href: Lure%2C%20Haute-Sa%C3%B4ne Haute-Sa%C3%B4ne France chef BBC Luxeuil-les-Bains Mandelieu-la-Napoule Sweden Singapore Portugal London Michel%20Roux Scotland

text:
Lure
Haute-Saône
France
chef
BBC
Luxeuil-les-Bains
La Napoule
Sweden
Singapore
Portugal
London
Michel Roux
Scotland

categories: French expatriates in the United Kingdom,1958 births,French chefs,Living people

paragraph: Daniel Galmiche

paragraph: Daniel Galmiche (born 18 June 1958 in Lure Haute-Saône, France) is a French chef. He has been a Michelin Starred chef since 1990. His light and colorful cooking is permeated with north-south mixtures thanks to his European and Asiatic career. According to him, cooking is done with eco-friendly and healthy products, it needs to be shared. He has written in magazines and English newspapers, published books and hosted cooking shows on the BBC.

paragraph: Section::::Biography.

paragraph: Daniel Galmiche loves cooking since its earliest years. This love appeared through healthy and natural products from his grandparents’ farm, from hunting with his father as well as fragrances from his mother cooking.

paragraph: He apprenticed at the gourmet restaurant of Chef Yves Lalloz, Luxeuil-les-Bains.

paragraph: He improved his work in La Napoule, in the south of France then abroad in Sweden, Singapore and Portugal.

paragraph: Section::::Career.

paragraph: In 1977, Daniel

paragraph: Galmiche practised in London with the help of the

paragraph: great French chef Michel Roux. He was elected Chef of the 1987-1988 season in Scotland.

paragraph: During the 1989-1990 season, he got the Michelin Star at Knockingam Lodge Hotel.

paragraph: He joined the Harveys Bristol Restaurant in 1996 and the Ortolan in 2002, where

paragraph: he both maintains the Michelin Starred title.

paragraph: Two years later, he

paragraph: was the Great Chef at Cliveden House, and won again the Michelin Star in 2006.

paragraph: Then it’s the Eden and Le Cerise Forbury in 2008 followed the next year by the Vineyard stockcross always as Grand Chef.

paragraph: He is a member and judge Bailiwick of Great Britain in 2010 of Confrérie de la chaîne des rôtisseurs.

paragraph: He won the Rising Chef Trophy in 2010-2011 and travels the world : Mauritius, Abu Dhabi, Malta, Dubai, where he prepares gourmet dinners prestige.

paragraph: Parallel to these activities and true to his roots, he is involved in the defense of ecology and healthy products as a regular juror of The Soil Association Organic Awards, advocacy group for environmentally friendly products and respect for animals

paragraph: He now cooks at 190 Queens Gate, which is far from being a Michelin standard restaurant as evidenced by numberous poor review on Trip Advisor

paragraph: Section::::Works.

paragraph: Section::::Works.:Broadcasts BBC.

paragraph: BULLET::::- BBC One Saturday kitchen 2008-2009

paragraph: BULLET::::- BBC Radio Berkshire 2011

paragraph: BULLET::::- BBC Saturday Kitchen recipes 2013

paragraph: BULLET::::- BBC One Christmas Kitchen 2012-2013

wikidata_label: Daniel Galmiche

wikipedia_title: Daniel Galmiche


text:
X Factor
Adele
X Factor Bulgaria

categories: People from Varna,X Factor (Bulgarian TV series),Bulgarian female singers,1997 births,Living people

paragraph: Victoria Georgieva

paragraph: Victoria Georgieva (, born 21 September 1997) is a Bulgarian singer and songwriter who was part from 4th season of Bulgarian X Factor. She was called the sensation of the 4th season and the Bulgarian Adele.

paragraph: Section::::Career.

paragraph: Section::::Career.:Early career.

paragraph: Victoria started singing at age of eleven. After some time she enrolled in vocal studio "Angel Voices" where her music teacher was Atanaska Lipcheva. Vicky by herself attended to first 3 seasons of X Factor Bulgaria, but she never made it through the judges, mostly because of her age.

paragraph: Section::::Career.:2015:"X Factor" Bulgaria.

paragraph: In 2015, after 3 attempts she finally made it through the judges and performed perfectly. She also has no problems to make it to the finals of the show and finally to perform on a big scene. She left the show on week 9.

paragraph: Section::::Career.:2016–present: Debut single and Monte Music.

paragraph: Even though she didn't win X Factor, she got an offert to join Virginia Records, but decline it. In 2016 she joined Monte Music and on 10 June 2016 her first single was released. "Nishto Sluchayno" was directed by Bashmotion and featured VenZy and Niki Bakalov.

wikidata_label: Victoria Georgieva

wikipedia_title: Victoria Georgieva


text: street art

text: acrylic glass

text: duct tape

text: installation art

text: Dnipropetrowsk

text: Germany

text: Berlin

text: street art

text: urban art

text: Berlin

text: pop art

text: Andy Warhol

text: impressionist

text: Vincent Van Gogh

text: Tape art blog

text: Q&A with Ostap

categories: German contemporary artists,German graffiti artists,Pop artists,Artists from Berlin,Living people

paragraph: Slava Ostap

paragraph: Slava "Ostap" Osinski is a street artist who creates works on acrylic glass using packing tape and duct tape. He also produces work in live performances and also creates installation art works.

paragraph: Ostap was born and raised in Dnipropetrowsk in Ukraine, where he studied architecture. In 1995 he moved to Germany and he later moved to Berlin. Ostap has been active in Berlin's street art and urban art scene since 2013.

paragraph: Section::::Career.

paragraph: Ostap was a resident artist at the Urban Street gallery in Berlin in December 2012. In an interview about his work, Ostap has said:

paragraph: Ostap's work is influenced by modern culture and pop culture, politics, society, religion and sex. He cites pop art artists such as Andy Warhol as influences, as well as impressionist artists including Vincent Van Gogh.

paragraph: Section::::Works.

paragraph: Ostap says of his art:

paragraph: Although a street artist, Ostap's works have also been exhibited in various projects and galleries.

paragraph: Section::::External links.

paragraph: BULLET::::- Tape art blog

paragraph: BULLET::::- Q&A with Ostap

paragraph: BULLET::::- Representing Tape art- Interview with tape artist

description: German & Ukrainian artist

wikidata_label: Slava Ostap

wikipedia_title: Slava Ostap


text: Tirana

text: football

text: Flamurtari Vlorë

text: 17 Nëntori Tirana

text: Dinamo Tirana

text: European Champion Clubs' Cup

text: Dinamo București

text: Elbasani

text: Albanian Superliga

text: Dinamo Tirana

text: KF Tirana

text: Kukësi

text: Vllaznia Shkodër

text: Refik Halili

text: Skënderbeu Korçë

text: Andrea Agostinelli

text: group stage

text: Sant Julià

text: Kairat

text: Almaty Central Stadium

text: Gerard Gohou

text: Bakary Nimaga

text: Sebino Plaku

text: James Adeniyi

text: Mladá Boleslav

text: Dinamo Zagreb

text: Stadion Maksimir

text: Albanian Superliga

text: Lushnja

text: Teuta Durrës

text: Laçi

text: final

text: domestic double

text: Sulejman Mema

text: Court of Arbitration for Sport

text: UEFA

text: Albanian Superliga

text: Albanian Superliga

text: Albanian Cup

categories: KF Skënderbeu Korçë managers,KF Elbasani managers,FK Dinamo Tirana players,1966 births,FK Dinamo Tirana managers,Albanian footballers,Footballers from Tirana,Albanian football managers,KF Tirana managers,Besa Kavajë managers,Flamurtari Vlorë managers,Association football midfielders,Living people

paragraph: Ilir Daja

paragraph: Ilir Daja (born 20 October 1966 in Tirana) is an Albanian professional football coach and former player who is the current manager of Flamurtari Vlorë.

paragraph: Section::::Club career.

paragraph: Daja spent his youth career with 17 Nëntori Tirana, before playing for Dinamo Tirana for ten years. In 1989, in Dinamo's European Champion Clubs' Cup clash against Dinamo București, Daja suffered a major knee injury that forced him to go on surgery several times.

paragraph: Section::::Managerial career.

paragraph: Daja started his managerial career in 2005 with Elbasani whom he stayed until 2007, helping the club to win the Albanian Superliga in 2005–06 season. Then he signed with Dinamo Tirana two seasons later to prevail again in this competition.

paragraph: Section::::Managerial career.:Tirana.

paragraph: In October 2015, Daja begun negotiations with KF Tirana and on 28th, Daja signed a contract until the end of the season. He was presented to the media the next day. Tirana defeated Kukësi 2–1 at home in Daja's first match in charge, returning in winning ways after three league matches. On 1 November 2016, following the goalless draw against Vllaznia Shkodër, Daja was released from his contract by club president Refik Halili.

paragraph: Section::::Managerial career.:Skënderbeu Korçë.

paragraph: On 3 January 2017, Daja was hired as the new coach of Skënderbeu Korçë hours after the departure of Andrea Agostinelli, who was released from the club. He was introduced the next day, declaring that if the team didn't win the league, it would be a big failure.

paragraph: In the summer of 2017, Daja guided the team in the 2017–18 UEFA Europa League qualifying rounds, being the mastermind as Skënderbeu achieved group stage for the second time ever and also become the first Albanian club to pass four rounds. They easily won in the first qualifying round versus amateur side Sant Julià, progressing to the next round 6–0 on aggregate. In the second round, Skënderbeu managed a 1–1 draw versus Kairat at Almaty Central Stadium for the first leg; despite being down in the first ten minutes after a Gerard Gohou, the team pushed for an equalizer and got it thanks to a Bakary Nimaga tap-in. In the second leg, Daja's team won 2–0 to progress to next round 3–1 on aggregate; his decision to play Sebino Plaku for James Adeniyi resulted a success as the striker scored the second goal with a lob.

paragraph: In the first match of third round versus Mladá Boleslav, Skënderbeu lost 2–1 after a late goal scored by the opposition, only one minute after Skënderbeu's equalizer. In the second match, Daja's side won with the same score, which led the match to penalty shootouts where his side was more precise as they won 4–2 to reach the play-off for the third time in history. In the play-off round, the team played Dinamo Zagreb; they earned a 1–1 draw at Stadion Maksimir despite being on lead until the injury time, before holding on to a goalless draw in the returning leg to group stage on away goal rule.

paragraph: On 9 May 2018, Skënderbeu Korçë was confirmed as Albanian Superliga champion following a 4–2 win at Lushnja and Kukësi's 3–2 away defeat to Teuta Durrës. Later on 27 May, he led to team to the Albanian Cup success, by defeating 1–0 Laçi in the final for their first ever Albanian Cup title. Skënderbeu thus completed the domestic double for the first time in history. Daja also become the first manager since Sulejman Mema in 1999 to achieve this feat.

paragraph: On 19 June 2018, after Court of Arbitration for Sport upheld UEFA's decision to exclude Skënderbeu from UEFA competitions for the next 10 years, Daja announced his departure from the club.

paragraph: Section::::Honours.

paragraph: Section::::Honours.:Player.

paragraph: BULLET::::- Albanian Superliga: 1

paragraph: Section::::Honours.:Manager.

paragraph: BULLET::::- Skënderbeu Korçë

paragraph: BULLET::::- Albanian Superliga: 2017–18

paragraph: BULLET::::- Albanian Cup: 2017–18

description: Albanian association football player

wikidata_label: Ilir Daja

wikipedia_title: Ilir Daja


text:
Busby
Renfrewshire
Brazil
football
Brazilian football
Charles Miller
Scotland
Bangu

paragraph: Thomas Donohoe

paragraph: Thomas Donohoe, originally from Busby, Renfrewshire, was a Scottish immigrant in Brazil who organized the first ever football match in the history of Brazilian football. The match was a five-a-side game which took place in April 1894, six months before Charles Miller's match, previously recorded as the first in Brazil.

paragraph: A dye expert, Donohoe had moved from Scotland to Brazil in 1893 to work in a textile factory in Bangu, in Rio de Janeiro.

description: association football player

wikidata_label: Thomas Donohoe

wikipedia_title: Thomas Donohoe


text:
Berlin Academy of Arts
Max Liebermann
Walter Leistikow
World's Columbian Exposition

categories: German art collectors,People from Hamburg,German artists,1855 births,1939 deaths

paragraph: Hugo Schnars-Alquist

paragraph: Carl Wilhelm Hugo Schnars-Alquist (29 October 1855 - 20 August 1939) was a German art collector and painter of maritime scenes.

paragraph: Section::::Early life.

paragraph: Schnars-Alquist was the son of a merchant and himself first a merchant.

paragraph: Section::::Art career.

paragraph: Schnars-Alquist formed a trade school in his native city in drawing and painting. Due to the success of different seascapes, which immediately found buyers, he became about 1884 and 1886 a student of Hans Gude at the Berlin Academy of Arts. 1888-89 he was a delegate of the German art association and member of the jury at the world exhibition in Melbourne, founded in 1891 by Max Liebermann, Walter Leistikow and others the "union of the XI". In 1892-93 he was a member of the Reich Commission, a member of the Jury in Chicago, and in 1896 was appointed professor and moved back from Berlin to Hamburg. He was also a member of the Hamburg association of artists.

paragraph: His numerous voyages to North, Central and South America, Australia, Tasmania, New Zealand, Ceylon, northern and southern Europe taught him to describe the sea under all latitudes, in all seasons and in all moods. His works were owned by the German Emperor Wilhelm II. ("Help in sight", 1890), the Chancellor Bernhard von Bülow ("Germany", 1900), the Kunsthalle Hamburg ("West", 1903), the museums in Elbing, Adelaide, St. Louis and many private collections in Germany, America, Australia etc. He also painted many pictures of the steamers of the Hamburg-America Line.

paragraph: In 1893, Schnars-Alquist was the German delegate for the fine arts at the World's Columbian Exposition.

paragraph: Section::::Further reading.

paragraph: German language sources:

paragraph: BULLET::::- Meyers Großes Konversations-Lexikon, Band 17. Leipzig 1909, S. 914-915

paragraph: BULLET::::- Jörgen Bracker, Peter Tamm u. a: "Maler der See: Marinemalerei in drei Jahrhunderten". Koehlers Verlagsgesellschaft, Herford 1980,

paragraph: BULLET::::- E. Hakon: "Der Maler des Ozeans". In: "Illustriertes Universum-Jahrbuch 1912". Leipzig: Reclam, 1912, S. 384-389. Mit zwei Kunstbeilagen und sechs Gemäldereproduktionen.

description: German painter

wikidata_label: Hugo Schnars-Alquist

wikipedia_title: Hugo Schnars-Alquist


text: composer

text: microtonal

text: quarter tone scale

text: cents

text: twelfth tones

text: Saint Petersburg

text: Minister for Finance

text: harmony

text: composition

text: orchestration

text: Nicolas Sokolov

text: Academy of Saint Petersburg

text: César Cui

text: ad libitum

text: revolution

text: harmonium

text: Alois Hába

text: chromatic scale

text: Olivier Messiaen

text: Henri Dutilleux

text: Claude Ballif

text: Compiègne

text: Vittel

text: Yvonne Loriod

text: Pierre Boulez

text: Serge Nigg

text: tuberculosis

text: Nicolas Obouhow

text: Radio France

text: Bruce Mather

text: Paul Auster

text: New York Trilogy

text: Jean-François Heisser

text: Henriette Puig-Roget

text: Serge Provost

text: Gérard Frémy

text: Stichting Huygens-Fokker

text: shiiin 4 CD 2009

categories: 20th-century classical composers,Musicians from Saint Petersburg,1979 deaths,Russian male classical composers,Microtonal composers,Russian classical composers,Russian opera composers,1893 births,Male opera composers

image: 512px-И.А.Вышнеградский_в_Париже.jpg

paragraph: Ivan Wyschnegradsky

paragraph: Ivan Alexandrovich Wyschnegradsky (September 29, 1979), also transliterated as Vïshnegradsky, Wyshnegradsky, Wischnegradsky, Vishnegradsky, or Wishnegradsky () (since he emigrated to France, he used "Wyschnegradsky" as spelling for his surname) was a Russian composer primarily known for his microtonal compositions, including the quarter tone scale (24-tet: 50 cents). He also used scales of up to 72 divisions (mainly third (18-tet: 66. cents), sixth (36-tet: 33. cents), and twelfth tones (72-tet: 16. cents)).

paragraph: Section::::Early life.

paragraph: Ivan Wyschnegradsky was born in Saint Petersburg on May 4, 1893. His father was a banker and his mother wrote poems. His grandfather was a celebrated mathematician who served as the Minister for Finance from 1888 to 1892. After his baccalaureate, Wyschnegradsky entered the School of Mathematics. He followed the courses of harmony, composition and orchestration (1911–1915) led by Nicolas Sokolov, professor with the Academy of Saint Petersburg. In 1912, he entered the School of Law.

paragraph: Section::::Music career.

paragraph: The first public performance of Wyschnegradsky's "Andante religioso and funebre" was performed at the theatre Pavlovsk under the direction of Aslanov, in the presence of César Cui. At the end of the concert, Cui congratulated him "for his moderation".

paragraph: In 1916, Wyschnegradsky composed "The Day of the Brahma" (which would later become "The Day of Existence") for narrator, full orchestra and mixed chorus ad libitum. In 1917, the day before the revolution, Wyschnegradsky completed his law studies. In November, his father died. Ivan adhered to the ideals of the Russian Revolution and composed "The Red Gospel", opus 8. In 1919, he elaborated on his first project on the notation of twelfth-tones.

paragraph: The following year, Wyschnegradsky and his family moved to Paris. The Pleyel house manufactured a pneumatic-transmission piano for him, but he was not entirely satisfied (1921). Wyschnegrasky wished to build a "true" quarter-tone piano and thought that he would only be able to in Germany. He ordered a Möllendorf-type quarter-tone harmonium from Straube. In 1922 and 1923, he went to several revivals in Germany where he met R. Stein, Alois Hába, J. Mager and W. Möllendorf. The following year, he married Hélène Benois and fathered a son, Dimitri (1924, now Dimitri Vichney, who later changed his name to Jacques Demêtre). Wyschnegradsky and Benois divorced in 1926.

paragraph: He ordered a quarter-tone piano from Foerster (1927). The Vandelle quartet performed the Prelude and Fugue, opus 15. In 1929, the piano made by Foerster arrived in Paris. He met Lucille Markov (Gayden), his future wife. He also published the "Manual of Quarter-tone Harmony" (1932). In 1934, he composed "Twenty-four preludes in all the tones of the chromatic scale diatonicized with thirteen sounds", for two pianos in quarter tones (1934).

paragraph: On January 25, 1937, he attended the first concert devoted entirely to his music. He met Olivier Messiaen, and later Henri Dutilleux and Claude Ballif. He recorded the slow movement of the "Symphony Thus spoke Zarathustra" for four pianos in quarter tones.

paragraph: In 1942, Wyschnegradsky was arrested by the Germans and transferred to Compiègne, where he remained for two months. His wife (of American nationality) was also arrested and transferred to Vittel.

paragraph: On November 11, 1945, Gisèle Peyron and Mady Sauvageot, sopranos, Lili Fabrègue, viola, Yvette Grimaud, Yvonne Loriod, Pierre Boulez and Serge Nigg, pianos gave a concert of works of Wyschnegradsky. Contracting tuberculosis, he rested at the sanatorium of St. Martin-du-Tertre. In 1947, André Souris gave the première in Belgium of the "Symphony Thus spoke Zarathustra" for four pianos in Brussels. In 1951, Pierre Boulez, Yvette Grimaud, Claude Helffer and Ina Marika gave a performance of the "Second symphonic fragment", opus 24 in Paris. The Revue Musicale published a special issue on Ivan Wyschnegradsky and Nicolas Obouhow.

paragraph: In 1977, Martine Joste organized a concert at Radio France. In Canada, Bruce Mather did the same. In 1978, Alexandre Myrat, at the head of the Philharmonic Orchestra of Radio France, performed the "Day of Existence". Ivan Wyschnegradsky was invited by the DAAD as composer-in-residence at Berlin. He could not go for reasons of health. Radio-France commissioned a String trio by him.

paragraph: Wyschnegradsky died at the age of 86 in Paris on September 29, 1979.

paragraph: Wyschnegradsky appears in Paul Auster's novel "The Locked Room" (1986), part of the New York Trilogy.

paragraph: Section::::Recordings.

paragraph: BULLET::::- Ivan Wyschnegradsky : Ainsi Parlait Zarathoustra, opus 17. Monique Haas, Ina Marika, Edouard Staempfli, Max Vredenburg, pianos sous la direction du compositeur. LP 78 tours 1938, L'Oiseau-Lyre Editions.

paragraph: BULLET::::- Ivan Wyschnegradsky-Premier Fragment symphonique

paragraph: BULLET::::- Ivan Wyschnegradsky : Méditation sur 2 thèmes de la Journée de l'Existence opus 7, Prélude et fugue opus 21, Vingt-quatre préludes opus 22 (extraits), Troisième Fragment symphonique opus 32, Etude sur le carré sonore magique opus 40, Etude sur les mouvements rotatoires opus 45, Prélude et Etude opus 48, Entretien du compositeur avec Robert Pfeiffer. S. Billier, M. Joste, Jean-François Heisser, J. Koerner, pianos, J. Wiederker, violoncelle sous la direction de M. Decoust. Editions Block, Berlin, 2 LP, EB 107/108.

paragraph: BULLET::::- Piano Duo. Ivan Wyschnegradsky : Concert Etude opus 19, Fugue opus 33, Integration opus 49. Bruce Mather : Sonata for two pianos. Bengt Hambraeus : Carillon. Bruce Mather and Pierrette Le Page, pianos. Mc Gill University Records 77002.

paragraph: BULLET::::- Music for three pianos in sixths of tones. Ivan Wyschnegradsky : Dialogue à trois opus 51, Composition opus 46, Prélude et Fugue opus 30. Bruce Mather : Poème du Délire. Jack Behrens : Aspects. Louis-Philippe Pelletier, Paul Helmer, François Couture, pianos sous la direction de Bruce Mather. Mc Gill University Records 83017.

paragraph: BULLET::::- Ivan Wyschnegradsky : Vingt-quatre Préludes opus 22, Intégrations opus 49. Henriette Puig-Roget and Kazuoki Fujii, pianos. Fontec records, Tokyo, FOCD 3216.

paragraph: BULLET::::- Between the Keys, Microtonal Masterpieces of the 20th century. Charles Ives : Three Quarter-tone Pieces for Two Pieces, Ivan Wyschnegradsky : Meditation on Two Themes from the Day of Existence opus 7,transcription for bassoon and piano by Johnny Reinhard, Harry Partch : Yankee Doodle Fantasy, John Cage : Sonatas and Interludes for Prepared Piano, The American Festival of Microtonal Music Ensemble, dir. Johnny Reinhard, Newport Classic, NPD 85526.

paragraph: BULLET::::- Ivan Wyschnegradsky : String Quartet # 1, opus 13, String Quartet # 2, opus 18, String Quartet #3, opus 38bis, Composition for String Quartet opus 43, Trio for strings opus 53. Arditti Quartet. Edition Block, Berlin, CD-EB 201

paragraph: BULLET::::- Hommage à Ivan Wyschnegradsky : Transparences I opus 36, Transparences II opus 47, Composition en quarts de ton pour quatuor d'ondes Martenot, Cosmos opus 29. Serge Provost Ein Horn. Bruce Mather Yquem. Jean Laurendeau, ondes, Pierrette Lepage, Bruce Mather, Marc Couroux, François Couture, Paul Helmer, pianos, Ensemble d'Ondes Martenot de Montréal. Société Nouvelle d'Enregistrement, SNE-589-CD

paragraph: BULLET::::- Ivan Wyschnegradsky : Etudes sur les mouvements rotatoires opus 45c, Sonate pour alto et piano opus 34, Dialogue opus posthume, Etudes sur les densités et les volumes opus 39bis, Deux chants sur Nietzsche opus 9, Dithyrambe opus 12. Jacques Bona, baryton-basse, Teodor Coman, alto, Sylvaine Billier, Martine Joste, Gérard Frémy, Yves Rault, pianos et l'Ensemble 2e2m sous la direction de Paul Méfano. 2e2m Collection.

paragraph: BULLET::::- Lyrische Aspekte unseres Jahrhundert. Martin Gelland, violon et Lennart Wallin, piano. Othmar Schoeck : Sonate pour violon et piano, opus 22. Ivan Wyschnegradsky : Chant douloureux opus 6, pour violon et piano. Chant nocturne opus 11 (Klaus-Georg Pohl et Ute Gareis, pianos à quarts de ton). Allen Sapp : And the Bombers Went Home pour violon et piano. Willy Burkhard : Sonate pour violon et piano opus 78. Richard Strauss : Allegretto pour violon et piano. Hanns Jelinek : Zehn Zahme Xenien opus 32 pour violon et piano. Dieter Acker : Sonate pour violon solo. Vienna Modern Masters, VMM 2017

paragraph: BULLET::::- 50 Jaar Stichting Huygens-Fokker. Peter Schat : Collages voor 31-toonsorgel. Henk Badings : Sonate 3 voor twee violen, Reeks van kleine klankstukken. Ivan Wyschnegradsky : Etude Ultrachromatique. Jos Zwaanenburg : Cherubs' Chirrup. Rafael Reina : Drag on ... Claustrophobia. Stichting Huygens-Fokker, 1999.

paragraph: BULLET::::- L'Evangile rouge (The Red Gospel). Ivan Wyschnegradsky : L'Evangile Rouge opus 8, Deux chants sur Nietzsche opus 9, Deux chants russes opus 29, A Richard Wagner opus 26 . Bruce Mather : Un cri qui durerait la mer, Des laines de lumière. Michel Ducharme, baryton-basse, Pierrette Lepage et Bruce Mather, pianos accordés en quarts de ton. Société Nouvelle d'Enregistrement, SNE-647-CD.

paragraph: BULLET::::- La Journée de l'existence, confession de la vie devant la vie pour orchestre, chœur ad libitum et récitant, shiiin 4 CD 2009.

paragraph: Section::::Writings.

paragraph: BULLET::::- "Liberation of sound" (in Russian). Nakanounié. Berlin, 7 janvier 1923.

paragraph: BULLET::::- "Liberation of rhythm" (en russe). Nakanounié, Berlin, 18 et 25 mars 1923.

paragraph: BULLET::::- "Quelques considérations sur l'emploi des quarts de ton en musique". Le monde musical, Paris, 30 juin 1927.

paragraph: BULLET::::- "Quartertonal music, its possibilities and organic Sources", Pro Musica Quarterly, New York, 19 octobre 1927, pp 19–31.

paragraph: BULLET::::- "Musique et Pansonorité". La revue Musicale IX, Paris, décembre 1927, pp 143.

paragraph: BULLET::::- "Manuel d'harmonie à quarts de ton", La Sirène Musical, Paris, 1932, republished by Ed. Max Eschig, Paris, 1980. English translation with audio realizations published by Underwolf Editions, New York, 2017. .

paragraph: BULLET::::- "Etude sur l'harmonie par quartes superposées". Le Ménestrel 12 juin 1935, p 125 et 19 juin 1935, p 133.

paragraph: BULLET::::- " La musique à quarts de ton et sa réalisation pratique". La Revue Musicale 171, 1937.

paragraph: BULLET::::- "L'énigme de la musique moderne". La Revue d'esthétique, Janvier-mars 1949, pp 67–85 et avril-juin 1949, pp 181–205.

paragraph: BULLET::::- "Préface à un traité d'harmonie par quartes superposées". Polyphonie 3,1949, p 56.

paragraph: BULLET::::- "Problèmes d'ultrachromatisme". Polyphonie 9–10, 1954, pp 129–142.

paragraph: BULLET::::- "Les Pianos de J. Carrillo". Guide du concert et du disque, Paris, 19 janvier 1959.

paragraph: BULLET::::- "Continuum électronique et suppression de l'interprète". Cahiers d'études de Radio Télévision, Paris, Avril 1958, pp 43–53.

paragraph: BULLET::::- "L'ultrachromatisme et les espaces non octaviants", La Revue Musicale # 290–291, pp. 71–141, Ed. Richard-Masse, Paris, 1972.

paragraph: BULLET::::- "La Loi de la Pansonorité" (Manuscript, 1953), Ed. Contrechamps, Geneva, 1996. Preface by Pascal Criton, edited by . .

paragraph: BULLET::::- "Une philosophie dialectique de l'art musical" (Manuscript, 1936), Ed. L'Harmattan, Paris, 2005, edited by Franck Jedrzejewski. .

paragraph: Section::::Further reading.

paragraph: BULLET::::- Claude Ballif, "Ivan Wyschnegradsky : harmonie du soir". Premier Cahier Ivan Wyschnegradsky, Paris, Mars 1985, pp 9–22.

paragraph: BULLET::::- Barbara Barthelmes, "Raum und Klang. Das musikalische und theoretische Schaffen Ivan Vyschnegradskijs". PhD Thesis, 1991.

paragraph: BULLET::::- Lucile Gayden, "Ivan Wyschnegradsky". Francfort, Peters, 1973.

paragraph: BULLET::::- Franck Jedrzejewski, "Ivan Wyschnegradsky et la musique microtonale", PhD, Université de Paris I, Panthéon-Sorbonne, 2000, 565 pages.

paragraph: BULLET::::- Dimitri Vichney, "Notes sur l'évangile rouge de Ivan Wyschnegradsky", Cahier du CIREM, n° 14–15, 1990, p 186-223.

paragraph: BULLET::::- Jiri Vyslouzil, "Ivan Vyschnegradskij, kapitolaze zapomenutych hudenich avantgard". Opus Musicum I, Brno, 1969, pp 30–40.

paragraph: Section::::External links.

paragraph: BULLET::::- Dissertation by Myles Skinner on the "Préludes Op. 22" for 2 pianos tuned a quartertone apart

paragraph: BULLET::::- M. Beaulieu: "Cyclical Structures and Linear Voice-Leading in the Music of Ivan Wyschnegradsky"

paragraph: BULLET::::- Article 'Ivan Wyschnegradsky: Microtonalist and Mystic'

paragraph: BULLET::::- Review by Simon Cummings of English translation of "Manual of Quarter-Tone Harmony".

paragraph: BULLET::::- Article by Noah K (editor) and Rosie K (translator) on the English translation of the "Manual of Quarter-Tone Harmony"

description: Russian composer

wikidata_label: Ivan Wyschnegradsky

wikipedia_title: Ivan Wyschnegradsky


text: rotary wing aircraft

text: Antoinette

text: Normandy

text: helicopter

text: Breguet-Richet Gyroplane I

text: bicycle

text: Lisieux

text: Allies

categories: French aerospace engineers,French engineers,Aircraft designers,Aviation pioneers,Members of the Early Birds of Aviation,1944 deaths,French aviators,1881 births,French civilians killed in World War II,Aviation inventors,French inventors

paragraph: Paul Cornu

paragraph: Paul Cornu (; June 15, 1881 – 6 June 1944) was a French engineer.

paragraph: Section::::Life.

paragraph: French engineer Paul Cornu was born in Glos la Ferrière, France and was one of thirteen children. At a young age, he helped his father in his transports company. He made history by designing the world's first successful manned rotary wing aircraft.

paragraph: Cornu first built an unmanned experimental design powered by a 2 hp Buchet engine.

paragraph: His manned helicopter was powered by a Antoinette engine. He piloted this construction himself at Normandy, France on November 13, 1907. Previously, a French helicopter, the Breguet-Richet Gyroplane I, had managed to lift off under its own power, but it had been held in position by men standing on the ground. Cornu's performance was a considerable progress because his aircraft flew without additional support and lifted Cornu about 30 cm (1 ft) for 20 seconds . Unfortunately this early helicopter was scarcely maneuverable and had only a few additional flights. The construction was not much further developed by this technical pioneer, who had to keep on making a living by manufacturing bicycles.

paragraph: Section::::Death.

paragraph: Paul Cornu died in 1944 in Lisieux, France, when his home was destroyed during the bombardment by the Allies that accompanied the landings of WW2.

paragraph: Section::::External links.

paragraph: BULLET::::- U.S. Centennial of Flight Commission - about Paul Cornu

paragraph: BULLET::::- Detailed life and achievements of Paul Cornu with photos

description: French engineer

wikidata_label: Paul Cornu

wikipedia_title: Paul Cornu


text: Australia

text: singer-songwriter

text: Baby Animals

text: Perth, Western Australia

text: London

text: EMI

text: Baby Animals

text: Van Halen

text: Boston

text: Mushroom Records

text: Telelove

text: ARIA Award

text: Best Female Artist

text: INXS

text: Michael Hutchence

text: Never Tear Us Apart

text: Jon Stevens

text: Noiseworks

text: Good Times

text: Don't Change

text: Nuno Bettencourt

text: Smart People

text: Home

text: Gavin Rossdale

text: Bush

text: Comedown

text: Sixteen Stone

text: Nuno Bettencourt

text: Extreme

text: Azores

text: Portugal

text: Los Angeles

text: Suze DeMarchi Discography

categories: 1964 births,People educated at Newman College, Perth,Australian expatriates in the United Kingdom,Australian expatriates in the United States,EMI Records artists,Australian female singer-songwriters,Female rock singers,Musicians from Perth, Western Australia,Living people

paragraph: Suze DeMarchi

paragraph: Suze DeMarchi (born 14 February 1964) is an Australian singer-songwriter, best known for fronting the band Baby Animals (1989–1996, 2007–present).

paragraph: Section::::Early life.

paragraph: DeMarchi was born in Perth, Western Australia to Walter and Shirley DeMarchi and has three older siblings; her sister Denise is also a singer. DeMarchi began her singing career in the early 1980s when she was just 17, playing in local band Photoplay.

paragraph: Section::::Career.

paragraph: Section::::Career.:Early years and Baby Animals.

paragraph: In 1985, she moved to London, England where she was signed to EMI and had a fairly successful solo career in pop music, where she released a number of singles: "Young Hearts", "Big Wednesday" and "Dry Your Eyes".

paragraph: Disheartened by the record company's attempt to slide her into a pop career, along with missing working with a band, she returned to Australia in mid-1989, where she and fellow Perth musicians Frank Celenza, Eddie Parise and Dave Leslie formed the band Baby Animals. The band met with success in their native Australia, releasing two albums, touring with Van Halen, and winning various awards before permanently disbanding in 1996. This was mostly due to legal battles with their record label Imago and Suze having nodules in her throat – she even had to stop singing for a short while because of them – in 1993, which forced the band to cut short the tour for their second album.

paragraph: Section::::Career.:Solo career 1996-2007.

paragraph: After the demise of Baby Animals in 1996, DeMarchi pursued a solo career. Although living in Boston with her husband and young daughter (apparently temporarily in her mother-in-law's basement at one point), she signed to Mushroom Records Australia and released 1999's "Telelove", which featured the single "Satellite". DeMarchi supported the album with a May tour around Australia as the singles "Karma" and eventually "Open Windows" hit the shelves. DeMarchi was also nominated for an ARIA Award for Best Female Artist.

paragraph: In 2001 it was rumoured that DeMarchi would be joining INXS as their new front person to replace Michael Hutchence, who died in 1997, following her performance with them at a concert in December 2000 where she sang "Shine Like It Does", "Never Tear Us Apart", and dueted with Jon Stevens (frequent replacement frontman for INXS, and formerly of the band Noiseworks) for "Good Times" and "Don't Change".

paragraph: In June 2004 DeMarchi was recognised by the West Australian Music Industry Association and inducted as one of the inaugural inductees into the WAM Hall of Fame. In 2007, DeMarchi collaborated with Nuno Bettencourt to perform vocals on several songs for the soundtrack of the motion picture "Smart People", on which Bettencourt was credited for the musical score.

paragraph: Section::::Career.:Baby Animals Reunion:2007 - present.

paragraph: In 2007 Baby Animals reunited and released a third studio album. In 2015, DeMarchi released her second studio album "Home", which debuted at number 26.

paragraph: Section::::Personal life.

paragraph: In the late 1980s, DeMarchi dated Gavin Rossdale, former lead singer and guitarist for the band Bush. Bush's song "Comedown" from 1994's "Sixteen Stone" is about their relationship.

paragraph: In 1993, DeMarchi met Nuno Bettencourt, guitarist at that time for hard rock band Extreme. They co-wrote and performed the song "Because I Can" for Baby Animals' second record "Shaved and Dangerous". On 27 August 1994 the couple married in the Azores, Portugal where Bettencourt's family is from. On 2 February 1996 they had their first child, daughter Bebe Orleans. On 12 August 2002 DeMarchi and Bettencourt welcomed their second child, Lorenzo Aureolino in Los Angeles. The couple separated in 2009 and announced their divorce in 2013.

paragraph: Section::::External links.

paragraph: BULLET::::- Suze DeMarchi Discography

description: Australian singer

wikidata_label: Suze DeMarchi

wikipedia_title: Suze DeMarchi


text:
silent motion picture
Hal Roach
Chicago
Edward Ludwig
Broadway Beauties
Francis Corby
Charley Chase
Laurel and Hardy
WAMPAS Baby Stars
Mary Astor
Mary Brian
Dolores Costello
Joan Crawford
Dolores del Río
Janet Gaynor
Fay Wray
The Mad Racer
1926
The Still Alarm
Sugar Daddies
1927
Now I'll Tell One
Flying Elephants
1928
From Soup to Nuts
Sinner's Parade
Barnum & Ringling, Inc.
Should Married Men Go Home?
Today
Marriage Rows
1931
Murders in the Rue Morgue
1932

categories: 20th-century American actresses,1957 deaths,American film actresses,WAMPAS Baby Stars,Actresses from Chicago,American silent film actresses,1906 births

paragraph: Edna Marion

paragraph: Edna Marion, also known as Edna Marian (born Edna Marion Hannam; December 12, 1906 – December 2, 1957) was a silent motion picture actress who appeared in a number of Hal Roach short comedies. Her death certificate states she was a housewife when she died in Los Angeles from pneumonia, and her death widowed her husband Harold Naisbitt. She is buried at Holy-Cross Cemetery, in Los Angeles CA.

paragraph: Section::::Biography.

paragraph: Born in Chicago, Marion played comic supporting roles in more than 60 films. She began her career in the 1920s, starring in Edward Ludwig's "Broadway Beauties", followed by several appearances in Francis Corby's productions and spending a year (1927-1928) at the Hal Roach studios, alongside comedians Charley Chase, Laurel and Hardy, and others. Her career at the Hal Roach Studies ended abruptly on April 7, 1928 after being employed since April 25, 1927.

paragraph: In 1926, Edna Marion was named one of the WAMPAS Baby Stars, along with Mary Astor, Mary Brian, Dolores Costello, Joan Crawford, Dolores del Río, Janet Gaynor, and Fay Wray.

paragraph: Section::::Selected filmography.

paragraph: BULLET::::- "The Mad Racer" (1926)

paragraph: BULLET::::- "The Still Alarm" (1926)

paragraph: BULLET::::- "Sugar Daddies" (1927)

paragraph: BULLET::::- "Now I'll Tell One" (1927)

paragraph: BULLET::::- "Flying Elephants" (1928)

paragraph: BULLET::::- "From Soup to Nuts" (1928)

paragraph: BULLET::::- "Sinner's Parade" (1928)

paragraph: BULLET::::- "Barnum & Ringling, Inc." (1928)

paragraph: BULLET::::- "Should Married Men Go Home?" (1928)

paragraph: BULLET::::- "Today" (1930)

paragraph: BULLET::::- "Marriage Rows" (1931)

paragraph: BULLET::::- "Murders in the Rue Morgue" (1932)

description: American actress

wikidata_label: Edna Marion

wikipedia_title: Edna Marion


text:
Czech
Nazi
Fascist
Communist
Otakar Jeremiáš
Prague Conservatory
publishing
Antonín Dvořák
Zdeněk Fibich
Leoš Janáček
opera
electronics
Jaroslav Seifert
Velvet revolution
Václav Havel
Rudolf Margolius
Slánský trial
Božena Němcová
Shakespeare
Goldoni
Aeschylus
Dante
Divine Comedy
Aristophanes
Jacopon da Todi
Rudolf Margolius
Roland
Whitman
Heda Margolius Kovály
Ladislav Stehlik
Rudolf Margolius
Heda Margolius Kovály
Stanley Sadie
John Tyrrell

categories: Czech male classical composers,1915 births,Recipients of Medal of Merit (Czech Republic),2004 deaths,Czech opera composers,Czech classical composers,Male opera composers

paragraph: Jan Hanuš (composer)

paragraph: Jan Hanuš (May 2, 1915 – July 30, 2004) was a prolific Czech composer of the 20th century. Almost every category of composition is represented among his works, many of which are overtly political, expressing anti-Nazi, anti-Fascist and anti-Communist sentiments.

paragraph: Section::::Biography.

paragraph: Hanuš studied composition independently with Otakar Jeremiáš while attending school at the Prague Conservatory, where he graduated in 1940. He subsequently studied at a business school, and then worked both as editor and editor-in-chief of several major publishing houses, including F. A. Urbánek & Sons, and Panton (Müller 2001). As an editor he played an important role in overseeing the editions of the collected works of Antonín Dvořák and Zdeněk Fibich, both of whom he later emulated in his works, as well as the complete works of Leoš Janáček (Müller 2001). Hanuš's early works were principally aimed at the passionate, the philosophic, and the patriotic, as exhibited in his opera "The Flames". The first post-war decade witnessed lyricism near to national tradition, but since the late fifties a new tendency of dramaticism in his works arose and a musically expressive innovation, reaching as far as the combination of traditional classics with electronics (as seen in the opera "The Torch of Prometheus") was born. During the seventies and eighties, his work synthesized all of his preceding influences. Much of Hanuš's work is inspired by the work of Czech authors, most notably Jaroslav Seifert (Müller 2001).

paragraph: After the Velvet revolution in 1989 Hanuš returned all the honours bestowed on him by the Communist regime. In 1999 Václav Havel rewarded Hanuš with a 'Za zásluhy' medal. During the 1950s Hanuš bravely and publicly defended his friend Rudolf Margolius who was the victim of the Slánský trial.

paragraph: Section::::Selection of Works.

paragraph: Section::::Selection of Works.:Operas.

paragraph: BULLET::::- "The Flames", Opera-rhapsody on the text by Hanuš and J. Pokorny, op. 14 (1944)

paragraph: BULLET::::- "Salt above Gold", Ballet in five pictures after the popular fairy-tale by Božena Němcová, op. 28 (1953)

paragraph: BULLET::::- "Othello", Dance drama in 7 pictures after Shakespeare, op. 36 (1955)

paragraph: BULLET::::- "The Servant of Two Masters", Opera in 5 pictures after the comedy by Goldoni, libretto J. Pokorny, op. 42 (1958)

paragraph: BULLET::::- "The Torch of Prometheus", Opera in 3 parts on the motifs of Aeschylus, libretto J. Pokorny, op. 54 (1961)

paragraph: BULLET::::- "The Fairy-tale of One Night", Opera on the motifs of a fairy-tale from A Thousand and one Nights, libretto J. Pokorny, op. 62 (1961)

paragraph: BULLET::::- "Labyrinth", Dance meditations on the motifs of Dante's "Divine Comedy", op. 98 (1980)

paragraph: BULLET::::- "Contention over a Goddess", Opera burlesque in Prologue and three pictures after Aristophanes, libretto J. Hanuš, op. 105 (1983)

paragraph: Section::::Selection of Works.:Symphonies.

paragraph: BULLET::::- Symphony No.1 in E major for large orchestra and alto solo, on the text of the sequence Stabat mater by Jacopon da Todi, op. 12 (1942)

paragraph: BULLET::::- Symphony No.2 in G major, op. 26 (1951)

paragraph: BULLET::::- Symphony No.3 in D minor (The World's Truth, dedicated to the memory of his friend Rudolf Margolius), op.38 (1956)

paragraph: BULLET::::- Symphony No.4, op. 49 (1960)

paragraph: BULLET::::- Symphony No.5, op. 58 (1964)

paragraph: BULLET::::- Symphony No.6, op. 92 (1978)

paragraph: BULLET::::- Symphony No.7, for orchestra, mixed choir, soprano and baritone solo on Latin sacred texts, op. 116 (1989)

paragraph: Section::::Selection of Works.:Orchestral Works.

paragraph: BULLET::::- "1st Suite from the ballet Salt above Gold", for orchestra, op. 28a (1952)

paragraph: BULLET::::- "Concertante Symphony" for organ, harp, timpani and strings, op. 31 (1953)

paragraph: BULLET::::- "Peter and Lucia", Symphonic fantasia after the story by Roland, op. 35 (1955)

paragraph: BULLET::::- "1st Suite from the ballet Othello", op. 36a (1956)

paragraph: BULLET::::- "2nd Suite from the ballet Othello", op.36b (1956)

paragraph: BULLET::::- "Galeria Goldoni", Partia buffa for small orchestra and prepared piano, op. 42a (1977)

paragraph: BULLET::::- "The Secret Trumpeter", Overture for trumpet solo and orchestra after the theme of Whitman, op. 53 (1961)

paragraph: BULLET::::- "Fragments from Prometheia", 1st Suite for symphonic orchestra and electronic sounds, op. 54a (1964)

paragraph: BULLET::::- "Concerto doppio" for oboe, harp and orchestra, op.59 (1965)

paragraph: BULLET::::- "Concerto grosso" for large brass orchestra, op. 71 (1971)

paragraph: BULLET::::- "Prague Nocturnes" (Notturni di Praga) for chamber orchestra, op. 75 (1972)

paragraph: BULLET::::- "Three Essays", Symphonic triptych, op. 86 (1975)

paragraph: BULLET::::- "Three Dantesque Preludes" from the ballet "Labyrinth" for orchestra, op. 98a (1983)

paragraph: BULLET::::- "Variations and Collages" for orchestra, op. 99 (1982)

paragraph: BULLET::::- "Passacaglia concertante" for two violoncellos, celesta and chamber strings, op. 102 (1984)

paragraph: BULLET::::- "Umbrella from Piccadilly" songs for low male voice and orchestra, op. 103 (1984), dedicated to Heda Margolius Kovály

paragraph: BULLET::::- "Variations in the Manner of Aristophanes", for small orchestra and piano, op. 105a (1987)

paragraph: BULLET::::- "Towers of Babylon", symphonic parable about pride, fall and recognition for orchestra, op. 122 (1995)

paragraph: BULLET::::- "Eulogy", Idyll - one movement sinfonietta for orchestra and soprano solo to words by Ladislav Stehlik, op. 16 (1945)

paragraph: Section::::Selection of Works.:Solo and Orchestral Works.

paragraph: BULLET::::- Concerto for violin and orchestra, op. 112 (1986)

paragraph: BULLET::::- "Concerto-fantasia" for violoncello and orchestra, op. 117 (1990)

paragraph: Section::::Selection of Works.:Chamber music.

paragraph: BULLET::::- Sonatina for viola and piano, Op.37 (1956)

paragraph: BULLET::::- "Diptych" for cello or viola solo, Op.115 (1988–1989)

paragraph: Section::::Literature.

paragraph: BULLET::::- Hanuš, Jan. 1996. "Labyrint svět: svědectví z konce času". Prague: Odeon. .

paragraph: Section::::See also.

paragraph: BULLET::::- Rudolf Margolius

paragraph: BULLET::::- Heda Margolius Kovály

paragraph: Section::::References.

paragraph: BULLET::::- Müller, Harald. 2001. "Hanuš, Jan". "The New Grove Dictionary of Music and Musicians", second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.

description: Czech composer

wikidata_label: Jan Hanuš

wikipedia_title: Jan Hanuš (composer)


text: monk

text: Constantinople

text: Michael III

text: Krumbacher

text: Adam

text: Alexander the Great

text: Old Testament

text: Roman history

text: Julius Caesar

text: Constantine

text: Theophilus

text: Theodora

text: icon

text: Scriptor Incertus

text: Byzantine

text: Saracens

text: Iconoclast

text: Greek Fathers

text: Nimrod

text: Persia

text: Chaldees

text: Brahmins

text: Amazons

text: Plato

text: colophon

text: Symeon Logothetes

text: Symeon Metaphrastes

text: Photius

text: Church Slavonic

text: Georgian

text: Arsen of Iqalto

text: Nestor

text: Combefis, François

text: Muralt, E. de

text: Moscow

text: manuscript

text: Migne, Jacques Paul

text: Patrologia Graeca

categories: Byzantine historians,9th-century historians,9th-century Byzantine monks,Year of birth missing,Greek Christian monks,Eastern Orthodox Christians from Greece,Byzantine chroniclers,Year of death missing

paragraph: George Hamartolos

paragraph: George Hamartolos or Hamartolus () was a monk at Constantinople under Michael III (842–867) and the author of a chronicle of some importance. Hamartolus is not his name but the epithet he gives to himself in the title of his work: "A compendious chronicle from various chroniclers and interpreters, gathered together and arranged by George, a sinner ()". It is a common form among Byzantine monks. Krumbacher ("Byz. Litt.", 358) protests against the use of this epithet as a name and proposes (and uses) the form Georgios Monachos (Γεώργιος Μοναχός "George the Monk").

paragraph: Nothing is known about him except from the internal evidence of his work, which establishes his period (in the preface he speaks of Michael III as the reigning emperor) and his calling (he refers to himself several times as a monk).

paragraph: Section::::Chronicle.

paragraph: The chronicle consists of four books. The first treats of profane history from Adam to Alexander the Great; the second, of the history of the Old Testament; the third, of Roman history from Julius Caesar to Constantine; and the fourth down to the author's own time, to the death of the emperor Theophilus (842), whose widow Theodora restored the veneration of icons in the same year. The chronicle is potentially the only original contemporary authority for the years 813–842, the other being (depending on its dating) the Scriptor Incertus. Because of this fact, it is indispensable. As usually in the case of such medieval chronicles, the only part to be taken seriously is the account of more or less contemporary events. The rest is interesting as an example of Byzantine ideas on the subjects, and of the questions that most interested Byzantine monks.

paragraph: George describes his ideal and principles in the preface. He has used ancient Greek and modern Greek sources, has especially consulted edifying works, and has striven to relate such things as were useful and necessary, with a strict adherence to truth, rather than to please the reader by artistic writing or pretensions to literary style. But of so great a mass of material he has chosen only what is most useful and necessary. In effect, the questions that seemed most useful and necessary to ecclesiastical persons at Constantinople in the ninth century are those that are discussed. There are copious pious reflections and theological excursuses. He writes of how idols were invented, the origin of monks, the religion of the Saracens, and especially of the Iconoclast controversy that had just ended. Like all monks he hates iconoclasts. The violence with which he speaks of them shows how recent the storm had been and how the memory of iconoclast persecutions was still fresh when he wrote. He writes out long extracts from Greek Fathers.

paragraph: The first book treats of an astonishingly miscellaneous collection of persons — Adam, Nimrod, the Persians, Chaldees, Brahmins, Amazons, etc. In the second book, too, although it professes to deal with Bible history only, he has much to say about Plato and philosophers in general. Hamartolus ended his chronicle with the year 842, as a colophon in most manuscripts attests. Various people, among them notably "Symeon Logothetes", who is probably Symeon Metaphrastes, the famous writer of saints' lives (tenth century, see Krumbacher, 358), continued his history to later dates — the longest continuation reaches to 948. In these additions, religious questions are relegated to the background, more attention is devoted to political history, and the language is more popular. Still further continuations of little value go down to 1143.

paragraph: In spite of his crude ideas and the violent hatred of iconoclasts that makes him always unjust towards them, his work has considerable value for the history of the last years before the schism of Photius. It was soon translated into Church Slavonic and also in Georgian by Arsen of Iqalto. In these versions it became a sort of fountain-head for all early Slavonic historians, most notably Nestor. As a very popular and widely consulted book of large circulation it has been constantly re-edited, corrected, and rearranged by anonymous scribes, so that the reconstruction of the original work is "one of the most difficult problems of Byzantine philology" (Krumbacher, 355).

paragraph: Section::::Editions.

paragraph: BULLET::::- Combefis, François (ed.). ""Bioi ton neon Basileon" (βίοι τῶν νέων βασιλέων)." In "Maxima bibliotheca (Scriptores post Theophanem)" Paris, 1685; reprinted, Venice, 1729. The last part of Book IV of the chronicle and the continuation (813–948).

paragraph: BULLET::::- Muralt, E. de (ed). "Georgii monachi, dicti Hamartoli, Chronicon ab orbe condito ad annum p. chr. 842 et a diversis scriptoribus usq. ad ann. 1143 continuatum". St. Petersburg, 1859. The first edition of the whole work. It does not represent the original text, but one of the many modified versions (from a Moscow twelfth-century manuscript), and is in many ways deficient and misleading (see Krumbacher's criticism in "Byz. Litt.", p. 357).

paragraph: BULLET::::- Migne, Jacques Paul. "Patrologia Graeca" 110. Reprint of the previous edition, with a Latin translation.

paragraph: Section::::Further reading.

paragraph: BULLET::::- Afinogenov, D. "The Date of Georgios Monachos Reconsidered." BZ 92 (1999). pp. 437–47.

paragraph: Section::::External links.

paragraph: BULLET::::- Opera Omnia by Migne Patrologia Graeca with analytical indexes

alias:
Giorgio Monaco
Georgios Monachos

description: Byzantine chronicler

wikidata_label: Georgios Hamartolos

wikipedia_title: George Hamartolos


text: French

text: cameraman

text: cinematographer

text: film director

text: cinema of Argentina

text: Carcassonne

text: Aude

text: Languedoc-Roussillon

text: France

text: Buenos Aires

text: Belgian

text: Austrian

text: Max Glücksmann

text: photographic

text: business

text: Buenos Aires

text: Teatro Odéon

text: South America

text: Flag of Argentina

text: La Bandera Argentina

text: Federico Figner

text: distribution

text: Argentina

text: Uruguay

text: Chile

text: documentary

text: La Revista de la Escuadra Argentina

text: Alberto Santos-Dumont

text: San Martín, Buenos Aires

categories: French emigrants to Argentina,People from Carcassonne,Argentine cinematographers,French cinematographers,Cinema pioneers,Argentine film directors,French film directors,1924 deaths,1859 births

paragraph: Eugène Py

paragraph: Eugène Py (19 May 1859 – 26 August 1924) was a major early French cameraman, cinematographer and film director and is widely considered the founding pioneer of the cinema of Argentina.

paragraph: Born in Carcassonne, Aude, Languedoc-Roussillon, France he moved to Buenos Aires in the late 1880s.

paragraph: He began working for the Belgian Henri Lepage and the Austrian Max Glücksmann at the 'Casa Lepage', a photographic supplies business in Buenos Aires. The three all saw the debut of the Lumière Cinématographe in Argentina, in Buenos Aires on 28 July 1896, at the Teatro Odéon.

paragraph: Lepage then imported the first French cinematographic equipment into the country. In 1897, using a Gaumont camera, Py (known as Eugenio Py in South America) subsequently shot what was for some time considered the first Argentine film, of the "Flag of Argentina", "La Bandera Argentina" (nowadays it's known that a German named Federico Figner screened three short views of the city of Buenos Aires before Py's). Py continued to produce films for exhibition at the Casa Lepage for several years, working as part of the cross-national film production, distribution and exhibition system developed by Glücksmann in Argentina, Uruguay and Chile.

paragraph: Py's early films included "Visita del Dr Campos Salles a Buenos Aires" (1900) (the first Argentine documentary, and "La Revista de la Escuadra Argentina" and "Visita del general Mitre al Museo Históric" (1901). Py introduced the concept of recording history in the making in Argentina, by filming the arrival of the Brazilian president at the time accompanied by the Argentine president, and filming Alberto Santos-Dumont during a small recording that went on to capture what is probably the first "gag" in the country's history (a third man kept standing between Py and Dumont, interrupting the film, until he received a spit in the face, upon which recording finished).

paragraph: He died in 1924 in San Martín, Buenos Aires.

description: French film director

wikidata_label: Eugène Py

wikipedia_title: Eugène Py


text:
Catholic Church
Papal States
Pope Julius III
Cardinal-Priest
Santa Croce in Gerusalemme
John Paul I
Robert Bellarmine
Montefano
Ancona
Pope Clement VII
Sack of Rome
Cardinal Alessandro Farnese "senior"
Pope Paul III
bishop of Nicastro
Cardinal-Priest
Santa Croce in Gerusalemme
Reggio
Gubbio
Council of Trent
Reginald Pole
Giovanni Maria Ciocchi del Monte
Holy Roman Emperor
Charles V
Vatican Library
quartan fever
Julius III
papal conclave
conclave
Holy Week
Easter
Mary I of England
Reginald Pole
Palestrina
Missa Papae Marcelli
list of 10 shortest-reigning Popes
Pope Paul IV
List of popes

categories: Participants in the Council of Trent,People from the Province of Macerata,1501 births,1555 deaths,Popes,16th-century popes,Italian popes,16th-century Italian people

paragraph: Pope Marcellus II

paragraph: Pope Marcellus II (6 May 1501 – 1 May 1555), born Marcello Cervini degli Spannochi, was head of the Catholic Church and ruler of the Papal States from 9 April 1555 until his death 22 days later on 1 May 1555.

paragraph: He succeeded Pope Julius III. Before his accession as pope he had been Cardinal-Priest of "Santa Croce in Gerusalemme". He is the most recent pope to choose to retain his birth name as his regnal name upon his accession, as well as only the second and most recent pope to date to take the name "Marcellus" upon being elected. After his death, it would be 423 years before another pope would choose a name with an ordinal number less than IV (John Paul I).

paragraph: Cervini was the maternal uncle of Robert Bellarmine. Cervini's father and Pope Clement VII were personal friends. Cervini served in the household of Cardinal Alessandro Farnese. When Farnese became Pope, Cervini served as his secretary and was employed on some diplomatic missions. On April 10, 1555, he was elected to succeed Pope Julius III. He died of a stroke twenty-two days later.

paragraph: Section::::Biography.

paragraph: Section::::Biography.:Early life.

paragraph: A native of Montefano, a small village near Macerata and Loreto he was the son of Ricardo Cervini who was the Apostolic Treasurer in Ancona. The family originated in Tuscany, in the town of Montepulciano, which had once been subject to Siena, but later was under the control of Florence. Marcello had two half-brothers, Alexander and Romulus. One of his sisters, Cinzia Cervini, married Vincenzo Bellarmino, and was the mother of Roberto Bellarmine.

paragraph: Marcello was educated locally, and at Siena and Florence, where he became proficient in writing Latin, Greek, and Italian. He also received instruction in jurisprudence, philosophy, and mathematics. His father had an interest in astrology and upon discovering that his son's horoscope presaged high ecclesiastical honours, Riccardo set the young Cervini on a path to the priesthood.

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

paragraph: After his period of study at Siena, Cervini traveled to Rome in the company of the Delegation sent by Florence to congratulate the new Pope on his election. His father and Pope Clement VII were personal friends, and Marcello was made "Scrittore Apostolico". He was set to work on astronomical and calendar studies, a project which was intended to bring the year back into synchronization with the seasons. In 1527, he fled home after the Sack of Rome, but eventually returned and was taken into the household of Cardinal Alessandro Farnese "senior". Cervini was ordained a priest in 1535.

paragraph: Section::::Biography.:Cardinalate.

paragraph: In 1534, after Farnese had become pope Pope Paul III, Cervini was appointed a papal secretary (1534–49) and served as a close advisor to the pope's nephew Alessandro Farnese. He was made a papal Protonotarius. He travelled in the suite of the Pope during the papal visit to Nice, where Paul III was promoting a truce between François I and Charles V. He then accompanied the young Cardinal Farnese on a trip to Spain, France and the Spanish Netherlands to help implement the terms of the truce. Paul III later appointed him bishop of Nicastro, Italy in 1539. Cervini was not, however, consecrated bishop until the day he himself was elected pope. While he was still on the embassy to the Netherlands, Paul III created him the Cardinal-Priest of "Santa Croce in Gerusalemme" on 19 December 1539.

paragraph: When, almost immediately after, Cardinal Farnese was recalled to Rome, Cervini stayed on as Nuntius. Over the course of next decade Cervini also became the apostolic administrator of the dioceses of Reggio and Gubbio. His house in Rome became a center of Renaissance culture, and he himself corresponded with most of the leading humanists

paragraph: During the Council of Trent he was elected one of the council's three presidents, along with fellow cardinals Reginald Pole and Giovanni Maria Ciocchi del Monte (the future Pope Julius III). He continued to serve in that role throughout the remainder of Paul III's papacy after which he was replaced to placate the Holy Roman Emperor Charles V (1519–56). He was credited not only with defending orthodoxy and Church discipline, but also the universal claims of the Papacy in spiritual and temporal affairs, and with such vigor that the Emperor was affronted. In 1548 (or 1550) he was granted the supervision of the Vatican Library, with the title of "Protettore della Biblioteca Apostolica".

paragraph: The Apostolic Brief of his appointment, however, came from the new pope, Julius III, on 24 May 1550, and he was named not Vatican Librarian, but "Bibliothecarius Sanctae Romanae Ecclesiae" because he was the first cardinal to be in charge of the library. During his administration, he employed the services of Marcello and Sirleto, as well as Onuphrio Panvinio (who was especially consulted in matters of Christian archaeology). He added more than 500 codices to the holdings of the Library, including 143 Greek codices, as his own entry book (which still survives as "Vaticanus Latinus" 3963) testifies.

paragraph: In the conclave of 1549–50 to elect a successor to Paul III, fifty-one cardinals, including Marcello Cervini, participated at the opening on 3 December 1549. The initial candidates included Cardinals Pole, Sfondrati, Carpi and Ridolfi (who died on the night of 31 January). Pole, the favorite of the Emperor Charles V, came within two votes of being elected in the first scrutinies, but he could not attract any additional votes. Juan Álvarez de Toledo (Bishop of Burgos), another Imperial favorite, was proposed, and he too failed, because of strong opposition from the faction of Cardinal Alessandro Farnese, nephew of the late Pope Paul III and from the French.

paragraph: On 12 December, five more French voters arrived, and though they could not advance the candidacy of their favorite, Ippolito d' Este, they did have Cardinal Cervini on their list of possible candidates. Farnese and his faction were also positively inclined toward him. Unfortunately, the Imperial faction was not. Worst of all, on 22 December, Cardinal Cervini left the Conclave, suffering from a quartan fever. Finally, on 7 February 1550, the cardinals chose Giovanni Maria Ciocchi del Monte, who took the name Julius III.

paragraph: Section::::Biography.:Papal election.

paragraph: The first conclave of 1555, following the death of Julius III (1550–55), involved a struggle between French interests in Italy (which had been favored by Julius III) and Imperial interests, which were intent on Church reform through a Church council, but with the Emperor controlling the outcome. On 9 April 1555, on the evening of the fourth day of the papal conclave, Cervini was "adored" as Pope, despite efforts by cardinals loyal to the Emperor Charles V to block his election. Next morning, a formal vote was taken in the Capella Paolina, in which all of the votes cast were for Cardinal Cervini except his own, which he cast for the Dean of the Sacred College of Cardinals, Giampietro Carafa.

paragraph: The new Pope chose to retain his birth name, the most recent Pope to do so, reigning as Marcellus II. He was both ordained [consecrated] as a bishop and crowned Pope on the next day in a subdued ceremony on account of it falling during the Lenten season.

paragraph: Section::::Papacy.

paragraph: Though Marcellus II desired to reform many of the inner workings of the church, his feeble constitution succumbed to the fatigues of the conclave, the exhausting ceremonies connected with his ascension, the anxieties arising from his high office, and overexertion in his performance of the pontifical functions of the Holy Week and Easter. He quickly fell ill.

paragraph: He was bled, and appeared to begin to recover. In an audience he gave to the Cardinals, who wanted him to sign the Electoral Capitulations from the conclave and to guarantee that he would make no more cardinals than those agreements allowed, he refused to sign, stating that he would show his intent by deeds not words. In his first audience with the Ambassadors of France and Spain, he warned the Ambassadors that their monarchs should keep the peace that had been agreed upon, and that if they did not, not only would they be sent Nuncios and Legates, but that the Pope himself would come and admonish them. He wrote letters to the Emperor, to Queen Mary I of England, and to Cardinal Reginald Pole (in which he confirmed Pole's Legateship in England). When the Spanish Ambassador asked for pardon for having killed a man, the Pope replied that he did not want to start his reign with such auspices as absolution from homicide, and ordered the appropriate tribunals to observe the law.

paragraph: He did not want his relatives descending on Rome, nor did he want them to be enriched beyond the station of a member of the nobility, and he did not allow his two nephews, Riccardo and Herennius (sons of his half-brother Alexander), who lived in Rome under his care, to have formal visits. He instituted immediate economies in Vatican expenditures. On 28 April, he was able to receive the Duke of Urbino in audience, and on 29 April, the Duke of Ferrara. He also gave audience to four cardinals, Farnese, D'Este, Louis de Guise and Ascanio Sforza, the leaders of the French faction in the recent conclave. That night he had difficulty sleeping. On the morning of the 30th he suffered a stroke ("hora XII apoplexi correptus") and slipped into a coma. That night he died, on the 22nd day after his election.

paragraph: Section::::Legacy.

paragraph: Palestrina's "Missa Papae Marcelli" (dating from 1565 or before), one of the glories of polyphonic sacred choral music, is traditionally believed to have been composed in his memory, ca. 1562. Having reigned for just 22 calendar days, Pope Marcellus II ranks sixth on the list of 10 shortest-reigning Popes. His successor was Giampietro Carafa, Dean of the Sacred College of Cardinals, who reigned as Pope Paul IV (1555–59).

paragraph: Section::::See also.

paragraph: BULLET::::- List of popes

alias:
Marcello Cervini degli Spannochi
Pope Marcellus II
pape Marcel II
Marcello Cervini
Marcellus PP. II
papa Marcello II
Marcellus II. Papst

description: pope

wikidata_label: Marcellus II

wikipedia_title: Pope Marcellus II


text: mathematician

text: astronomer

text: geographer

text: astrologer

text: Alexandria

text: Roman province of Egypt

text: Roman Empire

text: Theodore Meliteniotes

text: Greek

text: Ptolemais Hermiou

text: Thebaid

text: Byzantine

text: Islamic

text: Almagest

text: Geography

text: Greco-Roman

text: horoscopic astrology

text: Aristotelian

text: natural philosophy

text: Apotelesmatika

text: Tetrabiblos

text: Greek

text: Quadripartitum

text: Ptolemaeus

text: Greek name

text: Greek mythology

text: Macedonian

text: Alexander the Great

text: pharaoh

text: Ptolemy I Soter

text: Ptolemaic Kingdom

text: Hellenistic

text: Egypt

text: Roman province

text: Ptolemies

text: gens Claudia

text: Roman citizen

text: Claudius

text: Nero

text: Persian

text: astronomer

text: Abu Maʿshar

text: Alexander

text: Ptolemy I

text: ruled Egypt

text: ancient Greek

text: Babylonian astronomical data

text: Greek

text: Hellenized

text: Arabic

text: Upper Egypt

text: Egypt

text: Arabic astronomers

text: geographers

text: physicists

text: Almagest

text: Babylonian astronomers

text: Hipparchus

text: geometric model

text: star catalogue

text: constellation

text: Arabic

text: translated twice into Latin in the 12th century

text: geocentric

text: heliocentric

text: scientific revolution

text: epicycle

text: eclipses

text: zījes

text: calendar

text: almanac

text: Geography

text: geographical coordinates

text: Roman Empire

text: Marinos of Tyre

text: gazetteer

text: Persian Empire

text: Hipparchus

text: north celestial pole

text: Geography

text: Solar System

text: coordinate

text: grid

text: Latitude

text: equator

text: "climata", the length of the longest day

text: degrees of arc

text: midsummer

text: polar circle

text: meridian

text: longitude

text: Blessed Islands

text: Canary Islands

text: oikoumenè

text: topographic

text: Atlantic Ocean

text: China

text: Shetland

text: Africa

text: Maximus Planudes

text: Maps

text: Eratosthenes

text: map projection

text: Eumenius

text: Augustodunum

text: Gaul

text: Ulm

text: Alps

text: Eratosthenes

text: Ancient Greek units of measurement

text: History of geodesy

text: Galileo

text: history of cartography

text: Tetrabiblos

text: Plato of Tivoli

text: horoscopic astrology

text: Almagest

text: electional astrology

text: medical astrology

text: compiling astronomical data

text: numerological

text: sublunary sphere

text: planets

text: medicine

text: race

text: country

text: upbringing

text: aphorism

text: Centiloquium

text: pseudepigraph

text: Pseudo-Ptolemy

text: Eduard Jan Dijksterhuis

text: Almagest

text: music theory

text: Aristoxenus

text: Pythagoras

text: Pythagoreans

text: tetrachord

text: octave

text: monochord

text: Kepler

text: music of the spheres

text: Ptolemy's intense diatonic scale

text: Eugene of Palermo

text: light

text: reflection

text: refraction

text: colour

text: history of optics

text: Book of Optics

text: Alhazen

text: moon illusion

text: Ptolemaeus

text: Moon

text: Ptolemy's Tetrabiblos at LacusCurtius

text: Entire "Tetrabiblos" of J.M. Ashmand's 1822 translation.

text: Ptolemy's Geography at LacusCurtius

text: Extracts of Ptolemy on the country of the Seres (China)

text: "Almagest" books 1–13

text: "Almagest" books 1–6

text: "Geography"

text: Somni

text: Hieronymi Cardani ... In Cl. Ptolemaei ... IIII De astrorum judiciis

text: Almagestū Cl. Ptolemei

text: Java simulation of the Ptolemaic System

text: Epicycle and Deferent Demo

text: Flash animation of Ptolemy's universe.

categories: 2nd-century Romans,Claudii,Ancient Greek mathematicians,Epigrammatists of the Greek Anthology,Astrological writers,Ancient Greek music theorists,Egyptian calendar,2nd-century people of Roman Egypt,Ancient Greek geographers,1st-century Romans,2nd-century philosophers,Ptolemy,170 deaths,100 births,Egyptian astronomers,Egyptian mathematicians,Ancient Greek astrologers,2nd-century poets,Ancient Greek astronomers

paragraph: Ptolemy

paragraph: Claudius Ptolemy (; , "Klaúdios Ptolemaîos" ; ; ) was a mathematician, astronomer, geographer and astrologer. He lived in the city of Alexandria in the Roman province of Egypt, under the rule of the Roman Empire, had a Latin name, which several historians have taken to imply he was also a Roman citizen, cited Greek philosophers, and used Babylonian observations and Babylonian lunar theory. The 14th-century astronomer Theodore Meliteniotes gave his birthplace as the prominent Greek city Ptolemais Hermiou () in the Thebaid (). This attestation is quite late, however, and there is no other evidence to confirm or contradict it. He died in Alexandria around AD 168.

paragraph: Ptolemy wrote several scientific treatises, three of which were of importance to later Byzantine, Islamic and Western European science. The first is the astronomical treatise now known as the "Almagest", although it was originally entitled the "Mathematical Treatise" (, "Mathēmatikē Syntaxis") and then known as the "Great Treatise" (, "Hē Megálē Syntaxis"). The second is the "Geography", which is a thorough discussion of the geographic knowledge of the Greco-Roman world. The third is the astrological treatise in which he attempted to adapt horoscopic astrology to the Aristotelian natural philosophy of his day. This is sometimes known as the "Apotelesmatika" () but more commonly known as the "Tetrabiblos" from the Greek () meaning "Four Books" or by the Latin "Quadripartitum".

paragraph: Section::::Background.

paragraph: "Ptolemaeus" ( "Ptolemaios") is a Greek name. It occurs once in Greek mythology, and is of Homeric form. It was common among the Macedonian upper class at the time of Alexander the Great, and there were several of this name among Alexander's army, one of whom made himself pharaoh in 323 BC: Ptolemy I Soter, the first king of the Ptolemaic Kingdom. All male kings of Hellenistic Egypt, until Egypt became a Roman province in 30 BC ending the Macedonian family's rule, were also Ptolemies.

paragraph: The name "Claudius" is a Roman name, belonging to the "gens Claudia"; the peculiar multipart form of the whole name Claudius Ptolemaeus is a Roman custom, characteristic of Roman citizens. Several historians have made the deduction that this indicates that Ptolemy would have been a Roman citizen. Gerald Toomer, the translator of Ptolemy's "Almagest" into English, suggests that citizenship was probably granted to one of Ptolemy's ancestors by either the emperor Claudius or the emperor Nero.

paragraph: The ninth-century Persian astronomer Abu Maʿshar presents Ptolemy as a member of Egypt's royal lineage, stating that the descendants of Alexander's general Ptolemy I, who ruled Egypt, were wise "and included Ptolemy the Wise, who composed the book of the "Almagest"". Abu Maʿshar recorded a belief that a different member of this royal line "composed the book on astrology and attributed it to Ptolemy". We can evidence historical confusion on this point from Abu Maʿshar's subsequent remark "It is sometimes said that the very learned man who wrote the book of astrology also wrote the book of the "Almagest". The correct answer is not known." There is little evidence on the subject of Ptolemy's ancestry, apart from what can be drawn from the details of his name (see above); however, modern scholars refer to Abu Maʿshar's account as erroneous, and it is no longer doubted that the astronomer who wrote the "Almagest" also wrote the "Tetrabiblos" as its astrological counterpart.

paragraph: Ptolemy wrote in ancient Greek and can be shown to have utilized Babylonian astronomical data. He might have been a Roman citizen, but was ethnically either a Greek or a Hellenized Egyptian. He was often known in later Arabic sources as "the Upper Egyptian", suggesting he may have had origins in southern Egypt. Later Arabic astronomers, geographers and physicists referred to him by his name in "Baṭlumyus".

paragraph: Section::::Astronomy.

paragraph: Ptolemy's "Almagest" is the only surviving comprehensive ancient treatise on astronomy. Babylonian astronomers had developed arithmetical techniques for calculating astronomical phenomena; Greek astronomers such as Hipparchus had produced geometric models for calculating celestial motions. Ptolemy, however, claimed to have derived his geometrical models from selected astronomical observations by his predecessors spanning more than 800 years, though astronomers have for centuries suspected that his models' parameters were adopted independently of observations. Ptolemy presented his astronomical models in convenient tables, which could be used to compute the future or past position of the planets. The "Almagest" also contains a star catalogue, which is a version of a catalogue created by Hipparchus. Its list of forty-eight constellations is ancestral to the modern system of constellations, but unlike the modern system they did not cover the whole sky (only the sky Hipparchus could see). Across Europe, the Middle East and North Africa in the Medieval period, it was the authoritative text on astronomy, with its author becoming an almost mythical figure, called Ptolemy, King of Alexandria. The "Almagest" was preserved, like most of extant Classical Greek science, in Arabic manuscripts (hence its familiar name). Because of its reputation, it was widely sought and was translated twice into Latin in the 12th century, once in Sicily and again in Spain. Ptolemy's model, like those of his predecessors, was geocentric and was almost universally accepted until the appearance of simpler heliocentric models during the scientific revolution.

paragraph: His "Planetary Hypotheses" went beyond the mathematical model of the "Almagest" to present a physical realization of the universe as a set of nested spheres, in which he used the epicycles of his planetary model to compute the dimensions of the universe. He estimated the Sun was at an average distance of 1,210 Earth radii, while the radius of the sphere of the fixed stars was 20,000 times the radius of the Earth.

paragraph: Ptolemy presented a useful tool for astronomical calculations in his "Handy Tables", which tabulated all the data needed to compute the positions of the Sun, Moon and planets, the rising and setting of the stars, and eclipses of the Sun and Moon. Ptolemy's "Handy Tables" provided the model for later astronomical tables or "zījes". In the "Phaseis" ("Risings of the Fixed Stars"), Ptolemy gave a "parapegma", a star calendar or almanac, based on the appearances and disappearances of stars over the course of the solar year.

paragraph: Section::::The "Geography".

paragraph: Ptolemy's other main work is his "Geography" (also called the "Geographia"), a compilation of geographical coordinates of the part of the world known to the Roman Empire during his time. He relied somewhat on the work of an earlier geographer, Marinos of Tyre, and on gazetteers of the Roman and ancient Persian Empire. He also acknowledged ancient astronomer Hipparchus for having provided the elevation of the north celestial pole for a few cities.

paragraph: The first part of the "Geography" is a discussion of the data and of the methods he used. As with the model of the Solar System in the "Almagest", Ptolemy put all this information into a grand scheme. Following Marinos, he assigned coordinates to all the places and geographic features he knew, in a grid that spanned the globe. Latitude was measured from the equator, as it is today, but Ptolemy preferred to express it as "climata", the length of the longest day rather than degrees of arc: the length of the midsummer day increases from 12h to 24h as one goes from the equator to the polar circle. In books 2 through 7, he used degrees and put the meridian of 0 longitude at the most western land he knew, the "Blessed Islands", often identified as the Canary Islands, as suggested by the location of the six dots labelled the "FORTUNATA" islands near the left extreme of the blue sea of Ptolemy's map here reproduced.

paragraph: Ptolemy also devised and provided instructions on how to create maps both of the whole inhabited world ("oikoumenè") and of the Roman provinces. In the second part of the "Geography", he provided the necessary topographic lists, and captions for the maps. His "oikoumenè" spanned 180 degrees of longitude from the Blessed Islands in the Atlantic Ocean to the middle of China, and about 80 degrees of latitude from Shetland to anti-Meroe (east coast of Africa); Ptolemy was well aware that he knew about only a quarter of the globe, and an erroneous extension of China southward suggests his sources did not reach all the way to the Pacific Ocean.

paragraph: The maps in surviving manuscripts of Ptolemy's "Geography", however, only date from about 1300, after the text was rediscovered by Maximus Planudes. It seems likely that the topographical tables in books 2–7 are cumulative texts – texts which were altered and added to as new knowledge became available in the centuries after Ptolemy. This means that information contained in different parts of the Geography is likely to be of different dates.

paragraph: Maps based on scientific principles had been made since the time of Eratosthenes, in the 3rd century BC, but Ptolemy improved map projections. It is known from a speech by Eumenius that a world map, an "orbis pictus", doubtless based on the "Geography", was on display in a school in Augustodunum, Gaul in the third century. In the 15th century, Ptolemy's "Geography" began to be printed with engraved maps; the earliest printed edition with engraved maps was produced in Bologna in 1477, followed quickly by a Roman edition in 1478 (Campbell, 1987). An edition printed at Ulm in 1482, including woodcut maps, was the first one printed north of the Alps. The maps look distorted when compared to modern maps, because Ptolemy's data were inaccurate. One reason is that Ptolemy estimated the size of the Earth as too small: while Eratosthenes found 700 "stadia" for a great circle degree on the globe, Ptolemy uses 500 "stadia" in the "Geography". It is highly probable that these were the same "stadion", since Ptolemy switched from the former scale to the latter between the "Syntaxis" and the "Geography", and severely readjusted longitude degrees accordingly. See also Ancient Greek units of measurement and History of geodesy.

paragraph: Because Ptolemy derived many of his key latitudes from crude longest day values, his latitudes are erroneous on average by roughly a degree (2 degrees for Byzantium, 4 degrees for Carthage), though capable ancient astronomers knew their latitudes to more like a minute. (Ptolemy's own latitude was in error by 14'.) He agreed ("Geography" 1.4) that longitude was best determined by simultaneous observation of lunar eclipses, yet he was so out of touch with the scientists of his day that he knew of no such data more recent than 500 years before (Arbela eclipse). When switching from 700 stadia per degree to 500, he (or Marinos) expanded longitude differences between cities accordingly (a point first realized by P. Gosselin in 1790), resulting in serious over-stretching of the Earth's east-west scale in degrees, though not distance. Achieving highly precise longitude remained a problem in geography until the application of Galileo's Jovian moon method in the 18th century. It must be added that his original topographic list cannot be reconstructed: the long tables with numbers were transmitted to posterity through copies containing many scribal errors, and people have always been adding or improving the topographic data: this is a testimony to the persistent popularity of this influential work in the history of cartography.

paragraph: Section::::Astrology.

paragraph: Ptolemy has been referred to as "a pro-astrological authority of the highest magnitude". His astrological treatise, a work in four parts, is known by the Greek term "Tetrabiblos", or the Latin equivalent "Quadripartitum": "Four Books". Ptolemy's own title is unknown, but may have been the term found in some Greek manuscripts: "Apotelesmatika", roughly meaning "Astrological Outcomes", "Effects" or "Prognostics".

paragraph: As a source of reference, the "Tetrabiblos" is said to have "enjoyed almost the authority of a Bible among the astrological writers of a thousand years or more". It was first translated from Arabic into Latin by Plato of Tivoli (Tiburtinus) in 1138, while he was in Spain. The "Tetrabiblos" is an extensive and continually reprinted treatise on the ancient principles of horoscopic astrology. That it did not quite attain the unrivaled status of the "Almagest" was, perhaps, because it did not cover some popular areas of the subject, particularly electional astrology (interpreting astrological charts for a particular moment to determine the outcome of a course of action to be initiated at that time), and medical astrology, which were later adoptions.

paragraph: The great popularity that the "Tetrabiblos" did possess might be attributed to its nature as an exposition of the art of astrology, and as a compendium of astrological lore, rather than as a manual. It speaks in general terms, avoiding illustrations and details of practice. Ptolemy was concerned to defend astrology by defining its limits, compiling astronomical data that he believed was reliable and dismissing practices (such as considering the numerological significance of names) that he believed to be without sound basis.

paragraph: Much of the content of the "Tetrabiblos" was collected from earlier sources; Ptolemy's achievement was to order his material in a systematic way, showing how the subject could, in his view, be rationalized. It is, indeed, presented as the second part of the study of astronomy of which the "Almagest" was the first, concerned with the influences of the celestial bodies in the sublunary sphere. Thus explanations of a sort are provided for the astrological effects of the planets, based upon their combined effects of heating, cooling, moistening, and drying.

paragraph: Ptolemy's astrological outlook was quite practical: he thought that astrology was like medicine, that is "conjectural", because of the many variable factors to be taken into account: the race, country, and upbringing of a person affects an individual's personality as much as, if not more than, the positions of the Sun, Moon, and planets at the precise moment of their birth, so Ptolemy saw astrology as something to be used in life but in no way relied on entirely.

paragraph: A collection of one hundred aphorisms about astrology called the "Centiloquium", ascribed to Ptolemy, was widely reproduced and commented on by Arabic, Latin and Hebrew scholars, and often bound together in medieval manuscripts after the "Tetrabiblos" as a kind of summation. It is now believed to be a much later pseudepigraphical composition. The identity and date of the actual author of the work, referred to now as Pseudo-Ptolemy, remains the subject of conjecture.

paragraph: Section::::Astrology.:Criticism.

paragraph: Despite Ptolemy's prominence as a philosopher, the Dutch historian of science Eduard Jan Dijksterhuis criticizes the "Tetrabiblos", stating that "it only remain puzzling that the very writer of the "Almagest", who had taught how to develop astronomy from accurate observations and mathematical constructions, could put together such a system of superficial analogies and unfounded assertions."

paragraph: Section::::Music.

paragraph: Ptolemy also wrote an influential work, "Harmonics", on music theory and the mathematics of music. After criticizing the approaches of his predecessors, Ptolemy argued for basing musical intervals on mathematical ratios (in contrast to the followers of Aristoxenus and in agreement with the followers of Pythagoras), backed up by empirical observation (in contrast to the overly theoretical approach of the Pythagoreans). Ptolemy wrote about how musical notes could be translated into mathematical equations and vice versa in "Harmonics". This is called Pythagorean tuning because it was first discovered by Pythagoras. However, Pythagoras believed that the mathematics of music should be based on the specific ratio of 3:2, whereas Ptolemy merely believed that it should just generally involve tetrachords and octaves. He presented his own divisions of the tetrachord and the octave, which he derived with the help of a monochord. His "Harmonics" never had the influence of his "Almagest" or "Planetary Hypotheses", but a part of it (Book III) did encourage Kepler in his own musings on the harmony of the world (Kepler, "Harmonice Mundi", Appendix to Book V). Ptolemy's astronomical interests also appeared in a discussion of the "music of the spheres". See: Ptolemy's intense diatonic scale.

paragraph: Section::::Optics.

paragraph: His "Optics" is a work that survives only in a poor Arabic translation and in about twenty manuscripts of a Latin version of the Arabic, which was translated by Eugene of Palermo (). In it, Ptolemy writes about properties of light, including reflection, refraction, and colour. The work is a significant part of the early history of optics

paragraph: and influenced the more famous 11th-century "Book of Optics" by Alhazen (Ibn al-Haytham). It contains the earliest surviving table of refraction from air to water, for which the values (with the exception of the 60° angle of incidence), although historically praised as experimentally derived, appear to have been obtained from an arithmetic progression.

paragraph: The work is also important for the early history of perception. Ptolemy combined the mathematical, philosophical and physiological traditions. He held an extramission-intromission theory of vision: the rays (or flux) from the eye formed a cone, the vertex being within the eye, and the base defining the visual field. The rays were sensitive, and conveyed information back to the observer's intellect about the distance and orientation of surfaces. Size and shape were determined by the visual angle subtended at the eye combined with perceived distance and orientation. This was one of the early statements of size-distance invariance as a cause of perceptual size and shape constancy, a view supported by the Stoics. Ptolemy offered explanations for many phenomena concerning illumination and colour, size, shape, movement and binocular vision. He also divided illusions into those caused by physical or optical factors and those caused by judgmental factors. He offered an obscure explanation of the sun or moon illusion (the enlarged apparent size on the horizon) based on the difficulty of looking upwards.

paragraph: Section::::Named after Ptolemy.

paragraph: There are several characters or items named after Ptolemy, including:

paragraph: BULLET::::- The crater Ptolemaeus on the Moon;

paragraph: BULLET::::- The crater [[List of craters on Mars#top|Ptolemaeus]] on [[Mars]];

paragraph: BULLET::::- The asteroid [[4001 Ptolemaeus]];

paragraph: BULLET::::- The [[Ptolemy stone]] used in the mathematics courses at both US [[St. John's College (Annapolis/Santa Fe)|St. John's College]] campuses.

paragraph: BULLET::::- [[Ptolemy's theorem]] on distances in a [[cyclic quadrilateral]], and its generalization, [[Ptolemy's inequality]], to non-cyclic quadrilaterals

paragraph: BULLET::::- [[Ptolemaic graph]]s, the graphs whose distances obey Ptolemy's inequality

paragraph: BULLET::::- [[Ptolemy Slocum]], actor

paragraph: Section::::See also.

paragraph: BULLET::::- [[Messier 7]] – Ptolemy Cluster, star cluster described by Ptolemaeus

paragraph: BULLET::::- [[Pei Xiu]]

paragraph: BULLET::::- [[Canon of Kings|Ptolemy's Canon]] – a dated list of kings used by ancient astronomers.

paragraph: BULLET::::- [[Ptolemy's table of chords]]

paragraph: BULLET::::- [[Zhang Heng]]

paragraph: Section::::References.

paragraph: [[File:Ptolemaeus - Quadripartitum, 1622 - 4658973.tif|thumb|"Quadripartitum", 1622]]

paragraph: Section::::References.:Texts and translations.

paragraph: BULLET::::- Berggren, J. Lennart, and Alexander Jones. 2000. "Ptolemy's "Geography": An Annotated Translation of the Theoretical Chapters". Princeton and Oxford: [[Princeton University Press]]. .

paragraph: BULLET::::- Hübner, Wolfgang, ed. 1998. "Claudius Ptolemaeus, Opera quae exstant omnia" Vol III/Fasc 1: ΑΠΟΤΕΛΕΣΜΑΤΙΚΑ (= Tetrabiblos). De Gruyter. (Bibliotheca scriptorum Graecorum et Romanorum Teubneriana). (The most recent edition of the Greek text of Ptolemy's astrological work, based on earlier editions by F. Boll and E. Boer.)

paragraph: BULLET::::- Lejeune, A. (1989) "L'Optique de Claude Ptolémée dans la version latine d'après l'arabe de l'émir Eugène de Sicile." [Latin text with French translation]. Collection de travaux de l'Académie International d'Histoire des Sciences, No. 31. Leiden: E.J.Brill.

paragraph: BULLET::::- Nobbe, C. F. A., ed. 1843. Claudii Ptolemaei Geographia. 3 vols. Leipzig: Carolus Tauchnitus. (The most recent edition of the complete Greek text)

paragraph: BULLET::::- Peerlings, R.H.J., Laurentius F., van den Bovenkamp J.,(2017) "The watermarks in the Rome editions of Ptolemy's Cosmography and more", In Quaerendo 47: 307-327, 2017.

paragraph: BULLET::::- Peerlings, R.H.J., Laurentius F., van den Bovenkamp J.,(2018) "New findings and discoveries in the 1507/8 Rome edition of Ptolemy’s Cosmography", In Quaerendo 48: 139-162, 2018.

paragraph: BULLET::::- Ptolemy. 1930. "Die Harmonielehre des Klaudios Ptolemaios", edited by Ingemar Düring. Göteborgs högskolas årsskrift 36, 1930:1. Göteborg: Elanders boktr. aktiebolag. Reprint, New York: Garland Publishing, 1980.

paragraph: BULLET::::- Ptolemy. 2000. "Harmonics", translated and commentary by Jon Solomon. Mnemosyne, Bibliotheca Classica Batava, Supplementum, 0169-8958, 203. Leiden and Boston: [[Brill Publishers]].

paragraph: BULLET::::- Smith, A.M. (1996) "Ptolemy's theory of visual perception: An English translation of the Optics with introduction and commentary." Transactions of the American Philosophical Society, Vol. 86, Part 2. Philadelphia: The American Philosophical Society.

paragraph: BULLET::::- Stevenson, Edward Luther (trans. and ed.). 1932. "Claudius Ptolemy: The Geography". New York: New York Public Library. Reprint, New York: Dover, 1991. (This is the only complete English translation of Ptolemy's most famous work. Unfortunately, it is marred by numerous mistakes and the placenames are given in Latinised forms, rather than in the original Greek).

paragraph: BULLET::::- Stückelberger, Alfred, and Gerd Graßhoff (eds). 2006. "Ptolemaios, Handbuch der Geographie, Griechisch-Deutsch". 2 vols. Basel: Schwabe Verlag. . (Massive 1018 pp. scholarly edition by a team of a dozen scholars that takes account of all known manuscripts, with facing Greek and German text, footnotes on manuscript variations, color maps, and a CD with the geographical data)

paragraph: BULLET::::- "Ptolemy's Almagest", Translated and annotated by [[G. J. Toomer]]. Princeton University Press, 1998

paragraph: BULLET::::- Sir Thomas Heath, A History of Greek Mathematics, Oxford : Clarendon Press, 1921.

paragraph: Section::::External links.

paragraph: Section::::External links.:Primary sources.

paragraph: BULLET::::- Ptolemy's Tetrabiblos at LacusCurtius (Transcription of the [[Loeb Classical Library]]'s English translation)

paragraph: BULLET::::- Entire "Tetrabiblos" of J.M. Ashmand's 1822 translation.

paragraph: BULLET::::- Ptolemy's Geography at LacusCurtius (English translation, incomplete)

paragraph: BULLET::::- Extracts of Ptolemy on the country of the Seres (China) (English translation)

paragraph: BULLET::::- "Almagest" books 1–13 The complete text of Heiberg's edition (PDF) Greek.

paragraph: BULLET::::- "Almagest" books 1–6 with preface at [[Internet Archive|archive.org]]

paragraph: BULLET::::- "Geography", digitized codex made in Italy between 1460 and 1477, translated to Latin by Jacobus Angelus at Somni. Also known as "codex valentinus", it is the oldest manuscript of the codices with maps of Ptolemy with the donis projections.

paragraph: BULLET::::- Hieronymi Cardani ... In Cl. Ptolemaei ... IIII De astrorum judiciis From the Rare Book and Special Collection Division at the [[Library of Congress]]

paragraph: BULLET::::- Almagestū Cl. Ptolemei From the Rare Book and Special Collection Division at the [[Library of Congress]]

paragraph: Section::::External links.:Secondary material.

paragraph: BULLET::::- Franz Boll (1894), "Studien über Claudius Ptolemaeus. Ein Beitrag zur Geschichte der griechischen Philosophie und Astrologie" In: "Neue Jahrbücher für Philologie und Pädagogik", Supplementband 21,2. Teubner, Leipzig, pp. 49–244.

paragraph: Section::::External links.:Secondary material.:Animated illustrations.

paragraph: BULLET::::- Java simulation of the Ptolemaic System – at Paul Stoddard's Animated Virtual Planetarium, Northern Illinois University

paragraph: BULLET::::- Epicycle and Deferent Demo – at Rosemary Kennett's website at the [[University of Syracuse]]

paragraph: BULLET::::- Flash animation of Ptolemy's universe. (best in Internet Explorer)

paragraph: Section::::External links.:Secondary material.:Galleries.

paragraph: BULLET::::- Online Galleries, History of Science Collections, University of Oklahoma Libraries. High resolution images of works by Ptolemy in .jpg and .tiff format.

paragraph: [[Category:Ptolemy| ]]

paragraph: [[Category:100 births]]

paragraph: [[Category:170 deaths]]

paragraph: [[Category:1st-century Romans]]

paragraph: [[Category:2nd-century Romans]]

paragraph: [[Category:2nd-century philosophers]]

paragraph: [[Category:2nd-century poets]]

paragraph: [[Category:Egyptian calendar]]

paragraph: [[Category:Ancient Greek astrologers]]

paragraph: [[Category:Ancient Greek astronomers]]

paragraph: [[Category:Ancient Greek mathematicians]]

paragraph: [[Category:Ancient Greek music theorists]]

paragraph: [[Category:Astrological writers]]

paragraph: [[Category:Claudii]]

paragraph: [[Category:Egyptian astronomers]]

paragraph: [[Category:Egyptian mathematicians]]

paragraph: [[Category:Epigrammatists of the Greek Anthology]]

paragraph: [[Category:2nd-century people of Roman Egypt]]

paragraph: [[Category:Ancient Greek geographers]]

paragraph: [[Category:Roman-era geographers]]

alias: Claudius Ptolemaeus Pelusiensis Alexandrinus

description: Greco-Egyptian writer and astronomer of Alexandria

enwikiquote_title: Ptolemy

wikidata_label: Ptolemy

wikipedia_title: Ptolemy