text: Christian

text: Aquitania

text: France

text: Martin of Tours

text: Paulinus

text: Gennadius of Massilia

text: Roman law

text: consul

text: Saint Martin

text: Tours

text: God

text: Christ

text: Tullian

text: Pelagianism

text: Toulouse

text: Pannonia

text: Gaul

text: Priscillianism

text: Arian controversy

text: editio princeps

text: Flacius Illyricus

text: Bible

text: Sallust

text: Tacitus

text: Sidonius

text: Jakob Bernays

text: Jerusalem

text: Titus

text: Histories

text: Gentile

text: Maccabees

text: Priscillianist

text: Maximus

text: Canaan

text: Levi

text: monasticism

text: Gnosticism

text: Council of Rimini

text: St. Martin

text: Cicero

text: Egypt

text: Sulpicia (gens)

text: "Sulpicius Severus"

categories: 4th-century Latin writers,4th-century Christians,5th-century historians,Sulpicii,Christian hagiographers,4th-century Gallo-Roman people,5th-century Christians,360s births,5th-century Latin writers,Christian writers,420s deaths,5th-century Gallo-Roman people

paragraph: Sulpicius Severus

paragraph: Sulpicius Severus (; c. 363 – c. 425) was a Christian writer and native of Aquitania in modern-day France. He is known for his chronicle of sacred history, as well as his biography of Saint Martin of Tours.

paragraph: Section::::Life.

paragraph: Almost all that we know of Severus' life comes from a few allusions in his own writings, some passages in the letters of his friend Paulinus, bishop of Nola, and a short biography by the historian Gennadius of Massilia.

paragraph: Born of noble parents in Aquitaine, Severus enjoyed excellent educational advantages. He was imbued with the culture of his time and of his country, a center of Latin letters and learning. He studied jurisprudence and was renowned as an eloquent lawyer; his knowledge of Roman law is reflected in parts of his writings. He married the daughter of a wealthy consular family, who died young, leaving him no children.

paragraph: At this time Severus came under the powerful influence of Saint Martin, bishop of Tours, by whom he was led to devote his wealth to the Christian poor, and his own powers to a life of good works and the contemplative vision of God. This choice incurred his father's displeasure, but was encouraged in his determination by his mother-in-law. To use the words of his friend Paulinus, he broke with his father, followed Christ, and set the teachings of the "fishermen" far above all his "Tullian learning." He rose to no higher rank in the church than that of presbyter. His ordination is vouched for by Gennadius, but no details of his priestly activity have reached us. He is said to have been led away in his old age by Pelagianism, but to have repented and inflicted long-enduring penance on himself. His time was passed chiefly in the neighbourhood of Toulouse, and such literary efforts as he permitted to himself were made in the interests of Christianity.

paragraph: In many respects no two men could be more unlike than Severus, the scholar and orator, well versed in the ways of the world, and Martin, the rough Pannonian bishop, champion of the monastic life, seer and worker of miracles. Yet the spirit of the rugged saint subdued that of the polished scholar, and the works of Severus are important because they reflect the ideas, influence and aspirations of Martin, the foremost ecclesiastic of Gaul.

paragraph: Section::::Works.

paragraph: Section::::Works.:"Chronicle".

paragraph: The chief work of Severus is the "Chronicle" ("Chronica", "Chronicorum Libri duo" or "Historia sacra", c. 403), a summary of sacred history from the beginning of the world to his own times, with the omission of the events recorded in the Gospels and the Acts, "lest the form of his brief work should detract from the honour due to those events". It is a source of primary importance for the history of Priscillianism and contains considerable information respecting the Arian controversy. The book was a textbook, and was used as such in the schools of Europe for about a century and a half after the "editio princeps" was published by Flacius Illyricus in 1556.

paragraph: Severus nowhere clearly points to the class of readers for whom his book is designed. He disclaims the intention of making his work a substitute for the actual narrative contained in the Bible. "Worldly historians" had been used by him, he says, to make clear the dates and the connexion of events and for supplementing the sacred sources, and with the intent at once to instruct the unlearned and to "convince" the learned. Probably the "unlearned" are the mass of Christians and the learned are the cultivated Christians and pagans alike, to whom the rude language of the sacred texts, whether in Greek or Latin, would be distasteful. The literary structure of the narrative shows that Severus had in his mind principally readers on the same level of culture with himself. He was anxious to show that sacred history might be presented in a form which lovers of Sallust and Tacitus could appreciate and enjoy. The style is lucid and almost classical. Though phrases and even sentences from many classical authors are inwoven here and there, the narrative flows easily, with no trace of the jolts and jerks which offend us in almost every line of an imitator of the classics like Sidonius. It is free from useless digressions. In order that his work might fairly stand beside that of the old Latin writers, Severus ignored the allegorical methods of interpreting sacred history to which the heretics and the orthodox of his age were wedded.

paragraph: As an authority for times antecedent to his own, Severus is of little moment. At only a few points does he enable us to correct or supplement other records. Jakob Bernays suggested that he based his narrative of the destruction of Jerusalem by Titus on the account given by Tacitus in his "Histories", a portion of which has been lost. In his allusions to the Gentile rulers with whom the Jews came into contact from the time of the Maccabees onwards, Severus discloses some points which are not without importance.

paragraph: The real interest of his work lies, first, in the incidental glimpses it affords all through of the history of his own time; next and more particularly, in the information he has preserved concerning the struggle over the Priscillianist heresy, which disorganized and degraded the churches of Spain and Gaul, and particularly affected Aquitaine. The sympathies here betrayed by Severus are wholly those of St. Martin. The bishop had withstood Maximus, who ruled for some years a large part of the western portion of the empire, though he never conquered Italy. He had reproached him with attacking and overthrowing his predecessors. on the throne, and for his dealings with the church. Severus loses no opportunity for laying stress on the crimes and follies of rulers, and on their cruelty, though he once declares that, cruel as rulers. could be, priests could be crueller still. This last statement has reference to the bishops who had left Maximus no peace till he had stained his hands with the blood of Priscillian and his followers. Martin, too, had denounced the worldliness and greed of the Gaulish bishops and clergy. Accordingly we find that Severus, in narrating the division of Canaan among the tribes, calls the special attention of ecclesiastics to the fact that no portion of the land was assigned to the tribe of Levi, lest they should be hindered in their service of God. "Our clergy seem", he says, "not merely forgetful of the lesson but ignorant of it, such a passion for possessions has in our days fastened like a pestilence on their souls". We here catch a glimpse of the circumstances which were winning over good men to monasticism in the West, though the evidence of an enthusiastic votary of the solitary life, such as Severus was, is probably not free from exaggeration. Severus also fully sympathized with the action of St. Martin touching Priscillianism. This mysterious Western, offshoot of Gnosticism had no single feature about it which could soften the hostility of a character such as Martin's, but he resisted the introduction of secular punishment for evil doctrine, and withdrew from communion with those bishops in Gaul, a large majority, who invoked the aid of Maximus against their erring brethren. In this connection, the account given by Severus of the Council of Rimini in 359, where the question arose whether the bishops attending the assembly might lawfully receive money from the imperial treasury to recoup their travelling and other expenses, is notable. Severus evidently approved the action of the British and Gaulish bishops, who deemed it unbecoming that they should lie under pecuniary obligation to the emperor. His ideal of the church required that it should stand clear and above the state.

paragraph: Section::::Works.:"Life of St. Martin", dialogues, and letters.

paragraph: More popular during the Middle Ages was Severus' "Life of St. Martin", as were also the dialogues and letters which relate to the same subject. These works did much to establish the great reputation which that wonder-working saint maintained throughout the Middle Ages. The book is not properly a biography, but a catalogue of miracles, told in all the simplicity of absolute belief. The power to work miraculous signs is assumed to be in direct proportion to holiness, and is by Severus valued merely as an evidence of holiness, which he is persuaded can only be attained through a life of isolation from the world. In the first of his Dialogues (fair models of Cicero), Severus puts into the mouth of an interlocutor (Posthumianus) a pleasing description of the life of coenobites and solitaries in the deserts bordering on Egypt. The main evidence of the virtue attained by them lies in the voluntary subjection to them of the savage beasts among which they lived. But Severus was no indiscriminating adherent of monasticism. The same dialogue shows him to be alive to its dangers and defects. The second dialogue is a large appendix to the Life of Martin, and really supplies more information of his life as bishop and of his views than the work which bears the title Vita S. Martini. The two dialogues occasionally make interesting references to personages of the epoch. In Dial. 1, cc. 6, 7, we have a vivid picture of the controversies which raged at Alexandria over the works of Origen. The judgment of Severus himself is no doubt that which he puts in the mouth of his interlocutor Posthumianus: "I am astonished that one and the same man could have so far differed from himself that in the approved portion of his works he has no equal since the apostles, while in that portion for which he is justly blamed it is proved that no man has committed more unseemly errors." Three Epistles on the death of Martin (ad Eusebium, ad Aurelium diaconum, ad Bassulam) complete the list of Severus' genuine works. Other letters (to his sister), on the love of God and the renunciation of the world, have not survived.

paragraph: Section::::Works.:Spurious attributions.

paragraph: Beside the above-mentioned three letters, seven others have been attributed to Severus. These are rejected as spurious by some critics, whilst the genuineness of the first two is admitted, rightly it would seem, by others. The "World Chronicle" of the so-called Sulpicius Severus has nothing to do with the subject of this biography; it was written in Spain in the sixth century.

paragraph: Section::::Sources.

paragraph: The text of the "Chronicle" rests on a single 11th century MS., one of the Palatine collection now in the Vatican; of the other works MSS. are abundant, the best being one of the 6th century at Verona. Some spurious letters bear the name of Severus; also in a MS. at Madrid is a work falsely professing to be an epitome of the "Chronicle" of Severus, and going down to 511. The chief editions of the complete works of Severus are those by De Prato (Verona, 1741) and by Halm (forming volume i. of the "Corpus scriptorum ecclesiasticorum Latinorum", Vienna, 1866). There is a most admirable monograph on the "Chronicle" by J. Bernays (Berlin, 1861). See also Goelzer, Grammaticae in Sulp. Severum observationes (1884) (thesis).

paragraph: Section::::Bibliography.

paragraph: Severus' works are to be found in P.L. 20, 95-248; later edition by Karl Halm, "Opera", CSEL 1 (Vienna, 1866) (on Google Books)

paragraph: BULLET::::- Bernays, "Über die Chronik des Sulpicius Severus" (Berlin, 1861)

paragraph: BULLET::::- Bardenhewer, tr. Shahan, "Patrology" (St. Louis, 1908), 451-53

paragraph: BULLET::::- Bennett in "Dict. Christ. Biog.", s.v. Severus (18)

paragraph: BULLET::::- Goodrich, Richard J. 2015. "Sulpicius Severus: The Complete Works. Introduction, Translation, and Notes." New York: Paulist Press.

paragraph: BULLET::::- C. Stancliffe (1983) "St. Martin and his Hagiographer. History and Miracle in Sulpicius Severus" (Oxford)

paragraph: BULLET::::- G.K. van Andel (1976) "The Christian Concept of History in the Chronicle of Sulpicius Severus" (Amsterdam)

paragraph: Section::::See also.

paragraph: BULLET::::- Sulpicia (gens)

paragraph: Section::::Further reading.

paragraph: BULLET::::- Barnes, Timothy D. 2010. "Early Christian Hagiography and Roman History. Tria Corda 5." Tübingen: Mohr Siebeck.

paragraph: BULLET::::- Booker, Courtney M. 1997. "Precondition to Miracle :the Construction of Discernment and its Application in the Works of Sulpicius Severus and Gregory of Tours. "Orpheus." 18 (1): 182-195.

paragraph: BULLET::::- Goodrich, Richard J. 2007. "Vir Maxime Catholicus: Sulpicius Severus' Use and Abuse of Jerome in the Dialogi." "The Journal of Ecclesiastical History", 58(2), 189–210. Cambridge University Press.

paragraph: BULLET::::- Kitchen, John. 2005. "'Raised from the Dung': Hagiography, Liberation, and the Social Subversiveness of Early Medieval Christianity." In "Rhetoric and Reality in Early Christianities. Studies in Christianity and Judaism 16." Edited by Willi Braun. Waterloo, Ontario: Wilfrid Laurier University Press.

paragraph: BULLET::::- McKinley, Allan Scott. 2006. "The First Two Centuries of Saint Martin of Tours." "Early Medical Europe." 14 (1) : 173-200.

paragraph: BULLET::::- Stancliffe, Clare. 1983. "St. Martin and his Hagiographer: History and Miracle in Sulpicius Severus." Oxford: Clarendon.

paragraph: BULLET::::- Van Andel, G. 1980. "Sulpicius Severus and Origenism. Vigiliae Christianae," 34(3), 278-287.

paragraph: BULLET::::- Robins, William. 2000. "Romance and Renunciation at the Turn of the Fifth Century." "Journal of Early Christian Studies" 8(4), 531-557.

paragraph: BULLET::::- Williams, Michael Stuart. 2011. "Time and Authority in the Chronicle of Sulpicius Severus." In "The Western Time of Ancient History: Historiographical Encounters with the Greek and Roman Pasts." Edited by Alexandra Lianeri. Cambridge; New York: Cambridge University Press, 280-297.

paragraph: BULLET::::- Yuzwa, Zachary. 2014. "Reading Genre in Sulpicius Severus’ Letters." "Journal of Late Antiquity" 7(2), 329-350.

paragraph: Section::::External links.

paragraph: BULLET::::- Multilanguage Opera Omnia by Migne Patrologia Latina

paragraph: BULLET::::- Dickinson College Commentaries: "Life of St. Martin of Tours"

paragraph: BULLET::::- "Sulpicius Severus" (including links to translated works) at the "Preterist (Study) Archive"

description: Roman historian

enwikiquote_title: Sulpicius Severus

wikidata_label: Sulpicius Severus

wikipedia_title: Sulpicius Severus


text:
Swedish
Chilean
Spanish
Melodifestivalen
2000
2002
anorexia nervosa

categories: Swedish people of Chilean descent,Swedish people of Spanish descent,1977 births,2018 deaths,People from Motala Municipality,Swedish female singers

paragraph: Javiera Muñoz

paragraph: Javiera Margarita Odija Ubal Muñoz (28 May 1977 – 16 January 2018) was a Swedish singer with Chilean-Spanish roots who participated in Melodifestivalen twice, in 2000 with "Varje timma, var minut", and in 2002 with "No hay nada más". She died after having struggled for ten years with anorexia nervosa.

paragraph: Section::::Discography.

paragraph: Section::::Discography.:Albums.

paragraph: BULLET::::- "Javiera" (2001)

paragraph: BULLET::::- "True Love" (2004)

paragraph: Section::::Discography.:Singles.

paragraph: BULLET::::- "Spanish Delight" (2001)

paragraph: BULLET::::- "No hay nada más" (2002)

paragraph: BULLET::::- "Will You Remember Me" (2002)

paragraph: BULLET::::- "Line of Fire" (2005)

description: Swedish singer

wikidata_label: Javiera Muñoz

wikipedia_title: Javiera Muñoz


text:
Johannes
Maastricht
Dusseldorf
Park Abbey
university in Louvain
Petrus Phalesius
Maastricht
Jean de Latre
Liège
Anton of Schauenburg
Cologne
Johannes Oridryus
Cornelis Boscoop
Jacobus Clemens non Papa
Ludovicus Episcopius
Jean de Latre
Petrus Phalesius
Tielman Susato
Antwerp
Clemens non Papa
Jan van Wintelroy
Bergen op Zoom
Joannes Zacheus
Theodor Evertz

categories: Flemish printers,Renaissance music printers,1558 deaths,Year of birth unknown,Flemish publishers,Sheet music publishers (people)

paragraph: Jacob Bathen

paragraph: Jacob Bathen or Jacob Baethen, latinised as Jacobus Bathius, Iacobus Batius and Jacobus Bathenius (Leuven / Heverlee ?, in or before 1516 - Leuven ?, 1558), was a Flemish bookseller, printer and publisher of the 16th century, mainly known now for music publications. He is sometimes confused with Johannes (Jan or Johan) Baethen, a printer active in Leuven and Cologne between 1552 and 1562, who was likely his brother. Jacob was active in Leuven, Maastricht and Dusseldorf. He is mainly remembered for his publication of the so-called "Maastricht songbook" of 1554, which is one of only five surviving song books in the Dutch language from the 16th century.

paragraph: Section::::Live.

paragraph: Little is known about the early life of Jacob Bathen as many of the Leuven city records relating to the period of his life in Leuven have been lost. It is believed that he was born in Leuven in or before 1516. He parents were Arnold Bathen and Marie Stroots. He had two brothers named Johan or Jan (who was possibly also a printer) and Godfried. Bathen grew up on the homestead in Vinckenbosch (Vinkenbos), which was part of the Park Abbey near Louvain. In 1530 he matriculated under the name 'Jacobus Baten de Parco' as an 'artes' (arts) student at the university in Louvain. He graduated in about 1535 with the title of 'magister'.

paragraph: Bathen trained in the art of printing, most likely with a printer based in Louvain, who may have been Servaas van Sassen (also called Servatius Sassenus). He may also have worked for some time as a corrector or proofreader at this printing press. He started out as a printer for his own account in 1545 working in partnership with Reynier Velpen van Diest. He obtained on 4 November 1546 and 5 October 1547 patents that permitted him to print and sell books. These patents apparently did not extend to bookbinding. It looks very much as if Jacob Bathen was one of the two bookbinders or booksellers who stamped their bindings with the Spes plate stamp. Possibly the lines of the IB monogram form the initials of Bathen's name.

paragraph: He worked as a book printer for local publishers such as Petrus Phalesius, a publisher who specialized mainly in musical scores. For Phalesius he printed the first, third, fourth and perhaps also the fifth edition of the collection "Des chansons reduictz en tabulature de lut a deux, trois et quatre parties …", Leuven, 1547. This was the first musical edition of Phalesius and the first collection of scores for lute in the Low Countries. In addition to music scores, Bathen printed official publications and religious pamphlets, some of which were published by Petrus Phalesius and Martinus de Raymaker (known as 'Martinus Rotarius').

paragraph: Bathen married Katrien van den Berghe with whom he had at least six children. The competition in the Leuven printing market was fierce and to cope with it some printers partnered up with one another. The difficulty to make ends meet likely forced Jacob Bathen to leave Leuven at the end of 1551 or early 1552 and to settle in Maastricht. Here he was the first printer and as a result he operated in a cultural environment in which he was unlikely to find many customers. In three or four years, he published at least eleven books, including two music editions. In 1554 he printed a musical work in Maastricht by the composer Jean de Latre from Liège. The work was entitled "Lamentationes aliquot Jeremiae musicae harmoniae noviter adaptatae, adjectis aliquot sacris cantionibus, trium, quatuor, quinque et sex vocum" and was dedicated to Anton of Schauenburg, at that time the dean of the Saint Servatius chapter in Maastricht, and later archbishop of Cologne. Bathen used so-called 'movable musical note types' for the first time. The movable types are now in the Heilbronn city library and constitute one of the most important musical artefacts from this period.

paragraph: In Maastricht Bathen was still not able to thrive as a printer and bookseller. At the end of 1554 or the beginning of 1555 he moved his business to Dusseldorf to become a printer at the court of the Duke of Jülich, Willem V van Kleef. Here he was the first publisher of polyphonic songs. In 1555-1556 he published three bundles of motets for the heirs of Arnold Birckmann. In 1557 he published a music theory book by the Dutch teacher, publisher and music theorist Johannes Oridryus, entitled "Practicae musicae utriusque praecepta brevia". The typeface that Bathen used in Maastricht and Düsseldorf for his music editions is the same as that used by Phalesius in Leuven during this period. It has been assumed that Bathen took it with him from Leuven. It is not clear whether it was Bathen or Phalesius who invented this font.

paragraph: In the end Bathen's business did not fare better in Dusseldorf. Jacob Bathen returned before 1558 to his parental home near Heverlee possibly travelling via Cologne where his brother Johan is believed to have been active as a printer at the time. In 1558 Johannes Oridryus and his cousin Albertus Buysius continued Bathen's printing business in Dusseldorf. It was in particular Oridyrus who ensured that Bathen's music printing materials were put to good use. Oridyrus and Buysius, among others, published another fifty psalms (Souterliedekens), set to music by Cornelis Boscoop.

paragraph: Bathen died in 1558, probably in Leuven or Heverlee. His widow remarried.

paragraph: Section::::Printed works.

paragraph: A total of 57 publications have been ascribed to the printing press of Bathen. While Bathen's speciality was certainly the printing of musical works with musical notation such as staves and tablature for the lute, his press also printed ordinances and decrees for both religious and government authorities and works on a wide range of subjects such as mathematical, poetical, medical and grammatical works, sermons and musical treatises.

paragraph: Section::::Niewe Duytsche Liedekens (The Maastricht Songbook), 1554.

paragraph: His best-known work is the "Niewe Duytsche Liedekens, met III. IIII. V. VI. ende VIII. partyen" (New Dutch songs in 3, 4, 5, 6 and 8 parts), printed in 1554. The publication is also referred to as "Dat ierste boeck vanden Niewe Duytsche Liedekens" (That first book of New Dutch songs) as well as "The Maastricht Songbook", first of all because of the place where it was published. The title page shows in the background a panorama of some landmarks of Maastricht and includes the city arms with a single star handing from a tree branch. The publication groups polyphonic Dutch songs by various composers, of whom some were famous in their time such as Jacobus Clemens non Papa and others who were of rather local renown such as Ludovicus Episcopius, Franciscus Florius and Jean de Latre. When the music printer Petrus Phalesius for whom Bathen had previously printed some publications, published in 1572 in Leuven his collection of Dutch-language songs under the title "Een Duytsch musyck boeck" (A Dutch music book), no less than half of the songs were copied from The Maastrich Songbook.

paragraph: One of the principal reasons why the publication is relevant for music history is that the songs collected in it were in the Dutch language. The compositions in The Maastricht Songbook used the standard written Dutch that was common at that time. At the time of publication, secular music for the elite was primarily written in the French language. Even Dutch-language composers tended to use French or even Italian for their songs. The first music publisher in the Dutch (Flemish) speaking world to challenge this dominance of French was Tielman Susato, a music publisher and composer active in Antwerp. Susato launched an appeal to Flemish and Dutch-speaking composers to create songs in their mother tongue in order to show that native language music was not inferior to that made with French, Latin or Italian lyrics. Susato issued his appeal in his "lerste musyck boexken" (First music booklet) of 1551. This publication included four-part vocal music composed in the Dutch language. Susato followed up with a "Tweeste musyck boexken" (Second music booklet) in the same year, and continued to print Dutch-language songs with the three-part Souterliedekens (Psalter-songs) by Clemens non Papa (1556-57) and the four-part Souterliedekens by Gerardus Mes (1561), both published in four volumes. Susato's initiative was taken up by other Flemish publishers the first of whom was Jacob Bathen with The Maastricht Songbook of 1554. Phalesius would follow in Leuven in 1572 with "Een Duytsch musyck boeck", half of the songs of which were recycled from The Maastricht Songbook.

paragraph: The Maastricht Songbook contains music by a number of local composers. Eight compositions are by Ludovicus Episcopius and these are the only ones in five, six and eight parts. Other composers chose were working in other locations in the Netherlands, including Jacobus Clemens non Papa in Bruges who worked in 's Hertogenbosch and probably Ypres, Jan van Wintelroy who was active in 's-Hertogenbosch and Servaes van der Meulen who worked in Bergen op Zoom. The composers Joannes Zacheus, Claudius Salmier, Theodor Evertz and Pierken Jordain who also had works included in the publication remain fairly unknown otherwise and it is not known where they worked. The soprano part in the five part books has been lost. It has been possible to recover the soprano part for some songs as they were also included in Phalesius' "Een Duytsch musyck boeck" and some other documents.

paragraph: The Maastricht Songbook was most likely used for entertainment by the upper and middle class of that time. The prevalent theme of the songs is love, and in particular the May songs which describe how the blooming and awakening of spring makes the blood of lovers race. In the song "De Iustelijcke mey" (The joyful May) (no. 4) a lover presents his sweetheart with a May branch. Some of the love songs are quite suggestive, such as the "Een aerdich meysken seer jonck van jaren" (A nice girl, very young of age) (no. 28) in which a shepherd lets his 'piglet' root in the girl's 'garden'.

paragraph: Some of the songs in The Maastricht Songbook clearly have a comical intention, such as a number of songs that deal with drinking including one by the respectable religious composer Clemens non Papa. There is also a humorous song called "Ick zou studeren in eenen hoeck" (I would study in a corner) (no. 15) describing a student who cannot concentrate on his studies because of the noisy street outside.

paragraph: Section::::Selected works printed by Jacob Bathen.

paragraph: BULLET::::- Aristotle, "Arithmeticae practicae, 1. De elementis ; 2. De fractioninus ; 3. De regulis mercatorum, et societatibus pulcherrimis ; 4. De proportione", Jacob Bathen, Reinerus Velpius, Leuven?, ca. 154?

paragraph: BULLET::::- Martin Lipsius, "Chromatii episcopi qvotqvot extant lvcvbrativncvlae", Chromatius Aquileiensis, Jacob Bathen, Leuven: ex officina Iacobi Batii, 1546

paragraph: BULLET::::- "Actorum colloqvii Ratisponensis vltimi, quomodo inchoatum, ac desertum, quæq[ue] in eodem extemporali oratione inter partes…", Martinus Rotarius, Jacob Bathen, Leuven, apud Martinum Rotarium, 1547

paragraph: BULLET::::- Jean Bérot, Antoine de Perrenin, "Co[m]mentarium sev potivs diarivm expeditionis Tvniceae, a Carolo V. [...] anno M.D.XXXV. susceptæ", Jacob Bathen, Petrus Phalesius, Martinus Rotarius, Leuven, excudebat Iacobus Batius, 1547

paragraph: BULLET::::- Livinus Brechtus, "Evripvs. Tragoedia Christiana nova", Jacob Bathen, Petrus Phalesius, Martinus Rotarius,Leuven, apud Martinum Rotarium & Petrum Phalesium, 1549

paragraph: BULLET::::- "E divi Iustiniani institutionibvs erotemata, sev, interrogationes, in legalis militiæ Tyronum vsum", Justinianus I keizer van het Byzantijnse Rijk, Jacob Bathen, Petrus Phalesius, Christophorus Phreislebius, Martinus Rotarius, Leuven, apud Martinum Rotarium, & Petrum Phalesium, 1549

paragraph: BULLET::::- Ortensio Landi, "Forcianæ qvaestiones, In quibus uaria Italorum ingenia explicantur, multaq[ue], alia scitu non indigna", Jacob Bathen, Martinus Rotarius, Leuven, excudebat Iacobvs Bathenivs, 1550

paragraph: BULLET::::- Petrus Nannius, "Dvarvm sanctissimarvm martyrvm Agathae et Lvciæ dialogismi", Cornelius Musius, Martinus Rotarius, Jacob Bathen, Leuven: apud Martinum Rotarium, 1550

paragraph: BULLET::::- "Het mantelken des lydens ben ick ghenaempt", Jacob Bathen, for Lenaert Scrapen, Maastricht, ca. 1550?

paragraph: BULLET::::- Augustinus Hunnaeus, "De dispvtatione inter disceptantes, dialecticè instituenda, libellus. Cuius maxime & propè necessarius vsus est [...] Prætereà", Merten Verhasselt, Jacob Bathen, Leuven, apud Martinum Verhasselt, September 1551

paragraph: BULLET::::- Algerus Leodiensis, Johannes Costerius, Guitmundus Aversanus, Desiderius Erasmus, Lanfrancus Cantuariensis and 2 more, "De veritate corporis et sangvinis Domini nostri Iesv Christi in evcharistiae sacramento, cum refutatione diuersarum circa hoc...", Leuven, apud Petrum Phalesium, 1551

paragraph: BULLET::::- Franciscus Fabricius, "Van den warmen baden, ende in sunderheyt den genen die tot Aken sijn, wat crachte dat sy hebben, en[de] wie mansie ghebruycken...", Jacob Bathen, Maastricht, 1552

paragraph: BULLET::::- Jean Guyot de Châtelet, "Minervalia Ioan. Gvidonii [...] in quibus scientiæ præconium atque ignorantiæ socordia consideratur. Artium liberalium in musicen decertatio lepida appingitur: et etiam iuuentuti ad virtutem calcar proponitur", Jacob Bathen, Maastricht, 1554

paragraph: BULLET::::- "Niewe Duytsche Liedekens, met III. IIII. V. VI. ende VIII. partyen" (New Dutch songs in 3, 4, 5, 6 and 8 parts), Maastricht, Jacob Bathen, 1554

paragraph: BULLET::::- Claude Jean de Lattre, ‘’Lamentationes aliquot Ieremiæ Musicæ Harmoniæ nouiter adaptatæ, adiectis aliquot sacris cantionibus, Trium, Quatuor, Quinque, & Sex vocum ... Acuta Vox. (Contratenor.) (Tenor.) (Basis.) (Quinta et Sexta Pars.)’’ Maastricht, Jacob Bathen, 1554

paragraph: BULLET::::- Martin Peu D'argent, "Liber Primus Sacrarum Cantionum quinque vocum, quæ vulgo Moteta vocantur ... Acuta Vox. (Contratenor.) (Tenor.) (Basis.) (Quinta Pars.)", Dusseldorf, Sumptibus hæredum Arnoldi Birckmanni, excudebat Iacobus Bathenius, 1555

paragraph: BULLET::::- Johannes Oridryus, ‘’Practicae Musicae utriusque praecepta brevia eorumque exercitia valde commoda ex optimorum musicorum libris ea dumtaxat, quae hodie in usu sunt, studiose collecta‘’, Düsseldorf, Jacobus Bathenius excudebat, 1557

alias:
Jacob Baetthen
Jacobus Bathius
Jacobus Bathenius
Iacobus Batius
Jacop Baethen

description: Flemish printer and publisher

wikidata_label: Jacob Bathen

wikipedia_title: Jacob Bathen


text: Salamis

text: Cyprus

text: Isocrates

text: Latin

text: modern Greek

text: Teucer

text: Telamon

text: Ajax

text: Phoenicia

text: Cilicia

text: Persian

text: Athenians

text: Conon

text: Battle of Aegospotami

text: Persia

text: Artaxerxes II

text: Sparta

text: battle of Cnidus

text: Ceramicus

text: Hakor

text: Asia Minor

text: Tyre

text: peace of Antalcidas

text: Egypt

text: Tiribazus

text: Orontes

text: Battle of Citium

text: Salamis

text: eunuch

text: Nicocles

text: Isocrates

text: Diodorus Siculus

text: Xenophon

text: Arcadocypriot

text: Cypriot syllabary

text: Greek alphabet

categories: 374 BC deaths,5th-century BC births,Assassinated Cypriot people,4th-century BC murdered monarchs,Ancient Greek rulers,Kings of Salamis, Cyprus,4th-century BC Greek people

paragraph: Evagoras I

paragraph: Evagoras or Euagoras (Ancient/Modern Greek: Εὐαγόρας) was the king of Salamis (411–374 BC) in Cyprus, known especially from the work of Isocrates, who presents him as a model ruler.

paragraph: The spelling "Evagoras" reflects the Latin transliteration of the name, and it comprises one of the rather rare cases that the Greek prefix εὐ- was rendered as ev- (instead of eu-) in Latin, which fact also results in "Evagoras" being closer to modern Greek pronunciation.

paragraph: Section::::History.

paragraph: He claimed descent from Teucer, the son of Telamon and half-brother of Ajax, and his family had long been rulers of Salamis, although during his childhood Salamis came under Phoenician control, which resulted in his exile. While in Cilicia, Evagoras gathered the support of 50 followers and returned secretly in 410, to gain possession of the throne. Expecting an eventual Persian response to recapture Cyprus, he cultivated the friendship of the Athenians, and after Conon's defeat at the Battle of Aegospotami he provided him with a refuge. For a time he also maintained friendly relations with Persia, and secured the aid of Artaxerxes II for Athens against Sparta. He took part in the battle of Cnidus of 394 BC which he provided most of the resources for and in which the Spartan fleet was defeated thanks to his efforts, and for this service his statue was placed by the Athenians side by side with that of Conon in the Ceramicus. But relations between Evagoras and the Persians became strained. From 391 they were virtually at war. Aided by the Athenians and the Egyptian king Hakor (Achoris), Evagoras extended his rule over the greater part of Cyprus, crossed over to Asia Minor, took several cities in Phoenicia (including Tyre), and persuaded the Cilicians to revolt.

paragraph: One result of the peace of Antalcidas (387), to which Evagoras refused to agree, was that the Athenians withdrew their support, since by its terms they recognized the lordship of Persia over Cyprus. The following years Evagoras carried on hostilities single-handed, except for occasional aid from Egypt, which was likewise threatened by the Persians. While Evagoras was in Egypt asking for help, his younger son Pnytagoras was in charge of Salamis. The Persian generals Tiribazus and Orontes at last invaded Cyprus in 385 BC, with an army far larger than what Evagoras could command. However, Evagoras managed to cut off this force from being resupplied, and the starving troops rebelled. The war then turned in the Persian favor when Evagoras' fleet was destroyed at the Battle of Citium, and he was compelled to flee to Salamis. Here, although closely blockaded, Evagoras managed to hold his ground, and took advantage of a quarrel between the two Persian generals to conclude peace (376). Evagoras was allowed to remain nominally king of Salamis, but in reality a vassal of Persia, to which he was to pay a yearly tribute. The chronology of the last part of his reign is uncertain. In 374 he was assassinated by a eunuch from motives of private revenge. He was succeeded by his son, Nicocles.

paragraph: According to Isocrates's "Panegyric", Evagoras was a model ruler, whose aim was to promote the welfare of his state and of his subjects by the cultivation of Greek refinement and civilization. Isocrates also states that many people migrated from Greece to Cyprus because of the noble rule of Evagoras. Other sources of this period – Diodorus Siculus 14.115, 15.2-9; Xenophon, "Hellenica" 4.8 – are not as unrestrainedly complimentary. Lysias in his "Against Andocides" 6.28 addresses him as the king of Cyprus. Although Cypriots were Greeks and their language a dialect of Greek, the Arcadocypriot, they used to write in an older and more difficult system, called the Cypriot syllabary. Evagoras has been called a pioneer of the adoption of the Greek alphabet in Cyprus in place of the older Cypriot syllabary.

paragraph: Section::::External links.

paragraph: BULLET::::- An Evagoras' coin on a stamp of Republic of Cyprus

description: King of ancient Salamis on Cyprus

wikidata_label: Evagoras

wikipedia_title: Evagoras I


text:
Count of Mark
Adolf III of the Marck
Margaret of Jülich
County of Cleves
Adolph
Adolph
County of Mark
County of Cleves

paragraph: Dietrich IX, Count of Mark

paragraph: Dietrich IX, Count of Mark (1374–1398) was the Count of Mark from 1393 until 1398.

paragraph: Dietrich was the second son of Count Adolf III of the Marck and Margaret of Jülich.

paragraph: His father had acquired the County of Cleves in 1368 and reserved this title for his eldest son Adolph to succeed him after his death. Dietrich already received the title of Count of Mark in 1393, when his father was still alive. When Dietrich fell in battle in 1398, he was succeeded by his elder brother Adolph, who had become Count of Cleves in 1394. Thus the County of Mark and the County of Cleves were reunited again.

description: Count of the Mark

wikidata_label: Dietrich IX, Count of Mark

wikipedia_title: Dietrich IX, Count of Mark


text:
Joseon
Neo-Confucian
Joseon period
yangban
King Sukjong
The Nine Cloud Dream Kuunmong
The Cloud Dream of the Nine
Gim Jangsaeng
Queen Ingyeong
Gim Jip
Gim Ikhun

categories: 1692 deaths,Korean novelists,1637 births

paragraph: Gim Manjung

paragraph: Gim Manjung (1637–1692) was a Korean novelist and politician of the mid-Joseon period. He was eminent Neo-Confucian scholars of the Joseon period.

paragraph: Section::::Life and work.

paragraph: A member of the "yangban" class, Kim passed the state civil service examination and rose through the official ranks to become a royal academic counselor and minister during the reign of King Sukjong. He was exiled twice for involvement in the political factionalism of the time As a man of letters his most renowned works were the novels "Sassi Namjeonggi" ("Record of Lady Sa's Trip to the South" 謝氏南征記) and "The Nine Cloud Dream Kuunmong" ("The Cloud Dream of the Nine" 九雲夢). The former is a novel about family affairs set in China, but it is also a satirical depiction of the political reality of his day, and in particular a rebuke of King Sukjong. The latter is one of the most prominent novels of traditional Korea. It is said that Kim wrote the "Kuunmong" during his second exile from political life. It is an ideal novel dealing with the affairs of life and is centered on the travails of the hero. It has a highly Buddhist overtone, with an emphasis on the transience of worldly glory and pleasure. Heinz Insu Fenkl's new translation of "Kuunmong" is available from Penguin Classics.

paragraph: Section::::See also.

paragraph: BULLET::::- Gim Jangsaeng

paragraph: BULLET::::- Queen Ingyeong

paragraph: BULLET::::- Gim Jip

paragraph: BULLET::::- Gim Ikhun

description: Korean novelist and politician

wikidata_label: Kim Manjung

wikipedia_title: Gim Manjung


text:
Pasodoble
Suspiros de España

categories: 1867 births,1903 deaths,Spanish composers

paragraph: Antonio Álvarez Alonso

paragraph: Antonio Álvarez Alonso (11 March 1867 - 22 June 1903) was a Spanish pianist and composer. He is best known for his Pasodoble "Suspiros de España".

description: composer

wikidata_label: Antonio Álvarez Alonso

wikipedia_title: Antonio Álvarez Alonso


text:
Madrid
Ocaña
Spanish
playwright
Francisco Bances Candamo
Charles II
Louis, the Grand Dauphin
Philip V of Spain
House of Bourbon
War of the Spanish Succession
sacramental ordinance
Pedro Calderón de la Barca
zarzuela
Louis I
Antonio de Literes
Angélica y Medoro
Ramón de la Cruz
Joan of Arc
Molière
legend
Don Juan
Tirso de Molina
José Zorrilla
zarzuela
José de Nebra
entremés
Ramón de la Cruz

paragraph: Antonio de Zamora

paragraph: Antonio de Zamora (Madrid, November 1, 1665 - Ocaña, December 7, 1727) was a Spanish playwright.

paragraph: Section::::Biography.

paragraph: In 1689, he already held a post within the Ministry for the Indies, New Spain department. He was a friend of the playwright Francisco Bances Candamo, whom he replaced as the government's official poet in 1694. In 1696 the city council of Madrid hired him as composer of the "Hieroglyphs for the tomb of the Queen Mother, Mariana", performed during the funeral rites on May 19 at the convent of Santo Domingo el Real; 1698 he became a chamberlain of King Charles II.

paragraph: The city council also entrusted him with the inscriptions on the King's catafalque in the same church, and he composed his funeral rites in verse. Finally, in honour of Louis, the Grand Dauphin, crown prince of France and father of Philip V of Spain, he was commissioned to write the "Hieroglyphics" in 1711.

paragraph: A fervent supporter of the House of Bourbon during the War of the Spanish Succession, he was forced to hide from pro-Austrian supporters. He celebrated Philip V's entrance into Madrid with the sacramental ordinance "The marriage suit of body and soul", which followed the precedent of Pedro Calderón de la Barca; he also celebrated this event with a heroic ballad entitled "Epinicio métrico, Prosphonema numeroso". The zarzuela "Love conquers all" was composed in celebration of the birth of Louis I in 1707, and was performed in the Buen Retiro Colisseum with music by Antonio de Literes; his musical drama "Angélica y Medoro" was performed for Luis's wedding. In 1722 he published a collection of his works under the title of "New comedies", which shows him as a follower of Calderón's style, reworking many seventeenth century comedies and heralding the popularism of Ramón de la Cruz.

paragraph: He cultivated the dramatic genres popular at the time: religious and saint-based comedies ("Judas Iscariot", "The morning star of Madrid and divine laborer San Isidro", "David's sling"), historical comedies ("Each one is a lineage apar", "The Maid of Orleans" (about Joan of Arc), "The defense of Tarifa", "The destruction of Thebes") and figurehead comedies, of which are particularly notable "Don Domingo de don Blas" and "Don Bruno de Calahorra", and especially "The one bewitched by force", released in 1698 and one of his most famous comedies, satirizing the fool Don Claudio; in this, and in the style of Molière, he sketches a character who has more vices than virtues, common to a powerful social class in terms of economics, rank and alleged moral superiority; in the play, his refusal to marry in return prevents the marriage of his sister, and his arrogant, prejudiced and capricious attitude cause headaches for his servants, friends and doctor. The rest of the characters who surround him have no choice but to weave a web of deceit in which he is made to believe that he is cursed and will die if he does not marry. He uses all the means at his disposal to achieve this. This was the most famous work of his day and was performed over a century and a half. Another of his most successful works was "There are no unmet deadlines and no unpaid debts, or the Stone Guest", which is based on the legend of Don Juan, a less subtle piece than that of Tirso de Molina and more realistic than that of José Zorrilla, as it does not have such an ambiguous ending. This play was performed every year at the festival of the dead until it was replaced by Zorrilla's work.

paragraph: Zamora was also attracted by folkloric and fantastical themes, as shown for example by his popular comedy "The magician of Salerno"). He also developed the zarzuela, which he named "musical drama"; his libretto for "The wind is the joy of love" had music by José de Nebra; for this type of work he preferred mythological themes.

paragraph: His dramatic works were published in four volumes in Madrid, 1722, under the title of "New comedies" ("Comedias Nuevas con los mismos saynetes con que se executaron") and in Madrid, 1744 ("Comedias de don Antonio de Zamora gentil-hombre que fue de la casa de su magestad, y su oficial de la Secretaría de Indias, parte de Nueva España"). His entreméses represent a transition period towards the popularism of Ramón de la Cruz, including such works "The slaps", "The gurruminos and the gurruminas", "The lawsuit of the landlady and the stake" and the dances "The peddler's love" and "The judgement of Paris", all of which were accomplished, amusing and satirical sketches; they can be found in Cotarelo's "Collection of entremeses".

paragraph: Section::::Works.

paragraph: BULLET::::- "Comedias Nuevas con los mismos saynetes con que se executaron", Madrid, 1722.

paragraph: BULLET::::- "Comedias de don Antonio de Zamora gentil-hombre que fue de la casa de su magestad, y su oficial de la Secretaría de Indias, parte de Nueva España", Madrid, 1744.

paragraph: Section::::Bibliography.

paragraph: BULLET::::- Germán Bleiberg and Julián Marías, "Diccionario de Literatura Española". Madrid: Revista de Occidente, 1964.

description: Spanish playwright

wikidata_label: Antonio de Zamora

wikipedia_title: Antonio de Zamora


text: British peer

text: nobleman

text: Diana, Princess of Wales

text: Prince William, Duke of Cambridge

text: Prince Harry, Duke of Sussex

text: Viscount Althorp

text: Albert Spencer, 7th Earl Spencer

text: Eton

text: Royal Military College

text: Sandhurst

text: Royal Agricultural College

text: Captain

text: Royal Scots Greys

text: Mentioned in Despatches

text: Aide-de-Camp

text: His Excellency

text: Lieutenant-General

text: Sir Willoughby Norrie

text: Governor of South Australia

text: County Councillor

text: Northamptonshire

text: High Sheriff of Northamptonshire

text: Justice of the Peace

text: Norfolk

text: Equerry

text: King George VI

text: Queen Elizabeth II

text: Royal Victorian Order

text: courtesy title

text: House of Lords

text: Frances Ruth Roche

text: 4th Baron Fermoy

text: Westminster Abbey

text: Percy Herbert

text: Bishop of Norwich

text: The Queen

text: Royal Family

text: Lady Sarah McCorquodale

text: Jane Fellowes, Baroness Fellowes

text: Robert Fellowes, Baron Fellowes

text: The Honourable

text: Diana, Princess of Wales

text: married

text: Prince Charles, Prince of Wales

text: Charles Spencer, 9th Earl Spencer

text: Victoria Lockwood

text: Karen Villeneuve

text: Peter Shand Kydd

text: Raine, Countess of Dartmouth

text: 9th Earl of Dartmouth

text: Barbara Cartland

text: stroke

text: Diana, Princess of Wales

categories: People educated at Eton College,1992 deaths,Royal Scots Greys officers,Graduates of the Royal Military College, Sandhurst,Earls Spencer,High Sheriffs of Northamptonshire,Equerries,Spencer-Churchill family,Alumni of the Royal Agricultural University,British people of English descent,1924 births,British Army personnel of World War II,Members of the Royal Victorian Order

paragraph: John Spencer, 8th Earl Spencer

paragraph: Edward John "Johnnie" Spencer, 8th Earl Spencer, (24 January 1924 – 29 March 1992), styled Viscount Althorp until June 1975, was a British peer and nobleman. He was the father of Diana, Princess of Wales, which makes him the maternal grandfather of Prince William, Duke of Cambridge and Prince Harry, Duke of Sussex, respectively second and sixth in the line of succession to the British throne.

paragraph: Section::::Early life, education and military career.

paragraph: Lord Spencer was born Edward John Spencer, Viscount Althorp, the only son and younger child of Albert Spencer, 7th Earl Spencer, on 24 January 1924. He was educated at Eton, the Royal Military College at Sandhurst, and the Royal Agricultural College. Popularly known to his family and friends as Johnnie Althorp, he served as a Captain in the Royal Scots Greys from 1944 to 1945, and was Mentioned in Despatches. From 1947 to 1950, he served as Aide-de-Camp to His Excellency Lieutenant-General Sir Willoughby Norrie, then Governor of South Australia.

paragraph: Spencer held the offices of County Councillor for Northamptonshire (1952), High Sheriff of Northamptonshire (1959) and Justice of the Peace for Norfolk (1970). He served as Equerry to King George VI (1950–52) and to Queen Elizabeth II (1952–54), and was invested as a member of the Royal Victorian Order (MVO) in 1954. He was known by the courtesy title Viscount Althorp until 1975 when he became the 8th Earl Spencer upon his father's death. He was Member of the House of Lords from 9 June 1975 (the day his father died and he inherited the peerage) until his own death.

paragraph: Section::::Family life.

paragraph: On 1 June 1954 Spencer and Frances Ruth Roche, the younger daughter of the 4th Baron Fermoy, were married in Westminster Abbey by Percy Herbert, Bishop of Norwich. The Queen and other members of the Royal Family attended the wedding ceremony. They had five children:

paragraph: BULLET::::- Lady Sarah McCorquodale (born 19 March 1955), married Neil Edmund McCorquodale on 17 May 1980 and had issue.

paragraph: BULLET::::- Jane Fellowes, Baroness Fellowes (born 11 February 1957), married Robert Fellowes, Baron Fellowes in March 1978 and had issue.

paragraph: BULLET::::- The Honourable John Spencer, died within ten hours of his birth on 12 January 1960.

paragraph: BULLET::::- Diana, Princess of Wales (1 July 1961 – 31 August 1997), married Prince Charles, Prince of Wales, on 29 July 1981 and had issue.

paragraph: BULLET::::- Charles Spencer, 9th Earl Spencer (born 20 May 1964), married first Victoria Lockwood from 1989 to 1997 and had issue, married second Caroline Hutton from 2001 to 2007 and had issue, and married third Karen Villeneuve on 18 June 2011 and had issue.

paragraph: John and Frances Spencer divorced in 1969. Frances later married Peter Shand Kydd and in 1976, Lord Spencer later married Raine, Countess of Dartmouth, the former wife of the 9th Earl of Dartmouth, and the daughter and only child of the romantic novelist Barbara Cartland and Alexander McCorquodale.

paragraph: In 1978, Spencer suffered a severe stroke, from which, at one stage, he was not expected to recover, and which kept him in hospital for eight months. He died of a heart attack on 29 March 1992, and was succeeded by his son Charles, the brother of Diana, Princess of Wales.

alias:
John Spencer
Edward John Spencer, 8th Earl Spencer

description: British peer and the father of Diana, Princess of Wales

wikidata_label: John Spencer, 8th Earl Spencer

wikipedia_title: John Spencer, 8th Earl Spencer


text: Conservative

text: baronetcy

text: life peer

text: Secretary of State for Defence

text: Edward Heath

text: Margaret Thatcher

text: Lord Privy Seal

text: John Gilmour

text: 5th Earl of Cadogan

text: 3rd Duke of Abercorn

text: Meux's Brewery

text: Hedworth Meux

text: Syon Park

text: Tuscany

text: Eton College

text: Balliol College, Oxford

text: Grenadier Guards

text: Inner Temple

text: Quintin Hogg

text: The Spectator

text: Harold Creighton

text: Central Norfolk

text: Chesham and Amersham

text: EEC

text: Parliamentary Private Secretary

text: Commonwealth Immigrants Act 1968

text: Dennis Walters

text: Edward Heath

text: Ministry of Defence

text: Lord Carrington

text: Parliamentary Under-Secretary of State

text: Minister of State

text: Privy Council

text: Cabinet

text: Defence Secretary

text: general election

text: Shadow Defence Secretary

text: Shadow Northern Ireland Secretary

text: Conservative Research Department

text: Chris Patten

text: October 1974 election

text: Margaret Thatcher

text: Shadow Home Secretary

text: Shadow Defence Secretary

text: Lord Privy Seal

text: 1979 general election

text: House of Commons

text: Lord Carrington

text: Foreign Secretary

text: House of Lords

text: Lancaster House talks

text: Ian Smith

text: Rhodesia

text: Zimbabwe

text: Robert Mugabe

text: "wet"

text: backbenches

text: Greater London Council

text: rate-capping

text: poll tax

text: proportional representation

text: Sir Anthony Meyer

text: life peer

text: John Major

text: Craigmillar

text: Edinburgh

text: feudal superior

text: Pro-Euro Conservative Party

text: Tony Blair

text: One Nation

text: Thatcherism

text: Mark Garnett

text: London Review of Books

text: Medical Aid for Palestinians

text: Byron Society

text: 8th Duke of Buccleuch

text: John Scott, 9th Duke of Buccleuch

text: British Royal Family

text: Queen Mary

text: the future Elizabeth II

text: Isleworth

text: HMS "Cardiff"

text: David Gilmour

text: Oliver Gilmour

text: West Middlesex Hospital

text: Isleworth

text: Pip Torrens

text: The Iron Lady

text: Margaret Thatcher

text: The Peerage

text: Thatcher's First Cabinet

categories: Baronets in the Baronetage of the United Kingdom,Anglo-Scots,UK MPs 1974,Secretaries of State for Defence (UK),People educated at Eton College,UK MPs 1959–1964,UK MPs 1970–1974,People from Norfolk,Grenadier Guards officers,UK MPs 1964–1966,Politicians of the Pro-Euro Conservative Party,British essayists,British male journalists,Alumni of Balliol College, Oxford,2007 deaths,Conservative Party (UK) life peers,1926 births,Lords Privy Seal,British male essayists,British Army personnel of World War II,UK MPs 1966–1970,UK MPs 1974–1979,British Secretaries of State,The Spectator editors,UK MPs 1979–1983,Conservative Party (UK) MPs for English constituencies,UK MPs 1983–1987,Members of the Privy Council of the United Kingdom,UK MPs 1987–1992

paragraph: Ian Gilmour, Baron Gilmour of Craigmillar

paragraph: Ian Hedworth John Little Gilmour, Baron Gilmour of Craigmillar, (8 July 1926 – 21 September 2007) was a Conservative politician in the United Kingdom. He was styled Sir Ian Gilmour, 3rd Baronet from 1977, having succeeded to his father's baronetcy, until he became a life peer in 1992. He served as Secretary of State for Defence in 1974, in the government of Edward Heath. He also served in the government of Margaret Thatcher, as Lord Privy Seal from 1979 to 1981.

paragraph: Section::::Early life.

paragraph: Gilmour was the son of stockbroker Lieutenant Colonel Sir John Gilmour, 2nd Baronet, and his wife, Victoria, a granddaughter of the 5th Earl of Cadogan. His parents divorced in 1929, and his father married Mary, the eldest daughter of the 3rd Duke of Abercorn. The family had land in Scotland and he inherited a substantial estate and shares in Meux's Brewery from his grandfather, Admiral of the Fleet, the Hon. Sir Hedworth Meux.

paragraph: They lived in the grounds of Syon Park in London, with a house in Tuscany. He was educated at Eton College and read history at Balliol College, Oxford.

paragraph: He served with the Grenadier Guards from 1944 to 1947. He was called to the bar at Inner Temple in 1952 and was a tenant in the chambers of Quintin Hogg for two years. He bought "The Spectator" in 1954 and was its editor from 1954 to 1959. He sold "The Spectator" to the businessman Harold Creighton in 1967. His editorship of the magazine is seen as one of the highlights of that paper's long history.

paragraph: Section::::Member of Parliament.

paragraph: He was elected as Member of Parliament for Central Norfolk in a by-election in 1962, winning by 220 votes. He held this seat until 1974, when his seat was abolished due to boundary changes, and he stood for the safe Conservative seat of Chesham and Amersham, sitting as its MP from 1974 until his retirement in 1992.

paragraph: In parliament, he was a social liberal, voting to abolish the death penalty, and legalise abortion and homosexuality. He also supported the campaign to join the EEC. He was Parliamentary Private Secretary to Quintin Hogg from 1963. He was one of the few members to vote against the Commonwealth Immigrants Act 1968, regarding it as racist and designed to "keep the blacks out".

paragraph: Gilmour espoused the Arab cause when it was less popular in progressive circles than it later became and supported it throughout his years in the House of Commons, where his chief ally was Dennis Walters.

paragraph: Section::::Member of Parliament.:In government.

paragraph: He served in Edward Heath's government from 1970, holding a variety of junior positions in the Ministry of Defence under Lord Carrington: Parliamentary Under-Secretary of State for the Army from 1970 to 1971, then Minister of State for Defence Procurement until 1972, then Minister of State for Defence. He joined the Privy Council in 1973. He replaced Carrington in January 1974 to join Heath's Cabinet as Defence Secretary, but lost his position after Labour won the most seats in the general election at the end of February. He was in the Shadow Cabinet after the general election in February 1974 as Shadow Defence Secretary to late 1974. From the end of 1974 to February 1975 he was Shadow Northern Ireland Secretary.

paragraph: In opposition, Gilmour joined the Conservative Research Department. With Chris Patten, he wrote the Conservative Party manifesto for the October 1974 election – a second loss, by a wider margin. When Margaret Thatcher became the new leader of the Conservative party, she appointed Gilmour as Shadow Home Secretary in 1975, then as Shadow Defence Secretary from 1976 to 1978. He became Lord Privy Seal after the 1979 general election, as the chief Government spokesman in the House of Commons for Foreign and Commonwealth Affairs, working again under Lord Carrington, who, as Foreign Secretary, sat in the House of Lords. He co-chaired with Carrington the Lancaster House talks, which led to the end of Ian Smith's government in Rhodesia, and the creation of an independent Zimbabwe under Robert Mugabe. He also negotiated with the EEC to reduce Britain's financial contribution.

paragraph: Section::::Member of Parliament.:Backbenches and retirement.

paragraph: Gilmour did not have good relations with Thatcher. Thatcher remarked in her autobiography, somewhat sarcastically: "Ian remained at the Foreign Office for two years. Subsequently, he was to show me the same loyalty from the back-benches as he had in government."

paragraph: He survived a reshuffle in January 1981, but was sacked on 14 September 1981. He announced that the government was "steering full speed ahead for the rocks", and said that he regretted not resigning beforehand.

paragraph: As a moderate who disagreed with the economic policies of Prime Minister Thatcher, Gilmour became the most outspoken "wet", delivering a lecture at Cambridge in February 1980 where he argued:

paragraph: Gilmour remained on the backbenches until 1992, and opposed many Thatcherite policies, including the abolition of the Greater London Council, rate-capping and the poll tax. He was in favour of proportional representation. In 1989, he was considered by discontented backbenchers as a possible future leader; in the event, he supported Sir Anthony Meyer in his leadership challenge in December 1989. However, he did not participate in frontline British politics again, and was given a life peerage by John Major in 1992, becoming Baron Gilmour of Craigmillar, of Craigmillar in the District of the City of Edinburgh, of which his family were, for several hundred years, the feudal superiors.

paragraph: He was expelled from the Conservative Party in 1999 for supporting the Pro-Euro Conservative Party in the European Parliament elections. At Question Time on 23 June, Prime Minister Tony Blair described this move as a demonstration of how right-wing and anti-European the party had become.

paragraph: Section::::Beliefs.

paragraph: Gilmour was known for writing coherently from the One Nation perspective of the Conservative Party, in opposition to Thatcherism; in particular in his books "Dancing with Dogma" (1992) and (with Mark Garnett) "Whatever Happened to the Tories" (1997) and in his critical articles in journals such as the "London Review of Books". His book, "Inside Right" (1977) is an introduction to conservative thought and thinkers. He also wrote the books "The Body Politic" (1969), "Britain Can Work" (1983), "Riot, Risings and Revolution" (1992), and "The Making of the Poets: Byron and Shelley in Their Time " (2002).

paragraph: He was pro-European.

paragraph: He was president of Medical Aid for Palestinians from 1993 to 1996, and was chairman of the Byron Society from 2003 until his death.

paragraph: Section::::Personal life.

paragraph: On 10 July 1951, Gilmour married Lady Caroline Margaret Montagu-Douglas-Scott, the youngest daughter of the 8th Duke of Buccleuch and sister of John Scott, 9th Duke of Buccleuch. Their wedding was attended by several members of the British Royal Family, including Queen Mary, Queen Elizabeth (later the Queen Mother), and the future Elizabeth II. They lived in Isleworth, and had four sons and one daughter. On 22 February 1974, Lady Caroline Gilmour launched HMS "Cardiff". His wife died in 2004, but he was survived by their five children, the eldest of whom, the Hon. David Gilmour, succeeded to his father's baronetcy. Among the younger sons, Oliver Gilmour is a conductor and Andrew Gilmour is a senior United Nations official.

paragraph: Section::::Personal life.:Death.

paragraph: Lord Gilmour died on 21 September 2007 of undisclosed causes, aged 81, at West Middlesex Hospital, Isleworth, Greater London, after a short illness.

paragraph: Section::::Cultural portrayals.

paragraph: BULLET::::- Gilmour was portrayed by Pip Torrens in "The Iron Lady", a 2011 biographical film of Margaret Thatcher. In the film, Gilmour voices his concern over the decline of manufacturing in the UK.

paragraph: Section::::Bibliography.

paragraph: BULLET::::- Obituary, "The Guardian", 24 September 2007

paragraph: BULLET::::- Obituary, "The Independent", 24 September 2007

paragraph: BULLET::::- Obituary, "The Daily Telegraph", 24 September 2007

paragraph: BULLET::::- Obituary, "The Times", 24 September 2007

paragraph: BULLET::::- Obituary, "Financial Times", 24 September 2007

paragraph: Section::::External links.

paragraph: BULLET::::- The Peerage

paragraph: BULLET::::- Thatcher's First Cabinet

description: British politician


text:
São Paulo
SP
Fundação Armando Álvares Penteado
constructivism
wood
public art
Essex
Berlin
rice paper
non-profit organization
Vila Leopoldina
Instituto Acaia

categories: Brazilian women sculptors,20th-century engravers,21st-century sculptors,21st-century engravers,20th-century women artists,20th-century Brazilian sculptors,Brazilian engravers,1965 births,21st-century women artists,Women engravers

paragraph: Elisa Bracher

paragraph: Elisa Bracher (São Paulo, SP, 1965) is a Brazilian artist, mostly known for her wooden and stone monumental sculptures, as well as drawings and prints with organic or geometric features.

paragraph: Section::::Work.

paragraph: Elisa Bracher works with multiple techniques and materials, focusing primarily in drawing, engraving, sculpture and photography, but her career started as an engraver. Bracher studied art at Fundação Armando Álvares Penteado, in São Paulo, specializing in metal engraving, and began teaching drawing and engraving at the same school in 1989.

paragraph: By the early 1990s, she was creating abstract engravings that we influenced by constructivism, for which she received four different acquisition awards in Brazilian art salons.

paragraph: During the same period, she started to create three-dimensional objects in metal. Soon after, in the late 1990s, she started working with wood, particularly old and worn out logs, making the transition to large-scale sculptures fabricated from wood, stone, metal, or a combination of those materials. By the end of the decade, her monumental sculptures were being commissioned as public art in São Paulo, Rio de Janeiro, Essex, and Berlin.

paragraph: Bracher is particularly interested in testing the limits and tensions between the materials with which she works, creating a delicate balance not only in her rice paper drawings but in her monumental sculptures. The exploration of lightness and darkness, presence and absence as well as overcoming technical limitations, are of fundamental importance and underpin her two-dimensional and three-dimensional artistic practice.

paragraph: Section::::Acaia Institute.

paragraph: Elisa Bracher is the founder and director of Instituto Acaia, a non-profit organization created in 2001 to support the physical and psychological development of children and youth through social-cultural education.

paragraph: The Instituto Acaia grew out of carpentry workshops that the artist organized for the local youth in her studio in Vila Leopoldina, an industrial neighborhood in São Paulo, in 1997. By 2016 they were offering classes in carpentry, music, literacy, arts, animation, typography, capoeira, video, informatics, dressmaking, textile printing, and cooking for over 500 children and adolescents, as well as general tutoring and counseling services.

paragraph: Section::::External links.

paragraph: BULLET::::- Instituto Acaia

description: Brazilian artist

wikidata_label: Elisa Bracher

wikipedia_title: Elisa Bracher


text: Leliwa coat of arms

text: Warsaw

text: Polish

text: Chelmno

text: Bar Confederation

text: Order of the White Eagle (Poland)

text: Royal Castle, Warsaw

text: National Museum, Kraków

text: Emeryk Hutten-Czapski

text: Gdansk

text: Rynkówka

text: Royal Prussia

text: Pomerania

text: Józef Wybicki

text: Chamberlain

text: Castellan

text: Chełmno Voivodeship

text: Voivode

text: Chełmno

text: Bar Confederation

text: Voivodeships

text: Frankfurt

text: Nesvizh Castle

text: Dominik Hieronim Radziwiłł

text: Lakhva

text: Kėdainiai

text: Polish Biographical Dictionary

categories: Polish knights,1725 births,Bar confederates

paragraph: Franciszek Stanisław Hutten-Czapski

paragraph: Franciszek Stanislaw Kostka Hutten-Czapski, Leliwa coat of arms (b. 1725 , d. 9 April 1802 in Warsaw) - Count, Polish Senator, the last Governor of Chelmno (25 June 1766 – 9 April 1802), Member of the Bar Confederation. Knight of the Order of the White Eagle (Poland)(1762). An exhibition at the Royal Castle, Warsaw between November 9, 2005 and January 31, 2006, exhibited what was purported to be Franciszeks Order of the White Eagle, donated to the National Museum, Kraków by Emeryk Hutten-Czapski.

paragraph: Son of Ignatius Czapski (1700–1746) (Governor of Gdansk) and Teofila Konopacka (1680–1733) and heir to the family estate in Rynkówka.

paragraph: Section::::Governor of Chelmno.

paragraph: Franciszek Stanislaw Kostka Hutten-Czapski was originally from Royal Prussia, (a part of Poland until its partition in 1772). In those days “The Czapskis were looked on as the first patrician family of Pomerania,” wrote Józef Wybicki, friend and co-senator of Czapski. "They did not reign over us as did the Radziwiłłs, Czartoryskis, Potockis, etc., in other provinces where these magnates paid, protected, and commanded. The Czapskis were not so rich as to subsidize us, and we others, the Prussians, living as ever in our traditional simplicity, had no need to sell out. They were really our elder brothers in the midst of a modest, united family, and it is because of this that they came to occupy their place of honor in public affairs.” Czapski was Chamberlain of Rynkówka in 1752, then Castellan in 1762 and in 1766 became Governor of the Chełmno Voivodeship (1466–1793) until his death in 1802. He was the last Voivode in Chełmno (Culm).

paragraph: Section::::Bar Confederation and Radziwill marriage.

paragraph: Czapski joined theBar Confederation in 1768 and helped arm some 12,000 men in the area of the city of Gdansk. He also started a clandestine coalition (Unio Animorum) to unite the three Voivodeships of Polish Prussia. Franciszek was a supporter and a close friend of Prince Karol Stanisław "Panie Kochanku" Radziwiłł, one of the most colorful figures of that era. When the Confederation fell, Czapski and Radziwiłł fled Poland to Frankfurt. In Frankfurt, Czapski, then 47 years old, entered into a marriage contract with Prince Radziwill¨s half sister Veronika, who was 18 at the time. The marriage contract was officially signed on 1 May 1780 in Nesvizh Castle. This was Czapski´s third marriage.

paragraph: Section::::Senator.

paragraph: Czapski lost his estates with the first partition of Poland in 1772. Though he lived in reduced circumstances in Warsaw, he never actively pursued his right to a substantial dowry from his marriage to Veronika Radziwiłł. He was an active Senator publishing numerous senatorial speeches and pamphlets. He thought the serfs had to be helped to rise above their "boorishness and filth" because their "..soul is as worthy of respect as the most exalted nobleman". Regarding the Jews he accused them of "sapping the lifeblood of the Polish people and driving them to penury by every possible means." He thought the nobility should see themselves in "the looking glass of virtue, of honor and conscience", and not "reflect false colors, which would disfigure them..." Though his wife Veronica was to bring to their marriage a very important dowry, this was still not paid at the time of Czapski's death in 1802.

paragraph: Section::::Dowry.

paragraph: Upon Czapski's death, Veronika began a lawsuit against her nephew Prince Dominik Hieronim Radziwiłł, for payment of her dowry. After a long judicial process, Veronika and her two sons, Karol and Stansilaw finally received their inheritance in 1811. This large dowry included 2 million rubles and for the eldest son Karol the property of Stankow(now Stańkava), and properties in the province of Oszmianski; Zuprany, Nowosiolki and Skirdzimy and the villages that went with them. Stanislaw received the properties of Lakhva and Kėdainiai. Veronika lived in Wiasyn, near Stankow, which she received for life. This dowry greatly increased the fortunes of the Czapski family and would later help finance their political and collecting activities for various generations.

paragraph: Section::::Private life.

paragraph: Czapski married three times: first to Dorota Dzialynska Ogonczyk, then to Zofia Mielzynska and finally to Veronika Radziwill. He had six children, two of which were Karol Czapski(1787–1876) and Stanislaw Czapski(1797–1866)

paragraph: Section::::Bibliography.

paragraph: Polish Dictionary Biograficzny (Polish Biographical Dictionary) Vol. 4 p. 183 Czapski Franciszek Stanisław (d. 1802) voevoda chełmiński

wikidata_label: Franciszek Stanisław Hutten-Czapski

wikipedia_title: Franciszek Stanisław Hutten-Czapski


text: German Renaissance

text: classicism

text: lost at sea

text: Albrecht Dürer

text: Isenheim Altarpiece

text: Joachim von Sandrart

text: Albrecht Dürer

text: Frankfurt

text: Hans Grimmer

text: lost

text: Thirty Years' War

text: Uriel von Gemmingen

text: Archbishop of Mainz

text: Albert of Brandenburg

text: Frankfurt

text: Jew

text: demonic possession

text: place of birth

text: Isenheim Altarpiece

text: Musée d'Unterlinden

text: Colmar

text: triptych

text: altarpiece

text: Saint Sebastien

text: Saint Anthony

text: predella

text: Ecclesia

text: Nikolaus Hagenauer

text: Temptation of St. Anthony

text: Saint Paul

text: Washington

text: Basel

text: grisaille

text: Albrecht Dürer

text: Heller Altarpiece

text: Frankfurt's

text: Municipal Art Gallery

text: Karlsruhe

text: Staatliche Kunsthalle

text: Augustiner Museum

text: Freiburg

text: Saint Erasmus

text: Saint Maurice

text: Munich

text: Aschaffenburg

text: Stuppach

text: Crucifixion

text: Philipp Melanchthon

text: Holy Roman Emperor, Rudolph II

text: Nationalist

text: Modernists

text: Joris-Karl Huysmans

text: Proust

text: Vermeer

text: Paul Hindemith

text: Mathis der Maler

text: German Peasants' War

text: Elias Canetti

text: W.G. Sebald

text: Isenheim Altarpiece

text: Lutheran Church

text: "Grünewald, Matthias."

text: Grünewald Gallery at MuseumSyndicate

text: Grünewald paintings at CGFA

text: wgsebald.de

text: Matthias Grünewald. paintings

categories: German male painters,People from Würzburg,People celebrated in the Lutheran liturgical calendar,1528 deaths,1470s births,15th-century German painters,German Roman Catholics,German Renaissance painters,16th-century German painters,Matthias Grünewald

paragraph: Matthias Grünewald

paragraph: Matthias Grünewald ( – 31 August 1528) was a German Renaissance painter of religious works who ignored Renaissance classicism to continue the style of late medieval Central European art into the 16th century. His first name is also given as Mathis and his surname as Gothart or Neithardt. Only ten paintings—several consisting of many panels—and thirty-five drawings survive, all religious, although many others were lost at sea in the Baltic on their way to Sweden as war booty. His reputation was obscured until the late nineteenth century, and many of his paintings were attributed to Albrecht Dürer, who is now seen as his stylistic antithesis. His largest and most famous work is the Isenheim Altarpiece created c 1512 to 1516.

paragraph: Section::::Life.

paragraph: The details of his life are unusually unclear for a painter of his significance at this date, despite the fact that his commissions show that he had reasonable recognition in his own lifetime. The first source for his biography is the German art historian Joachim von Sandrart, who describes him around 1505 working on the exterior decoration of an altarpiece by Albrecht Dürer in Frankfurt. This is the sort of work typically performed by apprentices and therefore an estimate of his age can be reached, suggesting he was born in 1475. Sandrart records that Grünewald had as an apprentice the painter Hans Grimmer, who became famous in his time, but most of whose works were lost in the Thirty Years' War. Sandrart describes Grünewald as leading a withdrawn and melancholy life, and marrying unhappily.

paragraph: More recent investigations have provided further information on Grünewald's life. In 1511 he became court artist of Uriel von Gemmingen, Archbishop of Mainz, and he also worked for the next archbishop, Albert of Brandenburg. In 1512 he settled in nearby Frankfurt where records indicate he bought a house and married Anna, a converted Jew, then probably aged 18. The marriage was not happy and in 1523 she was institutionalised with what is variously described as mental illness and demonic possession.

paragraph: From 1512 to 1514 or 1515 he worked on the Isenheim altarpiece, apparently in partnership with another Mathis, variously surnamed Nithart, Neithart, von Würzburg (after his place of birth), or Gothardt. Grünewald seems to have left Isenheim in a hurry, returning to Frankfurt, and his subsequent poverty suggests he was not fully paid for the altarpiece. In 1527 he entered the services of the wealthy and noble von Erbach family, apparently with a child (whether his own or adopted, is unclear). He most probably died in 1532, although sources vary.

paragraph: There has been considerable uncertainty about the details of his life. In 1938 Walter Karl Zülch published the theory that Grünewald and his partner Nithart/Gothardt were the same person; this Nithart/Gothardt was a painter, engineer, and "water artist" born in Würzburg in the 1460s or maybe 1470s and probably dying in 1528. This theory is now generally discredited, although more recent historians believe Nithart/Gothardt may have pretended to be Grünewald for business reasons.

paragraph: Section::::Works.

paragraph: Only religious works are included in his small surviving corpus, the most famous being the "Isenheim Altarpiece", completed 1515, now in the Musée d'Unterlinden, Colmar. Its nine images on twelve panels are arranged on double wings to present three views (rather than just the open and closed states of triptych altarpieces), according to the season or occasion. The first view with the outer wings closed shows a Crucifixion flanked by Saint Sebastien and Saint Anthony, with a predella showing the entombment. When the first set of wings is opened, the "Annunciation", "Angelic Concert" (sometimes interpreted as the "Birth of Ecclesia") "Mary bathing Christ", and "Resurrection" are displayed. The third view discloses a carved and gilded wood altarpiece by Nikolaus Hagenauer, flanked by the " Temptation of St. Anthony" and "Anthony's visit to Saint Paul". As well as being by far his greatest surviving work, the altarpiece contains most of his surviving painting by surface area, being 2.65 metres high and over 5 metres wide at its fullest extent.

paragraph: His other works are in Germany, except for a small Crucifixion in Washington and another in Basel, Switzerland. Around 1510 he was asked to paint four saints in grisaille for the outside of the wings of Albrecht Dürer's Heller Altarpiece in Frankfurt. Dürer's work was destroyed by fire and survives only in copies, but the wings have survived, one pair of saints being displayed in Frankfurt's Municipal Art Gallery and the other in Karlsruhe's, Staatliche Kunsthalle. There are also the late "Tauberbischofsheim altarpiece" in the Staatliche Kunsthalle Karlsruhe, and the "Establishment of the Santa Maria Maggiore in Rome" (1517–1519), Augustiner Museum, Freiburg. A large panel of Saint Erasmus and Saint Maurice in Munich probably dates from 1521–24, and was apparently part of a larger altarpiece project, the rest of which has not survived. Other works are in Munich, Karlsruhe, Aschaffenburg and Stuppach (). Altogether four somber and awe-filled Crucifixions survive. The visionary character of his work, with its expressive colour and line, is in stark contrast to Dürer's works. His paintings are known for their dramatic forms, vivid colors, and depiction of light.

paragraph: Section::::Reputation.

paragraph: The Protestant theologian Philipp Melanchthon is one of the few contemporary writers to refer to Grünewald, who is rather puzzlingly described as "moderate" in style, when compared with Dürer and Cranach; what paintings this judgement is based on is uncertain. By the end of the century, when the Holy Roman Emperor, Rudolph II, embarked on his quest to secure as many Dürer paintings as possible, the Isenheim Altarpiece was already generally believed to be a Dürer.

paragraph: In the late 19th century he was rediscovered, and became something of a cult figure, with the angst-laden expressionism—and absence of any direct classicism—of the Isenheim Altarpiece appealing to both German Nationalists and Modernists. Joris-Karl Huysmans promoted his art enthusiastically in both novels and journalism, rather as Proust did that of Vermeer. His apparent sympathies with the peasants in the Peasants' War also brought him admiration from the political left.

paragraph: The composer Paul Hindemith based his 1938 opera "Mathis der Maler" on the life of Grünewald during the German Peasants' War; scene Six includes a partial re-enactment of some scenes from the Isenheim Altarpiece.

paragraph: Elias Canetti wrote his novel "Auto-da-Fé" surrounded by reproductions of the Isenheim altarpiece stuck to the wall.

paragraph: German author W.G. Sebald traces the life story of Grünewald in his first literary work, "After Nature". This book-length prose-poem uses the preoccupations of Grünewald and especially his creation of the Isenheim Altarpiece to communicate an intensely apocalyptic vision of a world that has abandoned nature. The Isenheim Altarpiece also features in the last chapter of Sebald's novel "The Emigrants", in which the painter Max Ferber describes his intuition of the extreme power of pain after seeing Grünewald's work.

paragraph: Section::::Reputation.:Veneration.

paragraph: He is commemorated as an artist and saint by the Lutheran Church on April 6, along with Dürer and Cranach. The liturgical calendar of the Episcopal Church (USA) remembers the three German artists on August 5.

paragraph: Section::::References.

paragraph: BULLET::::- Andersson, Christiane. "Grünewald, Matthias." In Grove Art Online. Oxford Art Online, (accessed January 30, 2012; subscription required).

paragraph: BULLET::::- Cuttler, Charles D. (1968) "Northern Painting from Pucelle to Bruegel". Holt, Rinehart and Winston, Inc.

paragraph: Section::::External links.

paragraph: BULLET::::- Grünewald Gallery at MuseumSyndicate

paragraph: BULLET::::- Grünewald paintings at CGFA

paragraph: BULLET::::- wgsebald.de W. G. Sebald about Grünewald

paragraph: BULLET::::- Matthias Grünewald. paintings

alias:
Matthias Grünewald
Mathaeus Grünewald
Matthias Griuneval'd
Mathis Gotthardt
der Maler Mathis
Matthias Neithardt
Mathis Grün
Mathes Grunewald
Mathis Gothart-Nithart
Mathis Grunewald
Mathis Neithardt
Gothardt Grunewald
Mathis Gothart Nithart
Mathis Gothart
Mathis Gothardt
Matthis Gothardt-Neithardt
Matthias Grunewald
Matthias Gothardt
Neithardt Grunewald
Mathis Maler
Matthäus Gotthart Niethart
Matis Nitkhart-Gotkhart
Matthäus Gotthart Neithart
Mathis of Aschaffenburg
Mathis Grünewald
Mathes Grünewald
Gri︠u︡nevalʹd
Mathis Niethardt
Matthaeus Grunewald
Mathis Gothardt Neithardt
Matthias Nithardt
Nithardt Grunewald
Mathis Nithart
Monogrammist M. G. N. Grunewald
Matthaeus Grünewald
Mathis von Aschaffenburg
M. N. Grunewald
Mattias Grunewald
Martin Grunewald
Matheus Grünewald
Grünewald
Math. Grunwald
Grunewald
Matthias  Grünewald
Monogrammist M.G.N.
Matthias Gothardt Neithardt
Matthias Gothart Nithart

description: German Renaissance painter

wikidata_label: Mathias Grünewald

wikipedia_title: Matthias Grünewald


text: courtesy name

text: Sun Quan

text: Eastern Han dynasty

text: Three Kingdoms

text: Sun Ce

text: Fengtai County

text: Anhui

text: Jiang Qin

text: Sun Ce

text: a series of conquests

text: Jiangdong region

text: Kuaiji Commandery

text: Shaoxing

text: Zhejiang

text: commandery

text: Wang Lang

text: Sun Quan

text: Xuancheng

text: Anhui

text: Fanchang County

text: Liu Xun

text: Qianshan County

text: Anhui

text: Huang Zu

text: Xinzhou District, Wuhan

text: Hubei

text: Yichun

text: Jiangxi

text: Battle of Jiangxia

text: Battle of Red Cliffs

text: Zhou Yu

text: Cheng Pu

text: Liu Bei

text: Cao Cao

text: Battle of Jiangling

text: Cao Ren

text: Jingzhou

text: Hubei

text: Battle of Ruxu

text: Zhu Ran

text: Xu Sheng

text: Lü Meng

text: invade and seize

text: Jing Province

text: Guan Yu

text: Sichuan

text: Chongqing

text: Hanzhong Commandery

text: Rafe de Crespigny

text: Battle of Ruxu

text: Wei

text: Cao Ren

text: Battle of Shiting

text: Lu Xun

text: Cao Xiu

text: Koei

text: Dynasty Warriors

text: Warriors Orochi

text: Lists of people of the Three Kingdoms

text: Chen, Shou

text: Records of the Three Kingdoms

text: Pei, Songzhi

categories: Sun Ce and associates,Eastern Wu generals,Year of birth unknown,Generals under Sun Quan,People from Huainan,220s deaths

paragraph: Zhou Tai

paragraph: Zhou Tai () (died 223), courtesy name Youping, was a military general serving under the warlord Sun Quan during the late Eastern Han dynasty and early Three Kingdoms period of China. He previously served under Sun Ce, Sun Quan's elder brother and predecessor.

paragraph: Section::::Service under Sun Ce.

paragraph: Zhou Tai was from Xiacai County (下蔡縣), Jiujiang Commandery (九江郡), which is present-day Fengtai County, Anhui. Around the early 190s, he and Jiang Qin came to serve Sun Ce, who was on a series of conquests in the Jiangdong region. Zhou Tai was faithful and polite. He also made contributions by fighting in various battles under Sun Ce's banner. When Sun Ce occupied Kuaiji Commandery (present-day Shaoxing, Zhejiang) after the commandery's Administrator, Wang Lang, surrendered to him, he appointed Zhou Tai as a Major of Separate Command (別部司馬) and put him in command of some troops.

paragraph: Section::::Service under Sun Ce.:Saving Sun Quan.

paragraph: Sun Ce's younger brother, Sun Quan, favoured Zhou Tai so he requested for Zhou to be transferred to his unit. Once, when Sun Ce was away on a campaign against some bandits who had emerged in the six counties of Kuaiji, Sun Quan was left in Xuancheng County (宣城縣; present-day Xuancheng, Anhui) with less than 1,000 men. Out of negligence, Sun Quan did not set up defence posts, so when thousands of bandits suddenly attacked Xuancheng, he attempted to flee. However, by then, Sun Quan had already been surrounded by the bandits, who attacked him and slashed at his saddle, causing much panic among his men. Only Zhou Tai, with his spirits roused, rushed to protect Sun Quan, emboldening those near him and making them able to fight again. When the bandits finally dispersed, Zhou Tai had sustained 12 deep wounds all over his body and he took a long time to recover. If Zhou Tai was not there on that day, Sun Quan would have surely perished. Zhou Tai's act of bravery was greatly appreciated by Sun Ce, who appointed him as the Chief (長) of Chungu County (春穀縣; northwest of present-day Fanchang County, Anhui).

paragraph: Section::::Service under Sun Ce.:Campaign against Liu Xun.

paragraph: In 199, Zhou Tai followed Sun Ce to attack Liu Xun at Wan County (皖縣; present-day Qianshan County, Anhui) and Huang Zu at Jiangxia Commandery (江夏郡; commandery capital in present-day Xinzhou District, Wuhan, Hubei). When he returned from the campaigns, he passed by Yuzhang Commandery (豫章郡) and was appointed as the Chief (長) of Yichun County (宜春縣; present-day Yichun, Jiangxi). The residents in the counties under his governorship provided him with the necessary funding and supplies for his troops.

paragraph: Section::::Service under Sun Quan.

paragraph: Sun Ce was assassinated in 200 CE while he was out on a hunting expedition and was succeeded by Sun Quan. In 208, Zhou Tai participated in the Battle of Jiangxia against Huang Zu. Later that year, Zhou Tai fought at the Battle of Red Cliffs under the command of Zhou Yu and Cheng Pu, and the allied forces of Sun Quan and Liu Bei scored a major victory over Cao Cao's forces. Zhou Tai was also involved in the Battle of Jiangling, a follow-up to Red Cliffs, and Sun Quan's forces defeated Cao Cao's general Cao Ren and captured Nan Commandery (南郡; around present-day Jingzhou, Hubei). After the battles, Zhou Tai was ordered to garrison at Cen County (岑縣).

paragraph: Section::::Service under Sun Quan.:Battle of Ruxu.

paragraph: In 217, Cao Cao launched another attack on Sun Quan, leading to the Battle of Ruxu. Zhou Tai participated in the defence of Ruxu, and Sun Quan's forces succeeded in driving back the invaders. After Cao Cao's retreat, Zhou Tai was appointed General Who Pacifies Barbarians (平虜將軍) and was ordered to remain behind to guard Ruxu. At the time, Zhu Ran and Xu Sheng were also stationed at Ruxu and were Zhou Tai's subordinates, but they were reluctant to submit to Zhou's command. Sun Quan made a special trip to Ruxu and he threw a party for all the military officers there. Sun Quan personally served wine to Zhou Tai and asked him to undress. He pointed at every scar on Zhou Tai's body and asked Zhou about it, whereupon Zhou would relate stories of the battles he fought in. At the end, Sun Quan told Zhou Tai to put on his clothes and they revelled through the night. The following day, Sun Quan instructed a herald to grant Zhou Tai his imperial parasol.

paragraph: The "Jiang Biao Zhuan" (江表傳) further described this incident as follows:

paragraph: Zhu Ran, Xu Sheng and the other officers were impressed with Zhou Tai and they submitted to his command.

paragraph: Section::::Service under Sun Quan.:Jing Province campaign.

paragraph: In 219, Sun Quan sent his general Lü Meng to invade and seize Liu Bei's territories in Jing Province, which were defended by Guan Yu. After the success of the invasion, Sun Quan planned to attack Liu Bei in Shu (covering present-day Sichuan and Chongqing) so he appointed Zhou Tai as the Administrator (太守) of Hanzhong Commandery even though Hanzhong was still under Liu Bei's control then. He also appointed Zhou Tai as General of Vehement Might (奮威將軍) and awarded him the title "Marquis of Lingyang" (陵陽侯).

paragraph: Section::::Service under Sun Quan.:Death.

paragraph: Zhou Tai died sometime during the Huangwu era (222–229) in Sun Quan's reign. His year of death was not specified, but the Australian sinologist Rafe de Crespigny estimated it to be around 223.

paragraph: Section::::Descendants.

paragraph: Zhou Tai's son, Zhou Shao (周邵), was appointed as a Cavalry Commandant (騎都尉) and commanded some troops. He fought in the Battle of Ruxu of 222–223 against the Wei general Cao Ren and made contributions in battle. Later in 228, he participated in the Battle of Shiting under Lu Xun's command, which saw a victory for Wu forces over the Wei army led by Cao Xiu. Zhou Shao was promoted to Major-General (裨將軍) for his achievement. He died in 230 and was succeeded by his younger brother, Zhou Cheng (周承), who inherited his military appointment and their father's marquis title.

paragraph: Section::::In popular culture.

paragraph: Zhou Tai appears as a playable character in Koei's "Dynasty Warriors" and "Warriors Orochi" video game series.

paragraph: Section::::See also.

paragraph: BULLET::::- Lists of people of the Three Kingdoms

paragraph: Section::::References.

paragraph: BULLET::::- Chen, Shou (3rd century). "Records of the Three Kingdoms" ("Sanguozhi").

paragraph: BULLET::::- Pei, Songzhi (5th century). "Annotations to Records of the Three Kingdoms" ("Sanguozhi zhu").

alias:
Chau Tai
Chow Tai

description: Eastern Wu general

wikidata_label: Zhou Tai

wikipedia_title: Zhou Tai


text:
American football
offensive guard
2005 NFL Draft
San Francisco 49ers
Arizona Cardinals
New York Giants
University of Oregon
Pac-10
Morris Trophy
offensive tackle
La Serna High School
Whittier, California
Morris Trophy
center
Arizona Cardinals
New York Giants
journalism
public relations
San Francisco 49ers bio

categories: Players of American football from California,San Francisco 49ers players,1982 births,Sportspeople from Fullerton, California,Oregon Ducks football players,Arizona Cardinals players,Living people,American football offensive guards,American football offensive tackles

paragraph: Adam Snyder

paragraph: Adam Richard Snyder (born January 30, 1982) is a former American football offensive guard. He was drafted in the third round in the 2005 NFL Draft by the San Francisco 49ers. He also played for the Arizona Cardinals and the New York Giants.

paragraph: At the University of Oregon he was one of the most dominant and versatile linemen in the Pac-10 conference and the winner of the Morris Trophy, as he played every position but center. His junior and senior seasons he was considered one of the premier left offensive tackles in college football.

paragraph: Section::::Early years.

paragraph: Adam Snyder attended La Serna High School in Whittier, California, where he played football. He was coached by Ken LaVigne from 1999–2000.

paragraph: Section::::College career.

paragraph: Snyder was redshirted in 2000 at Oregon and saw action in the final 11 games of the 2001 season, when he served as the for the year.

paragraph: Snyder departed as one of Oregon's most decorated linemen of all time, becoming the Ducks' third Morris Trophy recipient (as the Pac-10 Conference's top lineman) ever. The three-year starter and the school's first two-time first-team all-league offensive line stalwart in four decades extended his string of career starting assignments to 35 at three different positions while playing in 48 of 49 outings.

paragraph: Section::::Professional career.

paragraph: Section::::Professional career.:San Francisco 49ers.

paragraph: Snyder played often throughout his first 3 years with the 49ers, playing every position on the offensive line with the exception of center. His versatility and team first mentality earned him a contract extension in 2006 that put him with the 49ers through the 2009 season. He became a full-time starter before the 2009 season. Snyder signed a contract extension in 2009, keeping him with the team through the 2011 season. He has since become the starting right guard.

paragraph: Section::::Professional career.:Arizona Cardinals.

paragraph: Snyder signed a five-year contract with the Arizona Cardinals on March 14, 2012. He was released by the Cardinals on April 29, 2013.

paragraph: Section::::Professional career.:San Francisco 49ers (second stint).

paragraph: Snyder signed a two-year deal with the 49ers on May 6, 2013. He was released by the team on August 30, 2014

paragraph: Section::::Professional career.:New York Giants.

paragraph: Snyder was signed by the New York Giants on September 3, 2014.

paragraph: Section::::Personal life.

paragraph: Snyder has a journalism and public relations degree. He is the son of Richard and Judi Snyder. He has a sister named Bree. Adam was married in the summer of 2006 to Erika Widmark. He and his wife gave birth to their first child, Kael Richard, in October 2008. They welcomed their second child in September 2010.

paragraph: Section::::External.

paragraph: BULLET::::- San Francisco 49ers bio

description: American football offensive lineman

wikidata_label: Adam Snyder

wikipedia_title: Adam Snyder


text:
tennis
US National Championships
Philip
U.S. Championships
Harvard
Bill Tilden
Oliver Campbell
Pete Sampras
Edward Gray
Longwood Bowl
James Dwight
Great Britain and Ireland
Irish Championships
Dublin
Herbert Lawford
Cheltenham
West of England Championships
Manchester
Northern Lawn Tennis Championships
Hartford, Connecticut
Hoboken, New Jersey
Howard Taylor
lawn tennis
USTA
John W. Sears
International Tennis Hall of Fame

wikipedia_title: United Kingdom of Great Britain and Ireland

categories: Harvard University alumni,1861 births,1943 deaths,Sportspeople from Boston,19th-century male tennis players,Grand Slam (tennis) champions in men's singles,Harvard Crimson men's tennis players,American real tennis players,Harvard Lampoon alumni,Tennis people from Massachusetts,American male tennis players,19th-century American people,International Tennis Hall of Fame inductees,United States National champions (tennis)

paragraph: Richard Sears (tennis)

paragraph: Richard Dudley "Dick" Sears (October 26, 1861 – April 8, 1943) was an American tennis player, who won the US National Championships singles in its first seven years, from 1881 to 1887, and the doubles for six years from 1882 to 1887, after which he retired from tennis.

paragraph: Section::::Early life.

paragraph: He was the son of Frederic Richard Sears and Albertina Homer Shelton. His brothers Philip and Herbert were also tennis players.

paragraph: Section::::Tennis career.

paragraph: Sears learned to play tennis in 1879. He was undefeated in the U.S. Championships, he won the first of his seven consecutive titles in 1881 while still a student at Harvard. In those days the previous year's winner had an automatic place in the final. Starting in the 1881 first round, he went on an 18-match unbeaten streak that would take him through the 1887 championships, after which he retired from the game. Not until 1921 was his 18-match unbeaten run overtaken (by Bill Tilden). During his first three championships Sears did not lose a single set. Sears was the first 19-year-old to win in the U.S., slightly older than Oliver Campbell was in 1890 and the youngest winner ever, Pete Sampras, in 1990.

paragraph: Although primarily remembered for his grand slam titles he did compete in and win other titles. He won his first tournament at Beacon Park, Boston, in 1880 defeating Edward Gray . In May 1883 he reached the semi finals of the Longwood Bowl in Boston conceding to James Dwight by a walkover . In 1884 he traveled to Europe to play tournaments in Great Britain and Ireland . At the Irish Championships held in Dublin he reached the quarter-finals before losing to Herbert Lawford in three sets . In June he reached the final of the Cheltenham tennis tournament held on clay, he next entered the West of England Championships in Bath reaching the quarter finals . He then traveled to Manchester to compete at the Northern Lawn Tennis Championships where he reached the quarter finals. He returned to the United States in July after the US Championships he entered the U.S. National Collegiate Championships in Hartford, Connecticut, where he reached the semi-finals. In June 1885 he won the Middle States Championships in Hoboken, New Jersey, defeating Howard Taylor.

paragraph: Sears was the first U.S. No. 1 in the USLTA rankings, when they began in 1885 and retained the ranking in 1886 and 1887. He was ranked World No. 5 for 1887 by Karoly Mazak.

paragraph: After giving up playing lawn tennis, Sears won the U.S. Court Tennis singles title in 1892 and went on to serve as USTA President in 1887 and 1888.

paragraph: Section::::Personal life.

paragraph: Sears married Eleanor M. Cochrane on November 24, 1891, and they had two children, Richard Dudley Sears Jr. and Miriam Sears.

paragraph: He died on April 8, 1943.

paragraph: His grandson was the Massachusetts politician John W. Sears.

paragraph: Section::::Legacy.

paragraph: Sears was inducted in the International Tennis Hall of Fame in 1955, where his cousin Eleonora Sears also has a place.

description: American tennis player

wikidata_label: Richard Sears

wikipedia_title: Richard Sears (tennis)