text: Austro-Hungarian

text: Romania

text: Brașov

text: Transylvania

text: Romanian-language

text: Czernowitz

text: Bukovina

text: World War I

text: Greater Romania

text: a new university

text: Cluj

text: ethnic nationalism

text: cultural conservatism

text: fascist

text: World War II

text: Berlin

text: Romanian culture

text: German Reich

text: Hungary

text: Northern Transylvania

text: Communist regime

text: Maramureș

text: Moldavia

text: Transylvania

text: Ioan Lemeni

text: Țara Făgărașului

text: Bran

text: Ioan Pușcariu

text: Ilarion

text: Transylvanian Saxon

text: Brașov

text: Sibiu

text: Metropolitan

text: Andrei Șaguna

text: Zărnești

text: humor magazine

text: the Romanian high school

text: Positivism

text: University of Paris

text: Gaston Paris

text: Leipzig University

text: Gustav Weigand

text: University of Vienna

text: Gazeta de Transilvania

text: Luceafărul

text: Octavian Codru Tăslăuanu

text: Budapest

text: ASTRA

text: Kingdom of Romania

text: Old Kingdom

text: Romanian Academy

text: Sămănătorul

text: Bucharest

text: Ovid Densusianu

text: Ion Aurel Candrea

text: Convorbiri Literare

text: Wilhelm Meyer-Lübke

text: University of Fribourg

text: Czernowitz University

text: Ion G. Sbiera

text: Pan-Germanism

text: World War I

text: Techirghiol

text: Austro-Hungarian Army

text: Austrian patriot

text: Cisnădie

text: liturgical music

text: Sibiu Lutheran Cathedral

text: Onisifor Ghibu

text: Italian Front

text: Italophilia

text: Latin people

text: Czernowitz

text: Imperial Russian Army

text: Trieste

text: Iuliu Maniu

text: Innsbruck

text: Triple Entente

text: Istro-Romanian language

text: Glasul Bucovinei

text: Ion Nistor

text: Democratic Unionist

text: Lucian Blaga

text: Transylvania united with Romania

text: Alba Iulia

text: influenza

text: Iași

text: Greater Romania

text: Superior Dacia University

text: Cluj

text: Franz Joseph University

text: Nicolae Iorga

text: Universities of Iași

text: Bucharest

text: Romanian National Party

text: Cassiu

text: Gheorghe Bogdan-Duică

text: Eugen Lovinescu

text: Emmanuel de Martonne

text: Paris Peace Conference

text: Lyon University

text: League of Nations

text: Romanian Orthodox Church

text: culturally conservative

text: Romanian literature

text: Renaissance

text: medieval principalities

text: Eugen Negrici

text: anti-Semitic

text: numerus clausus

text: Hungarian Jewish

text: Eugen Ehrlich

text: Corneliu Zelea Codreanu

text: Vintilă Brătianu

text: summer school

text: adult education

text: Museum of the Romanian Language

text: Matteo Bartoli

text: Jules Gilliéron

text: dialectological

text: Vasile Pârvan

text: Simion Mehedinți

text: Romulus Vuia

text: Constantin C. Giurescu

text: Iorgu Iordan

text: Alexandru Rosetti

text: Alexandru Graur

text: Ion Mușlea

text: its folklore tradition

text: King Ferdinand

text: Romanian language

text: August Treboniu Laurian

text: I. C. Massim

text: Bogdan Petriceicu Hasdeu

text: Alexandru Philippide

text: Constantin Lacea

text: Theodor Capidan

text: Sever Pop

text: Emil Petrovici

text: Nicolae Drăganu

text: fascist

text: Iron Guard

text: Buna Vestire

text: modernist literature

text: Nazi German

text: World War II

text: Northern Transylvania

text: Second Vienna Award

text: National Legionary State

text: Berlin

text: Grigore Manoilescu

text: Maximilian Hacman

text: Constantin Noica

text: Carol II

text: National Renaissance Front

text: Foreign Ministry

text: Mihail Manoilescu

text: Alexe Procopovici

text: Iuliu Hațieganu

text: Education Minister

text: Bernhard Rust

text: deaths of Ion Moța and Vasile Marin

text: Romanian Propaganda Ministry

text: Sabin Drăgoi

text: George Ciprian

text: The Man and His Mule

text: Elbing

text: Cologne

text: Aryan

text: Bessarabia

text: Hungarian–Romanian War

text: Revista Fundațiilor Regale

text: Operation Barbarossa

text: Bessarabia Governorate

text: Roman army

text: Danube

text: Roman Dacia

text: subsequent Soviet occupation

text: Sămănătorism

text: Order of the German Eagle

text: Ion Antonescu

text: Conducător

text: Mihai Antonescu

text: Legionnaires' rebellion

text: Heinrich Himmler

text: lei

text: University of Berlin

text: Eastern Front

text: Permanent Committee of Linguists

text: Dimitrie Cantemir

text: Prussian Academy of Sciences

text: sociolinguistics

text: Editura Fundațiilor Regale

text: Pompiliu Constantinescu

text: historical development of language

text: ethnographic

text: Romanian lexis

text: phonaesthetic

text: national poet

text: Mihai Eminescu

text: neologism

text: King Michael Coup

text: Allies

text: Romanian Writers' Society

text: Communist Party

text: România Liberă

text: Contemporanul

text: Ion Petrovici

text: Gheorghe I. Brătianu

text: Romanian royal family

text: a Communist regime

text: Alexandru Lapedatu

text: Mircea Eliade

text: George Călinescu

text: Dumitru Macrea

text: Romulus Todoran

text: George Giuglea

text: Silviu Dragomir

text: Romanian Revolution of 1989

text: Cluj-Napoca

text: Alphonse Juilland

text: Gheorghe Dima

text: Oradea

text: Timișoara

text: Lucian Boia

text: Pompiliu Constantinescu

text: Irina Livezeanu

text: Cornell University Press

text: Z. Ornea

categories: University of Paris alumni,Chernivtsi University faculty,Rectors of Babeș-Bolyai University,Austrian ethnographers,20th-century Romanian politicians,Romanian expatriates in Germany,Romanian literary critics,Members of the Prussian Academy of Sciences,Romance philologists,Romanian newspaper founders,Romanian diarists,University and college founders,Titular members of the Romanian Academy,Romanian literary historians,Romanian propagandists,People from Brașov,Austro-Hungarian military personnel of World War I,1877 births,Romanian philologists,Romanian sociologists,Austrian literary historians,Romanian Austro-Hungarians,Romanian lexicographers,Austrian historians,Romanian magazine editors,Members of the Romanian Orthodox Church,Sociolinguists,University of Vienna faculty,Romanian educational theorists,Babeș-Bolyai University faculty,Members of the Iron Guard,Romanian memoirists,Linguists from Romania,Positivists,Romanian ethnographers,Austrian philologists,Leipzig University alumni,20th-century Romanian historians,Romanian magazine founders,Austrian newspaper founders,19th-century Romanian historians,Romanian diplomats,1948 deaths,Academic journal editors

paragraph: Sextil Pușcariu

paragraph: Sextil Iosif Pușcariu (January 4, 1877–May 5, 1948) was an Austro-Hungarian-born Romanian linguist and philologist. A native of Brașov educated in France and Germany, he was active in Transylvania's cultural life and worked as a Romanian-language professor at Czernowitz in Bukovina. A soldier for Austria-Hungary during World War I, he embraced the creation of Greater Romania at its conclusion, leading efforts to create a new university in Cluj and setting up a research institute in the same city dedicated to the study of his native language. Interested in a variety of disciplines, he published widely and brought new ideas into Romania, as well as overseeing two monumental projects related to the language: the composition of a dictionary, and the creation of an atlas.

paragraph: Committed to ethnic nationalism and cultural conservatism, Pușcariu radicalized himself during the 1920s and '30s, emerging as a supporter of fascist politics. With the onset of World War II, he moved to Berlin, where he led a propaganda institute meant to promote Romanian culture in the German Reich, as well as counter Hungary's justifications for absorbing Northern Transylvania. After his return home, his health deteriorated while the authorities of the new Communist regime initiated legal proceedings. He died before he could be sentenced, and while his work was largely shunned for two decades, his legacy revived following the collapse of the regime.

paragraph: Section::::Biography.

paragraph: Section::::Biography.:Origins and education.

paragraph: According to Pușcariu's own research, the family originated in Maramureș, spending time in Moldavia before ending up in southern Transylvania. Named "Iuga" in Maramureș, their surname was then "Pușcașu" before the final form was selected at the suggestion of Bishop Ioan Lemeni. In the latter part of the 18th century, one Iuga Pușcașu left Țara Făgărașului and arrived at Sohodol village near Bran; it was from two of his sons that the prominent family was descended. Sextil's grandfather Ioan Pușcașu, a priest from Sohodol, had five sons and five daughters, providing all of them a rigorous education. One son was Ioan Pușcariu, who became a noted jurist and historian, while another, Ilarion, left his mark as a theologian. Sextil's father Iosif (1835-1923) studied at the Transylvanian Saxon high school in Brașov before being sent to learn Theology in Sibiu. Metropolitan Andrei Șaguna observed that Iosif lacked a priestly vocation and gave him permission to leave the seminary in order to study Law. After graduating from the Saxon Law Academy, where he published a humor newsletter, the elder Pușcariu served as a judge in Zărnești from 1848 to 1867, running his courtroom in Romanian. After marrying Eufrosina Ciurcu, who came from a merchant family, he moved to Brașov to work as a lawyer. Applying his literary talent, he founded "Cocoșul Roșu", a humor magazine, editing it between 1874 and 1878 and in 1881.

paragraph: Born in Brașov, Sextil Pușcariu attended the Romanian high school in his native city before going to Germany and France for his undergraduate and doctoral degrees. Trained in the spirit of Positivism, he was one of the first Romanian scholars to make a transition from philology to methodical linguistics. At the University of Paris, between 1899 and 1901, he studied under Gaston Paris, while his doctoral adviser at Leipzig University was Gustav Weigand. He also studied at the University of Vienna, teaching there in 1904.

paragraph: Through 1901, Pușcariu's writings regularly appeared in "Gazeta de Transilvania". He also made important contributions to "Luceafărul", headed by Octavian Codru Tăslăuanu (whom he had befriended as a schoolmate in Brașov), while it appeared both in Budapest and, after 1906, in Sibiu. In 1902, he was elected a corresponding member of ASTRA's literary section. During the remainder of his life, he undertook activities related to the society, although at varying paces: active that decade in its philological efforts, he found himself largely overtaken by other activities in the 1910s, only to organize a series of conferences starting in the mid-1920s in Transylvania's towns, both large and small. These continued through 1939, and while his work again took him away from ASTRA in the 1940s, it was to its Brașov chapter's president that he sent the manuscript of his history of the city in 1947.

paragraph: Pușcariu made frequent crossings into the Kingdom of Romania (the "Old Kingdom", in later reference). He was elected a corresponding member of the Romanian Academy in 1906, becoming a titular member in 1914. He also became one of several Transylvanian affiliates of "Sămănătorul", the Romanian traditionalist and ethnic nationalist review in Bucharest, finding his ideas on linguistsics and history challenged by Ovid Densusianu and Ion Aurel Candrea. Pușcariu's scholarly work was featured in the mainstream review "Convorbiri Literare", signaling the latter's own transition toward "Sămănătorist" nationalism.

paragraph: Section::::Biography.:University career and World War I experience.

paragraph: While at Leipzig, he came into contact with Wilhelm Meyer-Lübke, under whom he began his university career and who offered him a post at the University of Fribourg. Pușcariu declined, citing a wish to be closer to the Romanian lands. He taught Romanian language and literature at Czernowitz University from 1906, replacing the retiring Ion G. Sbiera, and eventually rising to become dean of the Literature and Philosophy Faculty. While there, he refused the chance to teach at Vienna, as he would not have been able to lecture in Romanian, at the same time declaring his adherence to Pan-Germanism.

paragraph: The outbreak of World War I caught Pușcariu in Techirghiol, Romania. A reserve officer in the Austro-Hungarian Army, and overall an Austrian patriot, he rushed back to be mobilized in Brașov, and was later ordered to Cisnădie. In September 1914, after a liturgical music concert in the Sibiu Lutheran Cathedral, he met Onisifor Ghibu, whom he had known since 1905, and who records the deep concern the ongoing conflict was causing Pușcariu. Subsequently, he was stationed on the Italian Front. There, his sentiments of loyalty toward the Empire conflicted with the Italophilia he felt toward a country whose inhabitants he saw as the natural allies of the Romanians, a fellow Latin people. Czernowitz ("Cernăuți"), the site of his residence, manuscripts and materials, fell to the Imperial Russian Army in the first half of the war. From February to June 1916, he was intermittently hospitalized for eye problems, first at Trieste, where he met Iuliu Maniu, and later at Innsbruck, followed by Brașov. When the Romanian Kingdom entered the war in August, on the side of the Triple Entente, he was either at home on leave or at the front, but in either case continued his research. The following January, he began keeping a diary, writing fairly regular entries until his wife's death in 1944. While on the front in early 1918 dealing with military accounting and supplies, he worked on a glossary of the Istro-Romanian language.

paragraph: In October 1918, he founded the newspaper "Glasul Bucovinei", an organ that had as its limited initial goal the protection of rights for the province's Romanians, who formed an overall minority of the local population. However, events quickly evolved and he served as a vice president of the Romanian National Council that took the more decisive step of proclaiming the union of Bukovina with Romania the following month at Czernowitz. Pușcariu worked very closely with academic Ion Nistor, helping him organize the radically nationalistic Democratic Unionist group from a base of "Glasul" intellectuals. However, he was himself inactive politically, and later stated that he had grown disillusioned with politics. In January 1919, writing in "Glasul Bucovinei", Pușcariu penned a strongly positive review of "Poemele luminii", the debut volume of Lucian Blaga, helping launch his career.

paragraph: Section::::Biography.:University administrator.

paragraph: Transylvania united with Romania on December 1, 1918, but Pușcariu was unable to attend the festivities at Alba Iulia, being sick in bed with a case of influenza he had caught at Iași. Following this event, which marked the culmination of Greater Romania's creation, he was named the first rector of the Superior Dacia University in Cluj. A Franz Joseph University already existed in the city, but its Hungarian faculty departed as a bloc and an entirely new professorial corps and administrative structure were required. The revamped university had two founders, the idealistic Ghibu and the more practical Pușcariu. Chosen by the Directing Council, Transylvania's provisional government, the latter headed a twenty-man committee charged with the seemingly insurmountable task of setting up four faculties (Literature and Philosophy, Medicine, Science, Law) and recruiting professors within a few months. As a native Transylvanian, Pușcariu was familiar with the Austro-Hungarian milieu; he also had relations with academics in Western Europe and was close to a number of figures in the Old Kingdom, especially Nicolae Iorga. Set up in July 1919, the committee included twelve professors from the Universities of Iași and Bucharest, and eight Transylvanians.

paragraph: Despite pressures from the Romanian National Party, he announced a strictly apolitical hiring process, only making an exception for Maniu's brother Cassiu, a law professor he found "slightly ridiculous, but friendly and discreet". The new professors were mainly young, but also included a contingent of established Old Kingdom academics and Romanians working abroad, as well as foreign scholars. Pușcariu had insisted his formal appointment come from within the university rather than the government, which allowed him to deny Iași and Bucharest a greater say in the proceedings. He also advocated against extending to Cluj the same set of laws that governed the Old Kingdom institutions, as he found them unsatisfactory; the laws were not applied uniformly until 1925. Notably, Pușcariu hired Gheorghe Bogdan-Duică over Eugen Lovinescu; the former was, in addition to being a Transylvanian and a scholar of some local renown, Iorga's brother-in-law. It was Pușcariu's idea to bring in foreign academics, mainly from France, including geographer Emmanuel de Martonne, who drew Romania's expanded borders at the Paris Peace Conference; and Jules Guyart of Lyon University, who became the medical faculty's first head. Courses began in November 1919, with a grand opening held the following February. Cluj had suddenly become a visible European academic center. Pușcariu left the rectorate in 1920. Between 1922 and 1926, he served as part of Romania's delegation to the League of Nations.

paragraph: Section::::Biography.:Orthodoxism and the anti-Semitic campaign.

paragraph: A member of the Romanian Orthodox Church, Pușcariu stood out among his generation for fusing the national and religious identity into a culturally conservative mold. In his Romanian literature history tract of 1921 ("Istoria literaturii române. Epoca veche"), he concluded that "our Orthodoxism was the most significant event when it came to our cultural development". This, he noted at the time, had both positive and negative effects: Romanians were absent from the Renaissance, but were also free to develop their own culture, one of "measure and harmony". Pușcariu was to become the first president of the Romanian Orthodox Brotherhood, founded at Cluj in 1933. At its Congress in 1937, he repeated the claim that "our Orthodoxy is our only criterion for differentiation, for we are the only Latin people of the Orthodox faith". "Istoria literaturii...", "very popular with students and men of culture", and heavily influenced by Iorga, made a point of discovering or reclaiming early contributions to fine writing in the medieval principalities. According to literary historian Eugen Negrici, this effort was unconvincing: "The aesthetic gamble is a meek one, and [Pușcariu's] critical insights and interpretative newness are both frail. [...] However, the imposing illustrations and the openness [...] toward other forms of ancient art (architecture, painting, embroidery, miniatures, etc.) are not without consequences. Such rich and motley environs become a resonance box for the hardly perceptible sound of an actual literature. We may now fool ourselves that this literature is one of force and consistency".

paragraph: An anti-Semitic campaign swept Romanian universities in the wake of World War I. In this context, at the time the 1920-1921 school year opened, Pușcariu expressed his concern that Jews were disproportionately represented in the Medicine and Law faculties. He suggested they congregated toward those subjects because of surer and more profitable career prospects, given the lack of doctors, administrators and magistrates in Romania's newly acquired provinces. A "numerus clausus" was enacted in Hungary in September 1920, leading to a surge in Hungarian Jewish enrollment at Cluj. Prompted by the medical faculty's leadership, the university senate discussed introduction of a similar policy. In early 1921, students, later joined by cultural figures, began demanding that sociologist Eugen Ehrlich be fired from his professorship at Cernăuți. Ehrlich was a Jew who had converted to Catholicism, but the primary motivating factor in his firing appears to have been a campaign to fill teaching posts with ethnic Romanians. Ehrlich, who was rector in 1906-1907, had been instrumental in Pușcariu's being hired at the university. However, no one intervened on his behalf; not even Pușcariu tried to stop his benefactor's dismissal.

paragraph: By 1922-1923, as a nationalist, anti-democratic and anti-Semitic student movement centered around Corneliu Zelea Codreanu gained ascendancy, he was not at the forefront of its radical promoters, but rather figured among a group of moderate, respectable academic supporters who countenanced the agitators and lent them an air of general acceptance. In March 1923, he wrote an article applauding the 15,000 student movement participants; praising the cohesion they showed, rare for Romania, he claimed they represented "a healthy and spontaneous reaction of the national preservation instinct". Addressing students from Bukovina, he called the "numerus clausus" something all those who wished the country well would endorse, for "in our country [which we] gained with so many sacrifices, we no longer have air to breathe; the invasion of the foreign element stifles us, chokes us".

paragraph: Section::::Biography.:Museum of the Romanian Language.

paragraph: From around 1922, Pușcariu approached various intellectuals and politicians with the goal of creating new institutions for the preservation of cultural identity. With Vintilă Brătianu and Nistor, he set up the Brătianu Foundation, which financed a network of summer schools for adult education. With Iorga's assistance, Pușcariu established the Museum of the Romanian Language, a research institute he had conceived in early 1917, while on the front. The large group of collaborators and students who advanced the language as an academic discipline came to be known as the Cluj School of linguistics. Rather than confine himself to a narrow field, Pușcariu incorporated linguistics, history, sociology and even literature into his studies, constantly referring to research in other disciplines. He introduced Romanian linguistics to the theories of Meyer-Lübke, particularly as they related to the form of Latin that underpins the language; to Matteo Bartoli's ideas about the isolated and peripheral position of the language; and to Jules Gilliéron's dialectological notions. In terms of Romanian scholars, he incorporated the archaeological findings of Vasile Pârvan, as well as the sociological and folkloric studies of Simion Mehedinți and Romulus Vuia. His respect for their opinions led him to draw upon the work of Densusianu, Candrea, Constantin C. Giurescu, Iorgu Iordan, Alexandru Rosetti, Alexandru Graur and others. He had over eight hundred articles and numerous books to his name. In 1930, he helped organize a Folklore Archive within the museum building; led by Ion Mușlea, this was the country's first institution dedicated exclusively to the study of its folklore tradition.

paragraph: The museum, associated with Cluj University (soon renamed after King Ferdinand), had as its goals the spread of popular interest in studying and cultivating the Romanian language, the training of Romanian philologists and the publication of monographs, special dictionaries, glossaries and bibliographies. In 1906, following earlier attempts by August Treboniu Laurian, I. C. Massim, Bogdan Petriceicu Hasdeu and Alexandru Philippide, the Romanian Academy assigned Pușcariu the task of writing a "Dictionary of the Romanian Language", with the latter two personally giving him their notes. The museum ended up being the nerve center of the project, headed by Constantin Lacea and Theodor Capidan, who in turn were assisted by numerous other linguists in different stages. Lexical and etymological notes were presented in weekly meetings and later published in the museum's "Dacoromania" magazine, and in this way, practically all active members of the museum contributed to the "Dictionary". Pușcariu and his team worked for 43 years, until 1948, completing some 60,000 definitions across over 3,000 pages covering up to the letter "L".

paragraph: The museum's second great project was a "Romanian Linguistic Atlas", conceived and led by Pușcariu but principally executed by two of his associates, Sever Pop and Emil Petrovici. The pair prepared fieldwork in 398 localities, undertook the work between 1930 and 1938, thereafter drawing the maps. By 1943, there had appeared four volumes encompassing Pop's research and three from Petrovici, as well as a volume on dialect texts.

paragraph: Finally, "Dacoromania" appeared from 1921 to 1948, in eleven enormous volumes totaling some 9,000 pages. The magazine contained studies, articles, notes and reviews, mainly on linguistics (lexicology, dialectology, linguistic geography, language history, onomastics, general linguistics, grammar, phonetics and phonology) and philology, as well as research on history and literary criticism, cultural history and folklore. Each edition included a bibliography that systematically recorded writings on linguistics, philology, folklore, ethnography and literature, connected to Romanian language, culture and literature, both domestically and abroad. Three generations of scholars worked on the magazine, with most articles presented at weekly meetings. Pușcariu, in an obituary for Nicolae Drăganu, commented on these sessions' usefulness, noting how the members would benefit from constructive criticism, "sometimes pointed, mainly intelligent, but never bitter, for the critical spirit never originated from a pleasure to destroy, but from a desire to complete, while the joy in another's discovery was always greater than the temptation to persist in a mistake".

paragraph: Section::::Biography.:Iron Guard and Berlin Institute creation.

paragraph: During the mid 1930s, Pușcariu became a manifest supporter of Codreanu's semi-legal fascist movement, the Iron Guard (or "Legionary Movement"). Records tend to show that he did not formally register with the Guard itself, although his name appears among the card-carrying members of the Guard's political front, the "Everything for the Country" party. He also signed his name to a list of intellectuals who "believed in Legionary victory". On the occasion, he noted that the Guard had been the surest way of countering a "Jewish movement" at university, but also professed his admiration for Codreanu's "sincere religiosity" and "virtue". A contributor to the Guardist magazine, "Buna Vestire", he added his voice to the campaign against modernist literature and "Jewish influence" in Romanian letters. The Nazi German consul in Cluj noted that Pușcariu's "decidedly right-wing orientation" may have prevented his obtaining the rectorate or even a post in the academic senate at the latest university elections.

paragraph: A year into World War II, Romania ceded Northern Transylvania to Hungary, as a result of the Nazi-mediated Second Vienna Award. The political crisis originating from this event also had the unlikely consequence of bringing the Iron Guard to power, producing the "National Legionary State". Slightly earlier, in August 1940, Pușcariu had proposed the founding of the Berlin-headquartered Romanian Institute in Germany, becoming its first president and serving until 1943. The purpose of this body was to counter Hungarian propaganda, particularly as related to Northern Transylvania.

paragraph: Pușcariu, who made generous financial contributions to the Guard's coffers, based his hiring at the institute on whether applicants belonged to the movement, and according to one of his employees there, was a member of the Guard's senate. Grigore Manoilescu, a prominent Iron Guard member who became the institute's director, was also Pușcariu's son-in-law; Maximilian Hacman, former rector at Cernăuți, was an old friend; among the younger hires was Constantin Noica. The order for establishing the institute came on August 16—still during King Carol II's National Renaissance Front regime—from the Foreign Ministry, led by Grigore's brother Mihail Manoilescu. Meanwhile, Pușcariu, as a symbol of continuity, was offered a renewed mandate as rector of the Cluj University, which had moved to Sibiu due to the Vienna Award; he accepted and took office in October. Upon relocating to Berlin, he delegated his powers to a philologist colleague, Alexe Procopovici, and later to Iuliu Hațieganu.

paragraph: Pușcariu's institute was headquartered in a 26-room building in western Berlin, endowed with furniture of the highest quality ordered by Pușcariu and hosting large receptions attended by politicians and cultural figures. For instance, Education Minister Bernhard Rust paid a visit lasting over six hours in July 1942. Pușcariu held forth on the topic of Romanians' continuous presence in the Danubian space, particularly in Transylvania, and according to an internal memorandum, the visit ended with "exceptionally cordial" remarks toward his country. Pușcariu, in writings and interviews, made flattering remarks about the Nazi regime, calling it "a new chapter in world history" and "a new world, a new era in the life of the German state". Nazi Party figures were invited to receptions, including one in 1941 to commemorate the deaths of Ion Moța and Vasile Marin.

paragraph: Section::::Biography.:Clashing with Antonescu.

paragraph: Meanwhile, Pușcariu undertook to spread knowledge of Romania and its culture in Germany. The institute was subordinate to the Romanian Propaganda Ministry, and as early as 1931, Pușcariu had written an article expressing his concern at the fact that Romania's external propaganda was much weaker than that of its neighbors. He sought to have Romanian works staged in Germany, succeeding, for instance, in having Sabin Drăgoi's opera "Năpasta" and George Ciprian's play "The Man and His Mule" presented in Elbing in late 1942. In 1940, it was known that Romania did not enjoy a very positive image in Germany, with the country's consul in Cologne noting that its inhabitants were seen as "gypsies or at best Balkan people, with very primitive habits". Pușcariu attempted to change this through numerous articles appearing in speciality publications that he was able to have printed due to his connections in Germany. The propaganda books and articles that came out under Pușcariu's supervision intended to show Germans that Romanians were an Aryan people, that Romania deserved to win back its lost territories thanks to its alliance with Germany, that Russians were a communist people desiring to use Bessarabia as a beachhead to attack the rest of Europe, while Romanians had been anti-communist since the Hungarian–Romanian War began in 1918 and viewed the disputed province as a line of defense.

paragraph: He made similar arguments in "Basarabia", an ample 1941 article in "Revista Fundațiilor Regale" journal that chronicled the province's history from antiquity until its return to Romania during Operation Barbarossa. Expounding on what he saw as Imperial Russian neglect and contempt for the Bessarabia Governorate, he contrasted this with "the land rendered arable by the hard-working arms" of Romanians. Pușcariu also brought up the 271 AD withdrawal of the Roman army south of the Danube, which left the agricultural population of Roman Dacia vulnerable to barbarian attack, comparing it with the previous year's departure of the Romanian Army from Bessarabia and subsequent Soviet occupation. He suggested that the 3rd century barbarians were "surely not more inhuman than the Bolsheviks who overran Bessarabia in 1940". As an old adherent of "Sămănătorism", Pușcariu strongly promoted the peasant as a symbol of Romanianism. He disseminated photographs of ordinary people from Bukovina, made unrealized plans for books on Romanian art and investigated the possibility of founding or reactivating Romanian language programs at a number of leading German universities. For his activities, he was awarded the Order of the German Eagle.

paragraph: In Romania, Pușcariu's Berlin activity was not viewed in so favorable a light. As early as October 1940, the Education and Culture Ministries began to complain of Pușcariu's "dictatorial" powers in hiring personnel, but were overruled by General Ion Antonescu, the country's "Conducător", in December. The following February, financial issues appeared, with an investigation sought by Mihai Antonescu into the reportedly exorbitant sums being spent by the institute. Pușcariu ended up losing his rector's position at Sibiu and was accused of carrying on a months' long campaign against Ion Antonescu following the removal of the Guard from power as a result of the Legionnaires' rebellion. He often expressed the view that Heinrich Himmler would install the Guard back in power, and that the latter would then depose Antonescu.

paragraph: In 1941-1942, the institute received just over a third of the 15 million lei budgeted; a half for 1942-1943; but zero of the 10 million in 1943. These moves were due not only to Pușcariu's Guard background, but also to his political maneuvers that raised the question of the institute being shut down. The budget cuts were a signal for him to resign and return to Romania. Although for a time he was able to finance the institute out of his salary at the University of Berlin, as well as—it appears—another, unknown source, he did ultimately depart in mid-1943. Nevertheless, Pușcariu gave formal approval to Antonescu's core policies, including Romania's war on the Eastern Front.

paragraph: Section::::Biography.:Final years.

paragraph: A member of the Permanent Committee of Linguists, Pușcariu was admitted to the Saxonian Academy of Sciences and Humanities in 1936 and in 1939 became the second Romanian, after Dimitrie Cantemir, to join the Prussian Academy of Sciences. In addition to his activity as a propagandist, he worked on his definitive tract of sociolinguistics, "Limba română" ("The Romanian Language"), put out by Editura Fundațiilor Regale. According to philologist Pompiliu Constantinescu, the work exceeded "the narrow bounds of specialization", turning the historical development of language and into the ethnographic "mirror" of Romanian culture and civilization. "Limba română" broke ground in the professional study of the Romanian lexis, with a phonaesthetic retrospective on the national poet Mihai Eminescu and a sociological analysis of neologisms.

paragraph: In September 1944, following the King Michael Coup and the country's changeover to the Allies, the left-leaning Romanian Writers' Society expelled Pușcariu from its ranks, thus signaling his marginalization. In October, a decree compelled Pușcariu to retire, including from the Museum he had led for a quarter century. The same month, the Communist Party press began targeting Pușcariu for his political affiliations: "România Liberă" published an article denouncing him as a traitor, while "Contemporanul" included him on a list of "war criminals not yet on trial", a category also including Ion Petrovici and Gheorghe I. Brătianu. This opened the way to further attacks in the Communist press, where terms such as "fascist" and "enemy of the people" were used to target the linguist.

paragraph: Late that December, Pușcariu suffered a stroke that left him unable to use his right hand and forced him to learn to write with his left. During his remaining three years, he continued to be active in writing his memoirs and working on the dictionary project. In January 1948, as the Romanian royal family prepared to leave the country permanently following the establishment of a Communist regime, he was sent an invitation to leave his residence in Bran and join them in exile. However, he refused, stating he wished to remain in his native country. Reportedly, he was only spared imprisonment by the fact of his partial paralysis. He had been placed on trial by the new regime but not yet sentenced when he died in Bran in May 1948, of heart failure.

paragraph: Two days later, he was buried in Brașov's Groaveri Cemetery; Alexandru Lapedatu spoke on behalf of the Academy, later that year praising his memory at its general meeting. In November, the self-exiled writer Mircea Eliade eulogized him: "Almost all the work done in Romanian philology over the last twenty-five years is thanks to him. He organized the University of Cluj, with its admirable Museum of the Romanian Language; he founded "Daco-Romania" magazine and strove to establish the Folklore Archive. Sextil Pușcariu believed, as did Lucian Blaga's generation, in a major destiny for Romanian spirituality".

paragraph: Section::::Legacy.

paragraph: Sextil Pușcariu's vacant seat at the Academy was taken up by literary historian George Călinescu, in May 1948. For the first two decades after his death, linguists largely avoided using Pușcariu's work in their publications. Dumitru Macrea cited him as early as 1956, followed by Romulus Todoran and, later, Emil Petrovici. However, other collaborators, many of them facing their own difficulties with the regime, did not bring up their former mentor; these included Capidan and Lacea, as well as George Giuglea and Silviu Dragomir. Work on the dictionary was moved to Bucharest, while the museum and "Dacoromania" were disbanded. There was a colloquium held about his life at the Brașov County Museum in 1977, to mark the centenary of his birth. His reputation did not fully revive until after the Romanian Revolution of 1989, with his rehabilitation embodied by an international conference held at Cluj-Napoca in 1998. For the community of Romanians living in exile from the communist regime, Pușcariu served as a symbol of refusal to serve the new authorities, and in this spirit, Alphonse Juilland published a series of "Cahiers Sextil Pușcariu" in Western Europe and in the United States.

paragraph: He married Leonora Maria Dima in 1905, and the couple had three children. She had studied music in Brașov; her father, a mathematics teacher at Pușcariu's high school, was the elder brother of composer Gheorghe Dima. Her death in September 1944 deeply affected him. His daughter Lia Pușcariu Manoilescu (1907-1965) was a linguist, as was his granddaughter Magdalena Vulpe (1936-2003), the daughter of Grigore Manoilescu. Vulpe, drawing on manuscripts left in the family vault at Bran, published four volumes of his memoirs: "Călare pe două veacuri" (1968), "Brașovul de altădată" (1977), "Memorii" (1978) and "Sextil Pușcariu. Spița unui neam din Ardeal" (1998). The Museum of the Romanian Language ultimately evolved into the Romanian Academy's Sextil Pușcariu Institute of Linguistics and Literary History, which has borne his name since 1990. There are streets named after Pușcariu in Bran, Cluj-Napoca, Oradea and Timișoara, as well as a high school in Bran, and his former home in the village center is preserved as a museum.

paragraph: Section::::References.

paragraph: BULLET::::- Mioara Avram, "O lexicografă de neuitat: Lia Pușcariu Manoilescu (1907-1965)", in "Dacoromania", serie nouă, III–IV, 1998–1999, Cluj-Napoca, p. 191-200

paragraph: BULLET::::- Lucian Boia, "Capcanele istoriei. Elita intelectuală românească între 1930 şi 1950". Ed. Humanitas, Bucharest, 2012,

paragraph: BULLET::::- Pompiliu Constantinescu, "Eseuri critice". Casa Școalelor, Bucharest, 1947

paragraph: BULLET::::- Ștefan Damian, "Sextil Pușcariu sul fronte italiano della Prima guerra mondiale", in "Transylvanian Review", nr. 2/2007, Cluj-Napoca, p. 107-121

paragraph: BULLET::::- Elisabeta Faiciuc, "Sextil Pușcariu (1877-1948): biobibliografie". Ed. Clusium, Cluj-Napoca, 2000,

paragraph: BULLET::::- Marin Florea, "Femei - Medici și farmaciști din familia Pușcariu", in "Clujul Medical", nr. 85, vol. 4, 2012, Cluj-Napoca, p. 663-66

paragraph: BULLET::::- Gh. Lazarovici, D. Alicu, C. Pop, I. Hica, P. Iambor, Şt. Matei, E. Glodaru, I. Ciupea, Gh. Bodea, "Cluj-Napoca – Inima Transilvaniei". Ed. Studia, Cluj-Napoca, 1997,

paragraph: BULLET::::- Irina Livezeanu, "Cultural Politics in Greater Romania". Cornell University Press, Ithaca, 2000,

paragraph: BULLET::::- Paul E. Michelson, "Ion I. Nistor in Romanian Politics, Scholarship, and Culture, 1919-1933", in "Codrul Cosminului", Nr. 1/2011, p. 117-148

paragraph: BULLET::::- Lucian Nastasă, "Antisemitismul universitar în România (1919-1939)". Ed. Institutului pentru Studierea Problemelor Minorităţilor Naţionale, Cluj-Napoca, 2011,

paragraph: BULLET::::- Irina Nastasă-Matei, "Emil Cioran în peregrinatio academica, 1933-1945", in "Anuarul Institutului de Istorie 'George Bariţiu' - Series Historica", Nr. LI (2012), p. 241-253

paragraph: BULLET::::- Alexandru Niculescu, "Sextil Pușcariu – un simbol al demnității transilvane", in "Dacoromania", serie nouă, III–IV, 1998–1999, Cluj-Napoca, p. 187-190

paragraph: BULLET::::- Daniela Olărescu, "Sextil Puşcariu – preşedintele Institutului român din Berlin: un subiect tabu?", in "Revista Arhivelor", year LXXXVI (2009), nr. 1, p. 175-186

paragraph: BULLET::::- Z. Ornea,

paragraph: BULLET::::- "Anii treizeci. Extrema dreaptă românească". Ed. Fundaţiei Culturale Române, Bucharest, 1995,

paragraph: BULLET::::- "Junimea şi junimismul", vol. I, Ed. Minerva. Bucharest, 1998,

description: Romanian diplomat and academic

wikidata_label: Sextil Pușcariu

wikipedia_title: Sextil Pușcariu


text:
governor
Sagami province
Mikawa province
Kazusa province
vice-envoy
Tang dynasty
Fujiwara no Tamaro
Shikibu-shō
Fujiwara no Yoshitsugu
Ōtomo no Yakamochi
Saeki no Imaemishi
daijō-daijin
Fujiwara no Nakamaro
Dazaifu
Hitachi province
Dōkyō
kugyō
sangi
Empress Shōtoku
Fujiwara no Nagate
Emperor Kōnin
chūnagon
dainagon
daijō-kan
udaijin
Ōnakatomi no Kiyomaro
naidaijin
Fujiwara no Uona
Ministry of the Center
Mononobe
Ason
cursive script
clerical script
kanshi
Ōmi no Mifune
Keikokushū
public library
Isonokami no Otomaro

paragraph: Isonokami no Yakatsugu

paragraph: Section::::Life.

paragraph: In 751, Yakatsugu was promoted from to and appointed . In 757, he was promoted to and appointed governor of Sagami province, in 759 the governor of Mikawa province, and in 761 the governor of Kazusa province. In 761 he was also appointed vice-envoy to Tang dynasty China, but in the next year was replaced by Fujiwara no Tamaro without making the voyage over. In 763, he was appointed vice-minister in the Shikibu-shō.

paragraph: Yakatsugu plotted with Fujiwara no Yoshitsugu, Ōtomo no Yakamochi, and Saeki no Imaemishi to overthrow the "daijō-daijin" and power of the day, Fujiwara no Nakamaro, but their plot was discovered. In 764, Yakatsugu was demoted to an assistant minister in the Dazaifu — until nine months later, when Nakamaro led his own failed rebellion. Yakatsugu was rehabilitated, promoted to , and made governor of Hitachi province.

paragraph: Under Dōkyō's ensuing government, Yakatsugu was steadily promoted, rising in 765 to and , and joining the ranks of the "kugyō" with a promotion to "sangi" in the next year, 766. Later that year, he was promoted to , and in 768 to .

paragraph: Upon the death of Empress Shōtoku in 770, Yakatsugu aligned with Fujiwara no Nagate in supporting the future Emperor Kōnin as her successor. The appreciative new emperor continued to value him, and Yakatsugu was promoted to "chūnagon" in 771 and "dainagon" in 780, making him the third highest ranking figure in the "daijō-kan" after "udaijin" Ōnakatomi no Kiyomaro and "naidaijin" Fujiwara no Uona. During this period, he also held positions as head of the Dazaifu, "shikibu-sho", Ministry of the Center, and Crown Prince's Quarters. In 775, he reclaimed his family's old name of Mononobe no Ason, but in 779 he changed it back to Isonokami, now as .

paragraph: In 781 Yakatsugu was promoted to , but died two months later. He was posthumously awarded the rank of .

paragraph: Section::::Personality.

paragraph: Intelligent and quick on the uptake, Yakatsugu also possessed a fine appearance. His speech and behavior were calm and elegant.

paragraph: A great lover of the Confucian classics and historical texts, he was familiar with a wide variety of books. He also liked to write, and was proficient in both cursive script and clerical script. He wrote "kanshi", and was considered a leading scholar of his day along with Ōmi no Mifune. His works are included in the "Keikokushū".

paragraph: He was also versed in Buddhism, and wrote and on the subject. He built a temple called on his former residence, and in a corner of the complex he established a library called . Here he made various texts available to the public, focusing primarily on non-Buddhist works. This is believed to have been Japan's first public library.

paragraph: Section::::Genealogy.

paragraph: BULLET::::- Father: Isonokami no Otomaro

paragraph: BULLET::::- Mother: Unknown

paragraph: BULLET::::- Wife: Unknown

paragraph: BULLET::::- Son:

paragraph: BULLET::::- Daughter: wife of

description: Japanese noble

wikidata_label: Isonokami no Yakatsugu

wikipedia_title: Isonokami no Yakatsugu


text:
Beaugency
Grand Chamberlain of France
Provence
Duke of Longueville
battle of the Spurs
Thérouanne
Catherine of Aragon
Tower of London
battle of Flodden
Jane Popincourt
Mary Tudor
Louis XII of France
Johanna von Hachberg-Sausenberg
Philip of Hochberg
Claude
peer of France
Louis II
Marie of Lorraine (Mary of Guise)
Jacqueline de Rohan
Léonor d'Orléans, duc de Longueville
Francoise d'Orléans
Philippe, Duke of Nemours

categories: Constables of France,Dukes of Longueville,1516 deaths,1480 births

paragraph: Louis I d'Orléans, duc de Longueville

paragraph: Louis I d'Orléans, Duke of Longueville (1480 – Beaugency, 1 August 1516), was a French aristocrat and general, Grand Chamberlain of France and governor of the Provence.

paragraph: He was the second son of François I, Duke of Longueville and Agnes of Savoy. He succeeded his elder brother François II in 1512.

paragraph: He became Duke of Longueville, Count of Montgommery, Count of Tancarville, Prince of Châlet-Aillon, Marquis of Rothelin and viscount of Abberville.

paragraph: He was taken prisoner by the English at the battle of the Spurs when he attempted to bring relief to the siege of Thérouanne on 16 August 1513, and sent to Catherine of Aragon. At first she lodged him in the Tower of London while she dealt with the Scottish invasion and the battle of Flodden. Longueville was treated very well in England. He began a relationship with Jane Popincourt and was used as a supplementary ambassador in arranging the marriage of Mary Tudor and Louis XII of France, as part of a peace treaty with France.

paragraph: Louis married in 1504, Johanna von Hachberg-Sausenberg ( –1543), daughter of Philip of Hochberg.br

paragraph: They had four children:

paragraph: BULLET::::- Claude (1508 – November 9, 1524), Duke of Longueville and peer of France

paragraph: BULLET::::- Louis II (1510 – June 9, 1537), married Marie of Lorraine (Mary of Guise), succeeded his brother

paragraph: BULLET::::- François (1513–1548), marquis of Rothelin, married Jacqueline de Rohan and had issue: Léonor d'Orléans, duc de Longueville, and Francoise d'Orléans.

paragraph: BULLET::::- Charlotte (1512–1549), "Mademoiselle de Longueville" prior to her marriage to Philippe, Duke of Nemours

description: French general

wikidata_label: Louis I d'Orléans, Duke of Longueville

wikipedia_title: Louis I d'Orléans, duc de Longueville


text:
Serbia
Banja Luka
Yugoslavia
Bosnia and Herzegovina
Marijan Beneš
Socialist Republic of Serbia
war in Yugoslavia
Dvorana sportova
Zagreb
Croatia
Serbian diaspora in Germany
RTV BN

categories: Living people,Bosnia and Herzegovina pop-folk singers,Yugoslav female singers,Bosnia and Herzegovina female singers

image: 512px-Милена_Плавшић.JPG

paragraph: Milena Plavšić

paragraph: Milena Plavšić () is a Serbian folk singer. Among her hits are "Ti ne znaš a ja te volim", "Pisma ću tvoja čuvati", "Ko će da me sakrije od kiše", "Jaka žena" and her interpretation of "Banja Luka".

paragraph: Section::::Biography.

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

paragraph: Plavšić was born into a poor, patriarchal, working family, in the vicinity of Banja Luka, Yugoslavia (modern Bosnia and Herzegovina). She spent her childhood in a mountain village three kilometers from Banja Luka, where she attended school. Although her parents opposed her becoming a singer, she pursued her dream.

paragraph: Section::::Biography.:Career.

paragraph: She began her professional career in 1981 when she released the song "Ti ne znaš a ja te volim" ("You do not know, but I love you"), written by famous boxer Marijan Beneš. The same year she released a slightly revised version of the popular song "Banja Luka", which became popular. In 1987 she won the annual showbiz award of the Socialist Republic of Serbia. Just before the start of the war in Yugoslavia, in 1991, she performed in Dvorana sportova, Zagreb, Croatia. In 1993/4, she held a large concert for the Serbian diaspora in Germany.

paragraph: At present, her CDs are produced by RTV BN.

paragraph: Section::::Personal life.

paragraph: Plavšić lost her parents and brother early in life, and was never able to conceive (have children). She dedicated the song "Poželi nam majko sreću" ("Mother, wish us luck") and for her brother, and for all her troubles in life she dedicated the song "Jaka žena" ("Strong woman").

paragraph: Section::::References.

paragraph: Category:Yugoslav pop-folk singers]]

description: Serbian singer

wikidata_label: Milena Plavšić

wikipedia_title: Milena Plavšić


text:
Belgian
Union Chimique Belge

categories: People from Brussels,Belgian businesspeople,1879 births,1955 deaths

paragraph: Emmanuel Janssen

paragraph: Emmanuel Janssen (1879-1955) was a Belgian businessman, who founded the Union Chimique Belge (UCB) in Brussels, Belgium, in 1928. UCB was one of the first companies in the world to distill ammonia from coal.

description: businessman

wikidata_label: Emmanuel Janssen

wikipedia_title: Emmanuel Janssen


text: Brussels

text: Belgian

text: Charles-Emmanuel Janssen

text: Walloon Brabant

text: Maya Boël

text: Pol Boël

text: Thérèse Bracht

text: Universite Libre de Bruxelles

text: civil engineer

text: nuclear physics

text: Euratom

text: Harvard Business School

text: United States

text: MBA

text: Union Chimique Belge

text: Solvay Business School

text: Trilateral Commission

text: European Round Table of Industrialists

text: Bilderberg Group

text: European Round Table of Industrialists

categories: Members of the Steering Committee of the Bilderberg Group,Living people,Belgian businesspeople,1936 births,Harvard Business School alumni,Free University of Brussels alumni

paragraph: Daniel Janssen

paragraph: Daniel Janssen (born 15 April 1936 in Brussels) is a Belgian businessman.

paragraph: Section::::Biography.

paragraph: He is a son of Charles-Emmanuel Janssen, liberal deputy of Walloon Brabant, and Maya Boël, daughter of the Vice-president of the Senate Pol Boël. He married Thérèse Bracht, and together they have three children, Charles-Antoine Janssen (b. 1971), Nicolas Janssen (b. 1974), and Edouard Janssen (b. 1978).

paragraph: He started school at the Hamaïde School of Brussels (1940 - 1945), continued at the Athenaeum Robert Catteau of Brussels (1945 to 1953). From 1953 until 1958, he then studied at the polytechnic faculty of the Universite Libre de Bruxelles (ULB) where he graduates as civil engineer in nuclear physics. From 1959 until 1960, he worked at the Cabinet of Commissioner De Groote at Euratom, after which he studied at Harvard Business School in the United States from 1960 to 1962, where he obtains an MBA.

paragraph: From 1962 to 1984 he worked at the Union Chimique Belge as an engineer, then Director of R&D, and then President of the Executive Committee from 1975 to 1984. He was Vice-President of the Board of Directors. From 1986 onwards, he was successively CEO and Chairman of Solvay.

paragraph: During his career, he was Chairman of the Federation des Entreprises de Belgique and of CEFIC. He served on various Advisory Boards (including Fortis). He offered a Chair for Corporate Social Responsibility to the Solvay Business School. In May 2006 he retired. He is a member of the Executive Committee of the Trilateral Commission and a member of the European Round Table of Industrialists (ERT). He is a former member of the Steering Committee of the Bilderberg Group.

paragraph: Section::::See also.

paragraph: BULLET::::- European Round Table of Industrialists (ERT)

paragraph: Section::::External links.

paragraph: BULLET::::- Decoration Awarding Ceremony of Baron Daniel Janssen (Japan)

description: Belgian businessman

wikidata_label: Daniel Janssen

wikipedia_title: Daniel Janssen


text:
Brussels
Belgian
Walloon Brabant
Emmanuel Janssen
Paule Van Parys
Marie-Anne Boël
Pol Boël
Paul-Emmanuel Janssen
Daniel Janssen
Janssen D.

categories: 1985 deaths,Belgian businesspeople,1907 births

paragraph: Charles-Emmanuel Janssen

paragraph: Charles Jean Emmanuel Janssen (Brussels, 19 March 1907-11 June 1985) was a Belgian liberal deputy of Walloon Brabant. He was the son of Emmanuel Janssen and Paule Van Parys. He was married to Marie-Anne Boël, daughter of the Vice-president of the Belgian Senate Pol Boël. Together they had three children: Paul-Emmanuel Janssen, Eric Janssen, and Daniel Janssen.

paragraph: Section::::Sources.

paragraph: BULLET::::- Van Molle, P., "Het Belgisch parlement 1894-1969", Gent, Erasmus, 1969, p. 196.

paragraph: BULLET::::- Pourquoi Pas ?, 9 March 1956 en 5 April 1957.

paragraph: BULLET::::- Janssen D. (article of son mentions father)

description: Walloon Brabant deputy

wikidata_label: Charles-Emmanuel Janssen

wikipedia_title: Charles-Emmanuel Janssen


text: printmaker

text: Duchy of Lorraine

text: France

text: etching

text: drawing

text: Northern Mannerist

text: old master print

text: Nancy

text: Dukes of Lorraine

text: Bassigny

text: Crispijn de Passe

text: Cologne

text: valet

text: royal entry

text: Marguerite Gonzaga

text: Henri

text: Charles

text: Virgil

text: Mantua

text: papier-maché

text: putti

text: Ovid

text: apothecary

text: dowry

text: Claude Deruet

text: Northern Mannerism

text: Bartholomeus Spranger

text: Hendrik Goltzius

text: Federico Barocci

text: Ventura Salimbeni

text: engraving

text: School of Fontainebleau

text: A. Hyatt Mayor

text: Anthony Blunt

text: Parmigianino

text: Ancient Roman

text: masque

text: stippling

text: hurdy-gurdy

text: genre works

text: Jacques Callot

text: Friedrich Brentel

text: Matthias Merian

text: engraving

text: drypoint

text: intaglio

text: Strasbourg

text: John Evelyn

text: Cassiano dal Pozzo

text: Twelve Apostles

text: Three Magi

text: hurdy-gurdy

text: capriccio

text: Hermitage Museum

text: Karlsruhe

text: Walters Art Museum

text: Baltimore

text: Michael Straight

text: catalogue raisonné

text: Louvre

text: Crispijn de Passe

text: Gunpowder Plot

text: Cologne

text: Sotheby's

text: Metropolitan Museum of Art

text: Balthasar Gerbier

text: Duke of Buckingham

text: Charles I

text: Goltzius

text: Michel de Marolles

text: Pierre-Jean Mariette

text: A. P. F. Robert-Dumesnil

text: Ludwig Burchard

text: Max Dvořák

text: Michelangelo

text: Tintoretto

text: El Greco

text: hermaphrodite

text: Otto Benesch

text: Albertina

text: Vienna

text: Des Moines

text: Boston

text: New York

text: Boston Museum of Fine Arts

text: British Museum

text: Rijksmuseum Amsterdam

text: Statens Museum, Copenhagen

text: Carnegie Museum of Art

text: Pittsburgh

text: Rennes

text: Blunt, Anthony

text: Grove Art

text: subscription required

text: The Burlington Magazine

text: JSTOR

text: google books

text: Article from Carnegie Museums magazine

categories: 1616 deaths,People from Nancy, France,People from Lorraine,Court painters,French etchers,Mannerist artists,1570s births

paragraph: Jacques Bellange

paragraph: Jacques Bellange (c. 1575–1616) was an artist and printmaker from the Duchy of Lorraine (then independent but now part of France) whose etchings and some drawings are his only securely identified works today. They are among the most striking Northern Mannerist old master prints, mostly on Catholic religious subjects, and with a highly individual style. He worked for fourteen years in the capital, Nancy as court painter to two Dukes of Lorraine, before dying at the age of about forty, and almost all his prints were produced in the three or four years before his death. None of his paintings are known to have survived, but the prints have been known to collectors since shortly after his death, though they were out of critical favour for most of this period. In the 20th century they have been much more highly regarded, although Bellange is still not a well-known figure.

paragraph: Section::::Life.

paragraph: Bellange's place of birth and family background are unknown, according to Griffiths and Hartley, but most French sources assume he was born in the Bassigny region, also apparently known as "Bellange", in the south of the duchy around the fortified village of La Mothe, where he is first documented in 1595. The village was completely destroyed in 1645 by French armies after a siege during their conquest of Lorraine, and no longer exists.

paragraph: He is recorded in 1595 as living "at present" in La Mothe; he had travelled to Nancy, where he took on an apprentice, and it is inferred that he must have been at least 20 to do so, hence his approximate date of birth. The complete absence of mentions in the record of his family, his rapid rise from 1602 in the court at Nancy, and his use of the title of "knight" has led to speculation that he may have been the illegitimate son of some court personage.

paragraph: After the 1595 record there is a complete gap until 1602, although the destruction of La Mothe is likely to be one reason for this. Scholars have speculated that Bellange travelled either in this period or before 1595. The connection with Crispijn de Passe in Cologne (see below) may mean that he had visited that city. In eight of Bellange's prints, his signature describes him as "eques" or "knight", but it seems clear that this title was not given by the Dukes of Lorraine. It is not impossible that he had acquired it at some other court during this period, and returned to Lorraine around 1602 with the prestige of an artist with international experience.

paragraph: He appears employed as a court painter in Nancy in 1602, and thereafter appears regularly in the court accounts until 1616, the year of his death. After completing his first commission, to paint a room in the palace, he was taken on with a salary of 400 francs in 1603, twice what any previous court painter had been paid, and given the second rank out of the five court painters, with the additional function or title of "valet de garderobe".

paragraph: Some jobs for the court attracted extra payments: in 1606 he repainted, for 1,200 francs, the "Galerie des Cerfs", the main public space of the palace, used as a law court among other things. He appears to have repeated the previous scheme of hunting scenes. In the same year he was commissioned (1,700 francs, shared) to execute, but not design, a temporary triumphal arch for the royal entry of Marguerite Gonzaga, the new wife of Henri, the heir to the duchy, who inherited upon the death of his father Charles in 1608. This was Lorraine's first classical triumphal arch, surmounted by a statue of Virgil in honour of the bride's Mantuan home. Bellange also produced a car for use in the ballet produced for the celebrations, with 12 papier-maché putti.

paragraph: In March 1608, just before the old duke's death, Bellange was given 135 francs for a trip to France to see the new royal art commissions, his only documented travel outside Lorraine. He is not recorded as working on the funeral arrangements in mid-May, so was probably still away. His largest recorded commission, for 4,000 francs in 1610, was to decorate the "Salle Neuf" of the palace with scenes from Ovid.

paragraph: In 1612 he married Claude Bergeron, the 17-year-old daughter of a prominent Nancy apothecary, with whom he had three sons. The dowry was 6,000 francs, with a promise that the Bergerons' country house would pass to the couple.

paragraph: The exact date and cause of Bellange's death in 1616 are unknown. His widow remarried another courtier in 1620 and had a further five children, living into the 1670s. She seems to have neglected her sons from her first marriage, two of whom appear to have died young; Henri, the oldest, was apprenticed in 1626 to Claude Deruet, his father's old apprentice, and was a minor painter, latterly in Paris.

paragraph: Section::::Etchings.

paragraph: It is generally agreed that 47 or 48 etchings by Bellange survive, and along with a number of drawings these are possibly all that remain of his art today. He probably branched into etching to spread his reputation beyond the rather small world of Nancy, and was successful in this.

paragraph: His style is a very personal version of the Netherlandish or Northern Mannerism of artists like Bartholomeus Spranger and Hendrik Goltzius, but using a technique derived from Italian etchers like Federico Barocci and Ventura Salimbeni rather than Netherlandish engraving. Sue Welsh Reed relates his style and technique more to the prints of the School of Fontainebleau, while to A. Hyatt Mayor he combined Italian elements "with an all-out emotion that is German and an intricate feminine elegance that is wholly French". Anthony Blunt followed a line of 20th-century criticism that saw his work as:

paragraph: the last in a long evolution of that particular type of Mannerism in which a private mystical form of religious emotion is expressed in terms which appear at first sight to be merely those of empty aristocratic elegance. The founder of this tradition was Parmigianino, who invented many of the formulas used by his successors, such as the elongation of the figures, the small heads on long necks, the sweeping draperies, the strained, nervous poses of the hands, and the sweet ecstatic smile which those of Protestant upbringing find it hard not to think of as sickly and insincere, but which incorporates a particular kind of mystical feeling.

paragraph: There are no concessions to realism in his work. Female figures predominate; most, but not the Virgin, dressed in a fantasy mixture of contemporary court fashion and antique dress. Men mostly wear fantastical versions of Ancient Roman parade uniforms mixed with Oriental elements, including some of the most elaborate footwear seen in art. His work for the court in designing costumes for masques and ballets may be an influence here, and it has been suggested that the four female "gardeners" are connected with specific costume designs. Regular special effects in his compositions include manipulation of space, and many large figures seen from behind in the foreground of works; both the Apostles and Magi sets of single figures include ones seen only from behind, with no face visible. Technically, he makes much use of stippling and burnishing to achieve effects of light and to convey texture.

paragraph: His two prints with a hurdy-gurdy man come from a very different world of genre works and realism, and the violence of the larger one was original at the time, anticipating themes to be taken up in later decades by the slightly younger Lorraine artist Jacques Callot and others.

paragraph: His first venture into etching seems to be a single self-portrait inserted into a large print of the ceremonial entry of the new Duke Henri into Nancy in 1610. The established printmaker Friedrich Brentel and his young assistant Matthias Merian—later a major producer of maps and town views—had been brought in to produce a series of prints depicting the funeral of the old Duke Charles in 1608, and the celebrations for the new duke after mourning was complete. Plate 10 of the series shows a large group of mounted courtiers as part of a procession, and it was realized in 1971 that one of the figures, and his horse, is etched in a completely different style, that can be related to Bellange's other prints. It is now generally agreed that Bellange persuaded Brentel (or vice versa) that he should portray himself. This would have been in 1611, and a bookplate that looks to be an early effort is dated 1613; after that, none of his prints are dated, although most are signed.

paragraph: Scholars have attempted a tentative chronology for the prints, essentially within the period from 1613 to 1616, based mainly on Bellange's increasing confidence and skill with the medium of etching, which was usually supplemented by a limited amount of engraving and, in a few cases, touches of drypoint. However, Griffiths and Hartley are too cautious to do so, noting that differences of technique can arise as much from the different requirements of individual plates as developing skill. Sue Welsh Reed, on the other hand, makes many comments on the assumed place of individual prints in a chronology, placing works like the "Annunciation" and "Pietá" among the last, and also seeing an increasing skill in composition as the sequence progresses.

paragraph: Bellange's widow is recorded as owning 22 of his etched plates in 1619; probably these included the 18 that were later re-issued by the Parisian publisher Jean Le Blond, who added his name to the plate. This suggests that in his lifetime, Bellange supervised the printing of impressions himself; from at least 1615 there was a printing press for intaglio copperplates (a different piece of equipment to a book press) in Nancy. Distribution of prints through a network of dealers across Europe was already becoming rather efficient. Matthias Merian, whom Bellange must have known from his visit in 1610/11, produced 11 pirate copies of Bellange prints for a publisher in Strasbourg, probably as early as 1615—a standard sign of a successful print in those days. An impression of Bellange's "Pieta" records that it was bought by John Evelyn in Rome in 1645, and Cassiano dal Pozzo had bought several Bellange prints there, and copies, by the 1650s.

paragraph: Bellange's subjects can be summarized as:

paragraph: BULLET::::- Five large prints of religious narrative subjects:"Adoration of the Magi", "Christ Carrying the Cross", "The Martyrdom of St Lucy", "Raising of Lazarus", "Three Women/Marys at the Tomb"

paragraph: BULLET::::- Smaller religious prints, with several Madonnas and Child

paragraph: BULLET::::- An incomplete set of figures of Christ, St Paul and the Twelve Apostles, several in two versions, sixteen in total

paragraph: BULLET::::- A set of three figures of the Three Magi

paragraph: BULLET::::- Four figures of female "gardeners" or "Hortulanae"

paragraph: BULLET::::- Two subjects with a hurdy-gurdy man

paragraph: BULLET::::- Two scenes from classical mythology, "The Death of Portia" and "Diana and the Hunter" (or Orion), and "Military figures outside a city", which is either a capriccio, or depicts a classical subject that is now unclear.

paragraph: Section::::Paintings.

paragraph: No firmly attributed painting by Bellange survives; all the palace decorations that were his major commissions have been destroyed. A number of easel paintings have been attributed to him, but there is little consensus among art historians on the correctness of these attributions, and the works have varying degrees of relation to the idiosyncratic style of Bellange's etchings. A "Lamentation of Christ" in the Hermitage Museum has been attributed to Bellange since the 1970s, and a related drawing is probably by Bellange, but the Hermitage canvas itself is described by Griffiths and Hartley as "a rather nasty object, with lurid flesh tones, and many have refused to believe that it could be from Bellange's hand". Other leading candidates are "Saint Francis in Ecstasy Supported by Two Angels" in Nancy, and a pair of panels of the Virgin and Angel of the Annunciation in Karlsruhe.

paragraph: To his Nancy contemporaries, Bellange must have been known mainly as a painter, but no very useful descriptions of his work survive. He is recorded as painting a number of portraits, but none are known to have survived. A "Beggar Looking Through His Hat" in the Walters Art Museum, Baltimore, which they attribute to Bellange, was donated by the former Soviet spy Michael Straight (1931–2004): "Given the secretive character of the man depicted, peering at us through a hole in his hat, the painting may have had a particular appeal for its previous owner", the museum suggests. It has been speculated that some of his prints are versions of his paintings, but there is no evidence for this, and the evidence of compositional changes made during the etching process in some prints goes against the theory.

paragraph: Section::::Drawings.

paragraph: About 80 to 100 drawings attributed to Bellange survive, though many of these would not be accepted by all authorities; there is no catalogue raisonné as yet. The concentration on religious subjects in the prints is less marked in the drawings. Only one drawing that is clearly the preparatory working drawing for an etching survives, "The Virgin and Child with the Magdalen and Saint Anne" at Yale, which has been intensively worked on and was apparently gone over with a blind (inkless) stylus to transfer the main outlines onto the plate at the start of etching. A drawing in the Louvre is of a group of background figures for another print, and many drawings are similar to the etchings but with different compositions, perhaps preliminary sketches; "they are nearly always spontaneous, swift and tense", and often mainly in wash.

paragraph: Other drawings unrelated to his etchings survive, and in 1600–1602, long before he is known to have etched himself, Bellange supplied the prolific Flemish printmaker Crispijn de Passe, best known in Britain for his print of the Gunpowder Plotters a few years later, who was then living in Cologne, with drawings for eight prints that de Passe engraved, crediting Bellange with the design ("inv." or "invenit") on the plate. Five of these were a series called "Mimicarum aliquot facetiarum icones ad habitum italicum expressi" or "Depictions of some droll witticisms, rendered in the Italian manner".

paragraph: A drawing of a single figure then described as of "Hercules" sold for the remarkable price of £542,500 at Sotheby's in 2001, and is now in the Metropolitan Museum of Art, New York, which has decided it represents "Samson".

paragraph: Section::::Reputation.

paragraph: Bellange's reputation was fairly widespread by soon after his death, presumably very largely through his prints. The imitations by Merian and others, the reprints by Le Blond in Paris, and the large numbers of prints that survive, many from plates worn by large numbers of impressions, all imply that his prints had a healthy market. Many drawings have early inscriptions attributing them to him, which are often not supported by modern scholars, suggesting that an attribution to Bellange was a desirable one to have. In 1620 Balthasar Gerbier, a leading Flemish agent for collectors like the Duke of Buckingham and Charles I, and a friend of Rubens, wrote a memorial poem for Goltzius, part of which translates as: "Italy boasts of Raphael and Michelangelo, Germany of Albrecht Dürer, France of Bellange". In another poem of 1652, from Paris, Bellange is included in a similar list of great names from art.

paragraph: By this time, however, the taste in French art for a cool and classical form of Baroque that had set in from the 1620s was already reducing the appreciation of Bellange, whose reputation continued to fall, along with that of Mannerism in general. For the same reason, there are no artists who can be seen to have been directly influenced by Bellange's style. Unlike the Dutch and Italians, French artists had no large collection of biographies until the latter part of the century, but the great print collector Michel de Marolles was aware of 47 or 48 prints by Bellange, most of which were in his collections; these would not be exactly the same as the 47 or 48 in modern works, but very largely so. By the mid-18th century, the great French authority Pierre-Jean Mariette was scornful and dismissive: "Bellange is one of those painters whose licentious manner, completely removed from a proper style, deserves great distrust. It nevertheless had its admirers, and Bellange had a great vogue. ... Several pieces by him are known, which one cannot bear to look at, so bad is their taste". Many biographical compendiums simply omitted him, even as late as the 1920s. Another judgment of 1767 was quoted with approval by A. P. F. Robert-Dumesnil in his biographical dictionary "Le Peintre-Graveur Français" (1841), complaining that Bellange's etchings had "much more bizarreness than judgment, and very little correctness". However, Robert-Dumesnil did recognise that his style had something in common with the Romantics.

paragraph: Bellange's critical rehabilitation came with a general revival of interest in Mannerism. Ludwig Burchard wrote an article about him in 1911, with somewhat cautious praise. An important lecture by the Viennese art historian Max Dvořák, "Über Greco und den Manierismus" ("On Greco and Mannerism", published 1921) focused on four artists: Michelangelo, Tintoretto, Bellange, and the almost-as-reviled El Greco. Bellange became an intellectual fashion and his work was interpreted in various ways. The German art historian Erica Tietze-Conrat pursued a Freudian interpretation: "The way in which the artist sees forms is strongly sexual, perversely sexual; and entirely genuine, since it mirrors the artist's sub-conscious. Otherwise he would never have drawn Saint John in a series of Apostles in so female a fashion...The angel of the Annunciation is a hermaphrodite, but not with mixed but with marked characteristics of either sex...". Another tradition, reflected in the quotation from Anthony Blunt above, followed Otto Benesch in placing Bellange in the context of a strain of Gothic mysticism that penetrated French Renaissance art.

paragraph: The first exhibition devoted to Bellange took place in 1931/32 at the Albertina in Vienna, followed by an American one in 1975 (Des Moines, Boston, and New York), based around the excellent collection that the Boston Museum of Fine Arts had built up over the preceding decades. In 1997 a European exhibition based on an American private collection went to the British Museum, Rijksmuseum Amsterdam and Statens Museum, Copenhagen, as well as the Carnegie Museum of Art in Pittsburgh. An exhibition was held in Rennes in 2001. Bellange has also featured prominently in exhibitions with a broader scope in the period, and there is now a catalogue raisonné of the prints by Nicole Walch, "Die Radierungen des Jacques Bellange", Munich 1971.

paragraph: Section::::References.

paragraph: BULLET::::- Blunt, Anthony, "Art and Architecture in France, 1500-1700", 2nd edn 1957, Penguin

paragraph: BULLET::::- Griffiths, Antony & Hartley, Craig, "Jacques Bellange, c. 1575-1616, Printmaker of Lorraine", British Museum Press, 1997,

paragraph: BULLET::::- Jacobson, Karen, ed. (often wrongly cat. as George Baselitz), entries by Sue Welsh Reed, "The French Renaissance in Prints", 1994, Grunwald Center, UCLA,

paragraph: BULLET::::- Sylvestre, Michel. "Bellange, Jacques." In Grove Art Online. Oxford Art Online, subscription required (accessed November 8, 2010).

paragraph: BULLET::::- Rosenberg, Pierre. "Did Jacques de Bellange Go to Italy? Notes on the Exhibition in Rennes", October 2001, The Burlington Magazine, Vol. 143, No. 1183, pp. 631–634, JSTOR

paragraph: BULLET::::- "Yale": Boorsch, Suzanne and Marciari, John (eds), "Master drawings from the Yale University Art Gallery", 2006, Yale University Press, , , google books

paragraph: Section::::External links.

paragraph: BULLET::::- Article from Carnegie Museums magazine

paragraph: BULLET::::- Images of most of Bellange's etchings from MFA Boston, plus a drawing. Note St Peter (40.132) is not unique as they claim

paragraph: BULLET::::- Prints & People: A Social History of Printed Pictures, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on and by Jacques Bellange (see index)

alias:
Jacques de Bellange
Jacques Charles de Bellange
Jacques. Bellange
Jacques Belange
Charles Bellange
Jac. Bellange
Charles de Bellange

description: Flemish-French engraver

wikidata_label: Jacques Bellange

wikipedia_title: Jacques Bellange


text:
Doukas
Greek
Epirus
John Orsini
Anna Palaiologina
Andronikos III Palaiologos
Thessaly
Ioannina
Albanians
John Kantakouzenos
Empress of Constantinople
Catherine II
Taranto
Peloponnese
Arta
Theodore Synadenos
panhypersebastos
Constantinople
Byzantine civil war of 1341–1347
despotes
Ainos
renewal of the Byzantine civil war
tsar
Stefan Uroš IV Dušan
Serbia
Greece
Simeon Uroš
Thomais
Albania
Battle of Achelous
Aetolia
Meteora

categories: Medieval child rulers,Greek people of Italian descent,Despots of Epirus,14th-century Byzantine people,14th-century rulers in Europe,1359 deaths,Rulers deposed as children,Orsini family,1328 births,Christians of the Crusades

paragraph: Nikephoros II Orsini

paragraph: Nikephoros II Orsini - Doukas (Greek: Νικηφόρος Β΄ Δούκας, "Nikēphoros II Doukas"), was the ruler of Epirus from 1335 to 1338 and from 1356 until his death in 1359.

paragraph: Section::::Life.

paragraph: Nikephoros was the son of John Orsini of Epirus and Anna Palaiologina. When his mother allegedly poisoned his father in 1335, Nikephoros II succeeded as a 7-year old child. His mother Anna assumed the regency for her young son but failed to allay the enmity of the Byzantine Emperor Andronikos III Palaiologos, who invaded and annexed the Epirote part of Thessaly in 1336 and advanced on Ioannina. The Albanians took advantage of conflict to the south to raid the Byzantine possessions in the north, but were defeated by the emperor in 1337.

paragraph: Andronikos summoned Anna to negotiate in 1338 but refused to accept her son as Byzantine vassal and installed his governors in Epirus. Keeping Anna as hostage, Andronikos arranged for the marriage between Nikephoros and Maria Kantakouzene, the daughter of his right-hand man John Kantakouzenos. However, the anti-Byzantine faction of the nobility smuggled Nikephoros out of the country and sent him to the court of the titular Empress of Constantinople Catherine II of Valois at Taranto, hoping to effect his restoration with Angevin help.

paragraph: In 1338 Catherine crossed to the Peloponnese to attend to her interests there, bringing Nikephoros with her. At Catherine's instigation the Epirotes rebelled in Arta on behalf of Nikephoros in late 1338: the rebels seized Arta and the Byzantine governor, Theodore Synadenos, and Nikephoros was crossed over into Epirus. However, Andronikos III and John Kantakouzenos swiftly subdued the rebellion and besieged Nikephoros in Thomokastron. Assuring his personal safety, John Kantakouzenos persuaded the garrison to surrender. Nikephoros was duly married to Maria Kantakouzene and was honored with the title of "panhypersebastos". Taken to Constantinople, Nikephoros remained attached to the household of Kantakouzenos during the Byzantine civil war of 1341–1347. When his father-in-law succeeded in asserting himself as Emperor John VI in 1347, Nikephoros was given the higher rank of "despotes". From 1351 he was entrusted with governing Ainos and the cities along the Hellespont.

paragraph: In late 1355, taking advantage of the renewal of the Byzantine civil war and the death of Emperor (tsar) Stefan Uroš IV Dušan of Serbia, who had conquered Epirus in the late 1340s, Nikephoros returned to Greece and rallied support. Taking advantage of the anarchy caused by the death of the Serbian governor of Thessaly, Nikephoros took over the region in Spring 1356, and advanced on Epirus. He chased out Dušan's brother Simeon Uroš (who had married Nikephoros' sister Thomais) from Arta and asserted his control over the cities of the region.

paragraph: The countryside, however, had been overrun by the Albanian clans and was effectively impossible to control. To strengthen his position and avert a Serbian reaction, Nikephoros set aside his wife Maria Kantakouzene and prepared to marry Theodora of Bulgaria, the sister of Dušan's widow Helena, who governed Serbia for her son. However, Maria was popular and her husband was forced to recall her by the Epirote nobility. Nikephoros also entered into negotiations with his brother-in-law Simeon Uroš. Soon after recalling his wife, Nikephoros was killed in 1359 while fighting against the Albanians in the Battle of Achelous in Aetolia.

paragraph: Section::::Family.

paragraph: By his marriage to Maria Kantakouzene, Nikephoros II may have had at least one son:

paragraph: BULLET::::- Manuel, who may be identical to Antony Kantakouzenos, a monk at Meteora in 1404.

wikidata_label: Nikephoros II Orsini

wikipedia_title: Nikephoros II Orsini


text: German

text: ministerialis

text: Duchy of Spoleto

text: Bavaria

text: Berthold II of Vohburg

text: Lechsgemünd

text: Mezzogiorno

text: Richard of San Germano

text: Henry VI, Holy Roman Emperor

text: Rome

text: Sicily

text: castellan

text: Rocca d'Arce

text: dean

text: Monte Cassino

text: Atenulf

text: Cassino

text: Piumarola

text: Pignetaro

text: Aquino

text: Richard, Count of Carinola

text: Roger of Andria

text: bridgehead

text: Terra di Lavoro

text: Campania

text: Markward von Annweiler

text: Caserta

text: justiciar

text: Richard of Acerra

text: Acerra

text: Fondi

text: Peter, Count of Celano

text: Walter III of Brienne

text: Frederick I of Sicily

text: Capua

text: Terracina

text: Sarno

text: William of Capparone

text: Walter of Palearia

text: chancellor

text: Genoese

text: Rome

text: Pope Innocent III

text: Salerno

text: Naples

text: Emperor Otto IV

text: Duke of Spoleto

text: Pisa

text: James of Avellino

text: Alberic of Trois-Fontaines

text: Teutonic Knights

text: Rome

text: "Annales Casinenses".

text: Norwich, John Julius

text: London

text: Cambridge University Press

categories: Counts of Italy,Teutonic Knights,12th-century births,People from Bavaria,Dukes of Spoleto

paragraph: Dipold, Count of Acerra

paragraph: Dipold (died after 1221), known in German as Diepold (or Dietpold) von Schweinspünt, was a German "ministerialis" who was raised to the Duchy of Spoleto in 1209. Of Bavarian origin, he was a reputed younger son of Berthold II of Vohburg and Adelaide of Ballenstedt. He was originally a vassal of the count of Lechsgemünd. His career in the Mezzogiorno was marked by continual raids and sieges, battles, and sacks recounted in exhaustive detail by Richard of San Germano, a monk of the abbey whose lands were especially hard hit.

paragraph: Section::::Early career.

paragraph: He accompanied Henry VI, Holy Roman Emperor, to Rome and Sicily in 1191. He was first made castellan of Rocca d'Arce. He made an agreement with the dean of Monte Cassino, Atenulf, and raised a large army. They invaded the lands of the monastery of San Germano, now renamed Cassino, taking the castles of Piumarola and Pignetaro. Dipold defeated a royalist army in pitched battle at Aquino "as a result [his] power increased." In 1191, he captured Richard, Count of Carinola, a former ally of Roger of Andria. During Henry's retreat, Dipold successfully defended the rear from a bridgehead in the Terra di Lavoro.

paragraph: In the intervening period, Dipold established a base of power in the Campania. He remained mostly on the mainland and acted as Henry's governor there. He strongly supported the regent Markward von Annweiler, but was captured by the count of Caserta. In 1195, he was designated justiciar of the Terra di Lavoro. In 1197, he captured Richard of Acerra and threw him in prison. After turning him over to the emperor, he was granted the county of Acerra. Dipold began increasing his influence through marriage alliances. He married his brother Siegfried to a daughter of the count of Fondi in 1199. He married his daughter to the count of Caserta and his son to a daughter of Peter, Count of Celano.

paragraph: Section::::Frederick's reign.

paragraph: Dipold fought against Walter III of Brienne, a claimant opposed to Henry's son and successor, Frederick I of Sicily. In 1201, Walter defeated and put to flight Dipold on 10 June at Capua. In 1204, he besieged Walter in the fortress of Terracina, but Walter broke the siege and put Dipold to flight. On 11 June 1205, he ambushed and killed Walter while the latter was besieging him at Sarno.

paragraph: In 1206, Dipold finally convinced the guardian of the young Frederick, William of Capparone, to release the boy to the hands of Walter of Palearia, the chancellor and an ally of the Germans and the Genoese. Capparone, meanwhile, maintained himself in the royal palace until Dipold came to the island and dislodged him. By 1207, Walter, however, distrusted Dipold, who had recently travelled to Rome to be released from excommunication by Pope Innocent III. The chancellor captured him, but Dipold escaped and fled to Salerno, where he entered into open war with Walter and the chancellor's brother-in-law, Peter of Celano. He sorely defeated the men of Naples, allies of Palearia, in May.

paragraph: Section::::Downfall.

paragraph: In exchange for his support, Emperor Otto IV raised Dipold to the title of "magister capitaneus totius Apuliae et Terre Laboris" and made him Duke of Spoleto between 6 or 10 February 1209. He was incapable, however, of maintaining his authority over his vast territory. In Pisa in November, it was probably he who convinced Otto to invade Sicily.

paragraph: Dipold fell out with Frederick and the Genoese. In 1218, Frederick sent James of Avellino to arrest him and he was carted back to Germany. According to Alberic of Trois-Fontaines, he was released in 1221 and joined the Teutonic Knights, living many more years. He did not return to Italy and never resurfaces in the chronicles, presumably dying soon after.

paragraph: Section::::Sources.

paragraph: BULLET::::- Pavan, Massimiliano (ed). "Dizionario Biografico degli Italiani: XL Di Fausto – Donadoni". Rome, 1991.

paragraph: BULLET::::- "Annales Casinenses". Translated by G. A. Loud.

paragraph: BULLET::::- Norwich, John Julius. "The Kingdom in the Sun 1130-1194". Longman: London, 1970.

paragraph: BULLET::::- Matthew, Donald. "The Norman Kingdom of Sicily". Cambridge University Press: 1992.

paragraph: BULLET::::- "Ryccardi di Sancto Germano Notarii Chronicon". trans. G. A. Loud.

paragraph: BULLET::::- Riezler, R. "Über die Herkunft Dipolds v. Acerra". FDG 16, 1876, 373-374.

paragraph: BULLET::::- Keupp, Jan Ulrich. "Dienst und Verdienst". "Die Ministerialen Friedrich Barbarossas und Heinrichs VI." Stuttgart: Hiersemann, 2002.

description: Italian noble

wikidata_label: Dipold, Count of Acerra

wikipedia_title: Dipold, Count of Acerra


text:
Swedish
cross-country skier
1962 FIS Nordic World Ski Championships
Zakopane
Svenska Dagbladet Gold Medal
1964 Winter Olympics
Innsbruck
Vasaloppet
Holmenkollen ski festival
Holmenkollen Medal
King Olav V
Gjermund Eggen
Bjørn Wirkola
The Swedish Radio Corporation
Åke Strömmer
2003 FIS Nordic World Ski Championships
Toini Gustafsson

categories: Holmenkollen Ski Festival winners,Olympic medalists in cross-country skiing,Medalists at the 1968 Winter Olympics,IFK Umeå skiers,Vasaloppet winners,1935 births,Cross-country skiers at the 1960 Winter Olympics,Holmenkollen medalists,Olympic gold medalists for Sweden,Swedish male cross-country skiers,2011 deaths,Olympic cross-country skiers of Sweden,Medalists at the 1964 Winter Olympics,FIS Nordic World Ski Championships medalists in cross-country skiing,People from Umeå Municipality,Cross-country skiers at the 1964 Winter Olympics,Cross-country skiers from Västerbotten County,Cross-country skiers at the 1968 Winter Olympics

paragraph: Assar Rönnlund

paragraph: Bernt Assar Rönnlund (3 September 1935 – 5 January 2011) was a Swedish cross-country skier. Rönnlund's biggest success was at the 1962 FIS Nordic World Ski Championships in Zakopane where he won two gold medals (15 km and 4 × 10 km) and a silver (50 km). As a result, he earned the Svenska Dagbladet Gold Medal that year for his championship successes. Rönnlund was the anchorman of the Swedish 4 × 10 km relay team at the 1964 Winter Olympics in Innsbruck, bringing the team from fourth place to victory. Rönnlund also won the Vasaloppet in 1967 and the 50 km event at the Holmenkollen ski festival twice (1962 and 1968). For his cross-country skiing successes, Rönnlund was awarded the Holmenkollen Medal in 1968 (shared with King Olav V, Gjermund Eggen and Bjørn Wirkola).

paragraph: After retiring from active competition he was hired in 1972 by The Swedish Radio Corporation as a cross-country skiing commentator. He gained nationwide popularity working in a duo with Åke Strömmer. Rönnlund retired from broadcasting after the 2003 FIS Nordic World Ski Championships.

paragraph: Rönnlund was married to Inga-Britt Rönnlund and they had three sons, Michael, Lars and Tommy Rönnlund. Later he married Toini Gustafsson, a 1967 Holmenkollen medalist; they had two children together, plus one from the previous marriage of Gustafsson. They became the second husband-wife team to earn this honor. They are also the only husband-wife team to ever win the Svenska Dagbladet Gold Medal with Gustafsson earning the honor in 1968.

paragraph: Rönnlund died on 5 January 2011 after a period of illness.

paragraph: Section::::External links.

paragraph: BULLET::::- – click on "Holmenkollmedaljen" for downloadable pdf file

paragraph: BULLET::::- – click on "Vinnere" for downloadable pdf file

description: Swedish cross-country skier

wikidata_label: Assar Rönnlund

wikipedia_title: Assar Rönnlund


text:
heir apparent
Prince Albert II
Princess Charlene
Princess Gabriella
Princess Grace Hospital Centre
Gabriella
Prince's Palace of Monaco
Fort Antoine
public holiday
Jazmin Grace Grimaldi
Alexandre Grimaldi-Coste
Marquis of Baux
Saint Nicholas Cathedral, Monaco
Order of Grimaldi
Order of Grimaldi

categories: Heirs apparent,House of Grimaldi,People of Ligurian descent,Monegasque princes,Knights Grand Cross of the Order of Grimaldi,Royal children,Kelly family,Marquesses of Baux,Hereditary Princes of Monaco,Living people,2014 births,Monegasque people of American descent

paragraph: Jacques, Hereditary Prince of Monaco

paragraph: Jacques, Hereditary Prince of Monaco, Marquis of Baux (Jacques Honoré Rainier Grimaldi; born 10 December 2014), is the heir apparent to the Monegasque throne. He is the son of Prince Albert II and Princess Charlene and twin brother of Princess Gabriella.

paragraph: Section::::Birth.

paragraph: On 30 May 2014, it was announced that Princess Charlene was pregnant. After much speculation it was confirmed, on 9 October 2014, that the couple was expecting twins by the end of the year. On November 21, 2014, the palace announced that each twin would have the right to a salvo of 21 cannon shots at birth. In addition, the day would be declared a holiday. On 10 December 2014, Jacques was born at Monaco's Princess Grace Hospital Centre, two minutes after his sister Gabriella.

paragraph: The Prince's Palace of Monaco released a statement describing how the birth was to be celebrated in the principality. Forty-two cannon shots (twenty-one for each child) were to be fired from the Fort Antoine and church bells were to ring for fifteen minutes, followed by boat horns. The twins were presented on 7 January 2015 which was declared a public holiday in Monaco.

paragraph: Prince Jacques and Princess Gabriella have an older half-sister, Jazmin Grace Grimaldi, and an older half-brother, Alexandre Grimaldi-Coste, from their father's previous relationships.

paragraph: Section::::Christening.

paragraph: The new Hereditary Prince was christened Jacques Honoré Rainier. Princess Charlene revealed that she chose the name Jacques, a name that is common in her homeland. The names Honoré and Rainier are common among previous rulers of Monaco. He received the title Marquis of Baux from his father.

paragraph: The twins were baptised at the Saint Nicholas Cathedral, Monaco on 10 May 2015.

paragraph: At this occasion, he was awarded the Grand Cross of the Order of Grimaldi of 10 May 2015.

paragraph: Section::::Titles and styles.

paragraph: His full name and title is His Serene Highness Jacques Honoré Ranier Grimaldi, Hereditary Prince of Monaco, Marquis of Baux.

paragraph: When referring to Jacques in French, the palace has used the term "Prince Héréditaire" to refer to the prince. However, when mentioning the prince in English, the palace has referred to Jacques as "Crown Prince" instead of "Hereditary Prince."

paragraph: Section::::Honours.

paragraph: Section::::Honours.:National honours.

paragraph: BULLET::::- Grand Cross of the Order of Grimaldi (10 May 2015)

alias:
Jacques Grimaldi
Jacques de monaco

description: Hereditary prince of Monaco

wikidata_label: Prince Jacques of Monaco

wikipedia_title: Jacques, Hereditary Prince of Monaco


text: Prince Albert II

text: Princess Charlene

text: Hereditary Prince Jacques

text: Fort Antoine

text: Princess Grace Hospital Centre

text: Hereditary Prince Jacques

text: Jazmin Grace Grimaldi

text: Alexandre Grimaldi-Coste

text: Saint Nicholas Cathedral, Monaco

text: Order of Grimaldi

categories: 2014 births,House of Grimaldi,People of Ligurian descent,Monegasque princesses,Royal children,Kelly family,French countesses,Living people,Twin people from Monaco,Monegasque people of American descent

paragraph: Princess Gabriella, Countess of Carladès

paragraph: Princess Gabriella of Monaco, Countess of Carladès (Gabriella Thérèse Marie Grimaldi; born 10 December 2014), is the daughter of Prince Albert II and Princess Charlene. She is second in the line of succession to the Monegasque throne, behind her twin brother, Hereditary Prince Jacques.

paragraph: Section::::Birth and christening.

paragraph: On 30 May 2014, it was announced that Princess Charlene was pregnant. After much speculation it was confirmed, on 9 October 2014, that the couple was expecting twins by the end of the year. On 21 November 2014, the palace announced that each twin would have the right to a salvo of 21 cannon shots at birth. Forty-two cannon shots (twenty-one for each child) were to be fired from the Fort Antoine and church bells were to be rung for fifteen minutes. In addition, the day would be declared a holiday. On 7 January 2015 the children were presented to the Monegasque people.

paragraph: On 10 December 2014, Princess Gabriella was born at Monaco's Princess Grace Hospital Centre, followed two minutes later by her brother, Hereditary Prince Jacques. She was granted the title Countess of Carladès by her father.

paragraph: Gabriella has an older half-sister, Jazmin Grace Grimaldi, and an older half-brother, Alexandre Grimaldi-Coste, from her father's previous relationships.

paragraph: Gabriella and Jacques were baptised at the Saint Nicholas Cathedral, Monaco on 10 May 2015. At this occasion, she was awarded the Grand Officer of the Order of Grimaldi.

paragraph: Section::::Honours.

paragraph: Section::::Honours.:National honours.

paragraph: BULLET::::- Grand Officer of the Order of Grimaldi (10 May 2015).

alias:
Gabriella Grimaldi
Gabriella de Monaco

description: Hereditary princess of Monaco for two minutes until her twin brother's birth

wikidata_label: Princess Gabriella of Monaco