which is sometimes difficult to identify with certain living things. The artist often resorts to her favoured device of personification: she depicts fabulous animals with large eyes surrounded with a trim of eyelashes.

paragraph: Thematic compositions occupy a special place in Pryimachenko's creative legacy as far as the complexity of compositional arrangement and harmonious balance are concerned. Raw actuality and fairy-tale become blended in her compositions into one single whole, triumphantly demonstrating the unity of Nature. People depicted in these compositions are composed and full of dignity and self-respect. Her early compositions were executed against a white background, associated with the whitewashed walls of peasant cottages. But in the 1970s-1980s the artist turned to coloured backgrounds. It seems that colour itself creates the effect of colour-bearing space. There are no professional secrets in her arsenal: she paints on Whatman paper with factory-manufactured brushes and uses gouache and water colours. She prefers gouache which gives a bright and thick decorative base with graphic contours. Apart from searches in colour scheme, the artist strives to achieve expressive outlines and an effective rhythmical arrangement. Another salient feature of Prymachenko's art is a keen sense of composition, which is especially evident in her choice of format. Horizontal formats are most suitable for topical and multifigured compositions depicting subsequent scenes of the narration, while the vertical format is used for representative decorative compositions.

paragraph: The originality of the artist's imagery is revealed in her unique formal and stylistic discoveries (the depiction of trees, simultaneous representation of a cottage's interior and exterior, etc.).

paragraph: The struggle between good and evil permeates all of Pryimachenko's works. Good always triumphs in her compositions. But the motif of exuberant joy often gives way to sorrow and grief (a grave adorned with flowers and rushnyks is frequently depicted on her pictures).

paragraph: The compositions of Maria Pryimachenko were exhibited all over the former Soviet Union, Ukraine and other countries (Poland, Bulgaria, France and Canada). Her albums were published widely all over the world.

paragraph: Prymachenko's painting "A Rat on the Road" was copied by the famous Finnish designer Kristina Isola to a fabric design "Folks in the Woods" which was also used by Finnair on their plane decoration.

paragraph: Section::::See also.

paragraph: BULLET::::- Yuriy Khimich (1928–2003)

paragraph: Section::::External links.

paragraph: BULLET::::- A set of postcards by Maria Primachenko. Leningrad, Aurora Art Publishers, 1979.

description: Ukrainian artist

wikidata_label: Maria Prymachenko

wikipedia_title: Maria Prymachenko


text:
Naarden
World Touring Car Championship
Tom Coronel
Citroën AX
German F3
Mitsubishi Carisma
Lexus IS200
Renault Clio
Alfa Romeo 147
Porsche GT3
BMW 130i
SEAT León Eurocup
Valencia
SEAT León
SUNRED Engineering
Brno
Dakar Rally
Bowler Nemesis
Tim´s Dakar Team

categories: Sephardi Jews,Jewish Dutch sportspeople,German Formula Three Championship drivers,1972 births,Dutch Jews,Dutch racing drivers,Twin sportspeople,SEAT León Eurocup drivers,Eurocup Mégane Trophy drivers,People from Naarden,Twin people from the Netherlands,World Touring Car Championship drivers,Living people

paragraph: Tim Coronel

paragraph: Tim Alfa Coronel (born 5 April 1972, in Naarden) is a Dutch racing driver. He is the twin brother of World Touring Car Championship driver Tom Coronel.

paragraph: Section::::Racing career.

paragraph: Tim made his first steps in racing by winning the Dutch Citroën AX Cup in 1994 as a 22-year-old. He followed this with a move into single-seaters finishing seventh and then fifth in two years in the Formula Opel Eurocup. In 1997 he raced in German F3. He moved to Touring Cars in 1998 racing a Mitsubishi Carisma in the Dutch Championship, in which he finished eleventh, then sixth and then third over three years. He raced a Lexus IS200 in 2001, finishing fifth, and finished fourth in a Renault Clio in 2002. He won the Dutch Alfa Romeo 147 Challenge in 2003 and the Dutch Porsche GT3 Cup in 2005. Between 2006 and 2008 he raced in the Dutch BMW 130i Cup, before moving onto the SEAT León Eurocup for 2009. At the opening round at Valencia he finished third and fourth in the two races, making him the top scorer of the weekend, meaning he won a one-off drive in a SEAT León TFSI for SUNRED Engineering at the next round of the World Touring Car Championship (which the SEAT León Eurocup supports) at Brno. SUNRED Engineering is also the team that his twin brother Tom drives for in the WTCC.

paragraph: In January 2009 Tim and Tom Coronel competed in the Dakar Rally in a Bowler Nemesis. He competed again in the 2010 and 2011 Dakar rally in a McRae Buggy and won the solo-class both times. In 2012 Tim made his 5th appearance in the Dakar Rally, again with the McRae Buggy, after plans for a full electrical version of Buggy turned out to be too ambitious.

paragraph: Section::::External links.

paragraph: BULLET::::- Tim´s Dakar Team

description: Dutch racing driver

wikidata_label: Tim Coronel

wikipedia_title: Tim Coronel


href: Chalcidice Pythagoreanism Aulus%20Gellius Aristoxenus Athens Diogenes%20La%C3%ABrtius Pseudo-Lucian Renaissance Pliny%20the%20Elder

text:
Chalcidice
Pythagorean
Aulus Gellius
Aristoxenus
Athens
Diogenes Laërtius
Pseudo-Lucian
Renaissance
Pliny

categories: 4th-century BC philosophers,Classical Greek philosophers,Philosophers of ancient Chalcidice,4th-century BC Greek people,Pythagoreans

paragraph: Xenophilus

paragraph: Xenophilus (; 4th century BC) of Chalcidice, was a Pythagorean philosopher and musician, who lived in the first half of the 4th century BC. Aulus Gellius relates that Xenophilus was the intimate friend and teacher of Aristoxenus, and implies that Xenophilus taught him Pythagorean doctrine. He was said to have belonged to the last generation of Pythagoreans, and he is the only Pythagorean known to have lived in Athens in the 4th century BC. We learn from Diogenes Laërtius that Aristoxenus wrote that when Xenophilus was once asked by someone how he could best educate his son, Xenophilus replied, "By making him the citizen of a well-governed state." According to Pseudo-Lucian, Aristoxenus is supposed to have said that Xenophilus lived 105 years. Xenophilus enjoyed considerable fame in the Renaissance, apparently because of Pliny's claim that he lived 105 years without ever being sick.

description: ancient greek philosopher

wikidata_label: Xenophilus

wikipedia_title: Xenophilus


text:
Henry II of Bar
Philippa of Dreux
Luxembourg
Henry V of Luxembourg
Robert II of Dreux
Theobald I of Bar
Theobald II of Bar
Henry V of Luxembourg
Ligny-en-Barrois
dowry
county of Bar
Theobald II of Navarre
Count of Champagne
Theobald II of Bar
Frederick III of Lorraine
bishops of Metz
Prény
King Louis IX
Henry VI
Waleran I
Isabelle
Guy of Dampierre
Philippa
John II, Count of Holland
Clairefontaine
Guy of Dampierre
Isabelle
Philippa
John II, Count of Holland
Philippa, Queen of England
Margaret II, Countess of Hainault

categories: 1220 births,1275 deaths,13th-century French people,13th-century French women

paragraph: Margaret of Bar

paragraph: Margaret of Bar (1220–1275) was a daughter of Henry II of Bar and his wife Philippa of Dreux. She was Countess of Luxembourg by her marriage to Henry V of Luxembourg. She is also known as "Marguerite of Bar".

paragraph: Section::::Family.

paragraph: Margaret's maternal grandparents were Robert II of Dreux and his second wife Yolanda de Coucy. Her paternal grandparents were Theobald I of Bar and his second wife Ermesinde of Brienne.

paragraph: Margaret was the eldest of seven children born to her parents. Her brother was Theobald II of Bar. Margaret's sister, Jeanne married Frédéric de Blamont. The rest of her siblings died young or unmarried.

paragraph: Section::::Marriage.

paragraph: In 1240, Margaret married Henry V of Luxembourg. Margaret was twenty years old, and Henry was twenty-four.

paragraph: Margaret brought Henry Ligny-en-Barrois as her dowry, however, by a clause in the marriage contract, it remained under the feudal suzerainty of the county of Bar. In contempt of this, Henry paid homage in 1256 to Theobald II of Navarre, in his capacity as Count of Champagne. Margaret's brother, Theobald II of Bar, took advantage of the conflict then raging between Frederick III of Lorraine (their cousin) and the bishops of Metz. Henry V was a partisan of the duke and so Theobald took the side of the bishop. Henry was captured in battle at Prény on 14 September 1266. On 8 September 1268, King Louis IX arbitrated between the two counts and Henry was freed and repossessed of Ligny, but under the suzerainty of the Barrois.

paragraph: Margaret and Henry had seven children:

paragraph: BULLET::::- Henry VI (died 1288), Count of Luxembourg

paragraph: BULLET::::- Waleran I (died 1288), Count of Ligny & Roussy

paragraph: BULLET::::- Isabelle (1247–1298), married Guy of Dampierre

paragraph: BULLET::::- Philippa (1252–1311), married John II, Count of Holland

paragraph: BULLET::::- Margaret

paragraph: BULLET::::- Felicitas

paragraph: BULLET::::- Joanna (died 1310), Abbess of Clairefontaine

paragraph: Margaret and Henry made peace with Guy of Dampierre by marrying him to their daughter, Isabelle. Their other daughter, Philippa married John II, Count of Holland and became grandparents to Philippa, Queen of England and Margaret II, Countess of Hainault.

paragraph: Margaret died in 1275, six years before her husband's death.

description: Countess consort of Luxembourg

wikidata_label: Margaret of Bar

wikipedia_title: Margaret of Bar


text:
Lugansk
Ukrainian SSR
St. Petersburg
St.Petersburg Academy of Arts
St Petersburg
Manifesta
Manifesta
Pro Arte Institute
Alexander Morozov on issuu.com

categories: 21st-century Russian painters,Russian contemporary artists,Russian male painters,Painters from Saint Petersburg,Living people,1974 births

paragraph: Alexander Alexandrovich Morozov (artist)

paragraph: Alexander Morozov (; born 22 March 1974, Lugansk, Ukrainian SSR) is a Russian artist based in St. Petersburg, Russia.

paragraph: Section::::Life.

paragraph: He studied at the Painting Department of St.Petersburg Academy of Arts (1996–2002).

paragraph: From 1999–2000 — he enrolled in the Educational program in Pro Arte Institute ‘Practicum. New Technology in Contemporary Art’ under Alexey Shulgin.

paragraph: He creates works of paintings, graphics, sculpture and installations. He was nominated for the Artaward International Strabag (2013) and the Sergey Kuryokhin Award (2013).

paragraph: Section::::Solo exhibitions.

paragraph: BULLET::::- 2014 — ‘What do you see?’, Art re.Flex Gallery, St Petersburg, Russia

paragraph: BULLET::::- 2014 — ‘Garden’, Book Graphics Library, St Petersburg, Russia

paragraph: BULLET::::- 2012 — ‘Factum’, Luda Express gallery in ‘New Holland’ open air art space, St Petersburg, Russia

paragraph: BULLET::::- 2012 — ‘The Human Factor’, with Alexander Artemov, Algallery, St Petersburg, Russia

paragraph: BULLET::::- 2012 — ‘Cinderella Effect’, Navicula Artis gallery, St Petersburg, Russia

paragraph: BULLET::::- 2010 — ‘Radiation’, Navicula Artis gallery, St Petersburg, Russia

paragraph: BULLET::::- 2009 — ‘The Classical Garden of German Romanticism’, Botanical Museum, St Petersburg, Russia

paragraph: Section::::Selected group exhibitions.

paragraph: BULLET::::- 2014 — ‘Cementa’, Borey Gallery, St Petersburg, Russia

paragraph: BULLET::::- 2014 — ‘The Other Capital’, Museum of Moscow, Moscow, Russia

paragraph: BULLET::::- 2014 — ‘Black Envy’ in a Parallel Events of the Manifesta 10, Borey Gallery, St Petersburg, Russia

paragraph: BULLET::::- 2014 — ‘Kommunal Ghetto’ as a part of ‘Apartment Art as Domestic Resistance’ exhibition Public programs Manifesta 10, St Petersburg, Russia

paragraph: BULLET::::- 2014 — ‘Signal’, ‘KB Signal’, St Petersburg, Russia

paragraph: BULLET::::- 2014 — ‘Saving Venice’, Gisich Gallery, St Petersburg, Russia

paragraph: BULLET::::- 2014 — ‘Perceiving Art’, St Petersburg State Library for the Blind, St Petersburg, Russia

paragraph: BULLET::::- 2014 — ‘Drunk Exhibition to the Centenary of Russian Аvant-garde’, Borey Gallery, St Petersburg, Russia

paragraph: BULLET::::- 2013 — The 11th Baltic States Biennale of Graphic Art ‘Kaliningrad–Konigsberg 2013’. The Kaliningrad State Art Gallery. Kaliningrad, Russia

paragraph: BULLET::::- 2013 — Art Prospect Festival, St Petersburg, Russia

paragraph: BULLET::::- 2013 — V Biennale ‘New ideas for the city.’ The Garden City. Green urbanism, The Museum of Urban Sculpture. St Petersburg, Russia

paragraph: BULLET::::- 2013 — Season of St Petersburg Art. Navicula Artis. ‘Found in St Petersburg’. Kultproekt gallery, Moscow, Russia

paragraph: BULLET::::- 2012 — Baltic Biennale 2012, Rizzordi Art Foundation, St Petersburg, Russia

paragraph: BULLET::::- 2012 — Nel Modo Russico, Ten 43 gallery, NY, USA

paragraph: BULLET::::- 2012 — ‘Conversion’, art-quarter ‘Quarter’, St Petersburg, Russia

paragraph: BULLET::::- 2012 — ‘10⁻⁹’, 3H+K gallery, Pori, Finland

paragraph: BULLET::::- 2001 — ‘Microfest 01 Pro’, Pro Arte Institute, St Petersburg, Russia

paragraph: BULLET::::- 1999 — ‘Divietodisosta’. Artezero gallery, Milan, Italy

paragraph: BULLET::::- 1999 — ‘Faces of the Holy’, New Academy of Fine Arts gallery, St Petersburg, Russia

paragraph: Section::::Collections.

paragraph: Works are represented in state and private collections.

paragraph: Section::::External links.

paragraph: BULLET::::- Alexander Morozov on issuu.com

description: contemporary Russian artist

wikidata_label: Aleksandr Morozov


text:
pseudonym
graffiti artist
Delhi
Saurashtra
Gujarat
dacoit
New York City Subway
Mumbai
Devnagari script
stencil
Vasant Dhoble
moral policing
2011 Indian anti-corruption movement
2010 Commonwealth Games
Ahmedabad
Baroda
Buddh International Circuit
IIT Bombay
2014 Indian general election
Connaught Place
Centre Pompidou
Venice Biennale
Hrithik Roshan
Bengaluru
Hyderabad
consumerism

categories: Political artists,Unidentified people,People from Gujarat,Pseudonymous artists,Indian graffiti artists,Living people,Year of birth missing (living people)

paragraph: Daku (artist)

paragraph: Daku is a pseudonymous graffiti artist from Delhi, India. Active since 2008, he painted art in several cities of India.

paragraph: Section::::Early life.

paragraph: The real identity of Daku is not known. Not much is known about his life. He is possibly born around 1984. He was raised in a small town in Saurashtra, Gujarat. He studied art and worked with an advertising agency before starting graffiti. "Daku" literally means "bandit" or "dacoit" in Hindi.

paragraph: Section::::Career.

paragraph: He was introduced to graffiti in 2006 through a website called "Streetfiles". His initial collaboration was with France-based artist JonOne, one of the founder-members of "Crew 156" — the group of popular New York City Subway artists from the 1980s, in Mumbai in 2008 for a year. He also collaborated with two other graffiti artist, Bond and Zine in Delhi in 2008. He started tagging his own name in Devnagari script on walls in Mumbai and South Delhi in 2008 and told that he did it to reach large Indian population who understand only local languages. He stenciled "fuck" in Hindi across nine places in Mumbai overnight in 2011 to protest against Vasant Dhoble, assistant commissioner of police who was accused of moral policing. He regularly commented on social issues by his works like stenciled LPG cylinder rocket to highlight price rise, blindfolded protester during 2011 Indian anti-corruption movement. Before 2010 Commonwealth Games in Delhi, he modified several stop signs to deliver messages and provoke reaction from public. He tagged many garbage bins with "Ku" "Da" in Delhi, an anagram of his own name. For years he tags his name "Daku" across cities in India in indigenous fonts and typography including Mumbai, Delhi, Ahmedabad and Baroda. He along with others, did and wall graffiti, commissioned at Buddh International Circuit. He along with Bond, created 200 square meter graffiti at IIT Bombay TechFest in 2011. Before 2014 Indian general election, he painted a graffiti "Mat Do" at F-block, Connaught Place which had dual meaning, "don’t give vote" or "vote". It showed a fisted hand with an inked middle finger.

paragraph: Daku has created street arts with light, shadows and reflections. He first experimented during Kochi biennale, 2012 and put mirrors to reflect texts such as “Time Flies” or “Time Travel” for limited time in a day. He installed a shadow art in Lodhi Colony, Delhi in March 2016.

paragraph: He organized India's first-ever street art festival in Delhi in 2013. His works have been showcased at venues such as the Centre Pompidou, Venice Biennale and Triennale Design museum. He participated in the India Art Fair 2015 and created 100-meter-long stencilled mural on asphalt with the repeated slogan, "This is commissioned vandalism". He designed a room in flat of Hrithik Roshan in 2015. He had done graffiti on shutters of Hysteria, the music merchandise shop, on Church Street, Bengaluru in late 2015 for "Mohan Kaun?" Project. He placed billboards across Hyderabad in April, 2016 in criticism of consumerism. In October 2016, he pasted giant snail posters across Silicon Valley, Bangaluru to highlight traffic jams.

description: pseudonymous graffiti artist from India

wikidata_label: Daku

wikipedia_title: Daku (artist)