texts:
 Israel")

Each of these hymns has 8 four-line stanzas and is written in strict iambic tetrameter (that is 4 × 2 syllables, each iamb being two syllables). Marked by dignified simplicity, they served as a fruitful model for later times. Scholars such as the theologian Brian P. Dunkle have argued for the authenticity of as many as thirteen other hymns, while the musicologist James McKinnon contends that further attributions could include "perhaps some ten others". <mask> is traditionally credited but not actually known to have composed any of the repertory of Ambrosian chant also known simply as "antiphonal chant", a method of chanting where one side of the choir alternately responds to the other. (The later pope Gregory I the Great is not known to have composed any Gregorian chant, the plainsong or "Romish chant".) However, Ambrosian chant was named in his honor due to his contributions to the music of the Church; he is credited with introducing hymnody from the Eastern Church into the West. With Augustine, <mask> was traditionally credited with composing the hymn "Te Deum".Since the hymnologist Guido Maria Dreves in 1893, however, scholars have dismissed this attribution. Writings

Source: All works are originally in Latin. Following each is where it may be found in a standard compilation of <mask>'s writings. His first work was probably De paradiso (377–378). Most have approximate dates, and works such as De Helia et ieiunio (377–391), Expositio evangelii secundum Lucam (377–389) and De officiis ministrorum (377–391) have been given a wide variety of datings by scholars. His best known work is probably De officiis ministrorum


type: original

texts:
 (377–391), while the  (386–390) and De obitu Theodosii (395) are among his most noted works. In matters of exegesis he is, like Hilary, an Alexandrian.In dogma he follows Basil of Caesarea and other Greek authors, but nevertheless gives a distinctly Western cast to the speculations of which he treats. This is particularly manifest in the weightier emphasis which he lays upon human sin and divine grace, and in the place which he assigns to faith in the individual Christian life. Exegesis
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Moral and ascetical commentary
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Dogmatic writings
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Sermons
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Others
 91 letters
 Ambrosiaster or the "pseudo-<mask>" is a brief commentary on Paul's Epistles, which was long attributed to <mask>. Editions

Standard editions
  Based on an edition published in Paris by Jacques Du Frische and Denis-Nicolas Le Nourry.  }} Based on an edition published in Paris by Jacques Du Frische and Denis-Nicolas Le Nourry. Latin
 Hexameron, De paradiso, De Cain, De Noe, De Abraham, De Isaac, De bono mortis – ed. C. Schenkl 1896, Vol.32/1 (In Latin)
 De Iacob, De Ioseph, De patriarchis, De fuga saeculi, De interpellatione Iob et David, De apologia prophetae David, De Helia, De Nabuthae, De Tobia – ed. C. Schenkl 1897, Vol. 32/2
 Expositio evangelii secundum Lucam – ed. C. Schenkl 1902, Vol. 32/4
 Expositio de psalmo CXVIII – ed. M. Petschenig 1913, Vol. 62; editio altera

masks: Ambrose Ambrose


texts:
 supplementis aucta – cur.M. Zelzer 1999
 Explanatio super psalmos XII – ed. M. Petschenig 1919, Vol. 64; editio altera supplementis aucta – cur. M. Zelzer 1999
 Explanatio symboli, De sacramentis, De mysteriis, De paenitentia, De excessu fratris Satyri, De obitu Valentiniani, De obitu Theodosii – ed. Otto Faller 1955, Vol. 73
 De fide ad Gratianum Augustum – ed. Otto Faller 1962, Vol.78
 De spiritu sancto, De incarnationis dominicae sacramento – ed. Otto Faller 1964, Vol. 79
 Epistulae et acta – ed. Otto Faller (Vol. 82/1: lib. 1–6, 1968); Otto Faller, M. Zelzer ( Vol. 82/2: lib.7–9, 1982); M. Zelzer ( Vol. 82/3: lib. 10, epp. extra collectionem. gesta concilii Aquileiensis, 1990); Indices et addenda – comp. M. Zelzer, 1996, Vol. Several of <mask>'s works have recently been published in the bilingual Latin-German Fontes Christiani series (currently edited by Brepols).See also

 Ambrosian hymnography
 Ambrosian Liturgy and Rite
 Saint Ambrose Basilica, Milan
 Church Fathers
 St. Ambrose Cathedral, Linares
 Saint Ambrose University, Davenport, Iowa
 Ambrose University College, Calgary, Alberta

 References
 Notes

Citations

 Works cited

Further reading

 External links

 Christian Classics Ethereal Library, Works of <mask> of Milan
 Hymni Ambrosii (Latin)
 EarlyChurch.org.uk Extensive bibliography
 <mask>'s works: text, concordances and frequency list
 <mask> at The Online Library of Liberty''
 Opera Omnia
 <mask> in Anglo-Saxon England, with Pseudo-<mask> and Ambrosiaster,

masks: Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose


texts:
 Contributions to Sources of Anglo-Saxon Literary Culture, by Dabney Anderson Bankert, Jessica Wegmann, and Charles D. Wright. "Saint <mask>" at the Christian Iconography website
 Forum about the "ambrosian rite"
 "Of St. <mask>" from the Caxton translation of the Golden Legend
 Augustine's account of the penitence of Theodosius

Ambrosius
340s births
397 deaths
4th-century Italian bishops
4th-century Christian saints
4th-century Christian theologians
4th-century Gallo-Roman people
4th-century Latin writers
4th-century philosophers
4th-century Romans
Bishops of Milan
Burials at the Basilica of Sant'Ambrogio
Catholic Mariology
Catholic philosophers
Christian ethicists
Christian hymnwriters
Church Fathers
Doctors of the Church
Gallo-Roman saints
Hymnographers
Insects in religion
Latin letter writers
People from Trier
Roman Empire hymnwriters
Roman-era poets
Anglican saints
Religion in


texts:
<mask> (7 July 1962  – 18 September 2019) was an English rock singer, best known for his work with Shy and TNT. Early life and career
<mask> was born in Birmingham, England. In 1983 he joined the band Shy. He recorded eight albums with the AOR/glam metal band, including the Excess All Areas. He also toured with Shy, supporting Gary Moore, Meatloaf, Twisted Sister, Bon Jovi, Magnum, Manowar, Badlands, Enuff Z Nuff, Sleeze Beez, UFO, and the Ian Hunter/Mick Ronson outfit with whom he performed on stage in Brighton, just prior to Ronson's death. The tours spanned the whole of Europe and North America, it was here that <mask> provided backup vocals to the Philadelphia-based band Cinderella on their debut album, Night Songs. Co-writing sessions came about with Don Dokken (Dokken), Michael Bolton, Michael Des Barres (Power Station), John Parker (Chicago), Jeff Paris and Bob Kulick.Solo career and reunion with Shy
<mask> left Shy in 1991 when MCA picked him up as a solo artist to record his first album in Manchester with engineer Andy Macpherson and guitarist Bob Maxim along with various members of 10CC and Sad Cafe. Later, forming another band, Siam, he wrote and sang on two albums, Prayer and The Language of Menace. After working as a session vocalist through the 1990s with Slade, Simon Harrison, Dave Saylor and Cozy Powell (unreleased) in conjunction with his recording and touring work with Siam, the band eventually folded in 1996 and <mask> spent a year fronting a Rush tribute band, YYZ. In 2000 he reunited with Shy for two more albums, Unfinished Business and Sunset and Vine. At the turn of the millennium, he also released two solo albums, Cruiser and Freeway to the Afterlife. There followed a Danish tour with The Sweet, as bassist and lead vocalist, but this did not work out, and he returned to Shy. TNT
In 2006 he was asked to join TNT in

masks:
Anthony Paul Mills
Mills
Mills
Mills
Mills


texts: Oslo, Norway to replace their long-time vocalist <mask> who had decided to leave the band for both personal and professional reasons.The following year <mask> Osbourne, Skid Row and Motorhead. Lasse Dale was also a progressive metal guitarist from Tromso in Norway, that enlisted <mask> to write and record his debut album, Screaming For Silence. <mask> worked for many European artists between 2006 and 2010, namely Michael Voss and his 'Voices of Rock' project, Liberty 'n' Justice in the U.S., Torben Enevoldsen in Denmark, Frederic Hugues and Blackstone and Tor Talle in Norway. Charity involvement for the Autistic Foundation for Children in North Trondelag, also saw the release of a single, "Keep The Dream Alive", along with its associated video through NRK with vocalist, Siv-Anita Strickhert. In 2007, <mask> also performed backing vocals on the debut album by the British band, Crimes of Passion. He has numerous credits for, and is in regular demand for, provision of backing vocals, and other recent outputs include The Andersson-Mills Project, China Blue, and backing vocals for Dante Fox in the UK and Norwegian rock outfit Winterstrain, appearing on their debut album Return to the Mirror as well as Shifting Sands.In 2008, <mask> released a more metal oriented solo album Vital Designs, which featured bass by Morty Black, Oddvar Krogstad and Victor Borge (TNT), guitars by Neil Hibbs, keyboards by Shy's keyboard player Joe Basketts and drums by Shy's drummer Bob Richards. Also appearing on the album was TNT member Dag Stokke and Erik Ragno from China Blue. In the same year, he also began work with Ronni Le Tekrø on their second TNT collaboration, which resulted in the album Atlantis, featuring the songs "Tango Girl" and "Hello, Hello", which became regular tracks in their setlist for the following tour. In the winter of 2008, <mask> joined the

masks:
Tony Harnell
Millszy
Mills
Mills
Mills
Mills
Mills


texts: band Serpentine, replacing former singer Greg Flores. In March 2010, Serpentine released their CD A Touch of Heaven on AOR/Metal Heaven in Europe and Marquee Avalon in Japan, gaining a glowing 92% review in rock magazine Burrn! as well as hitting number 72 in the HMV Japan chart. Around the same period, <mask> was commissioned to write and record an album for AOR Metal Heaven records in Germany, entitled, State of Rock, with Robby Boebel from Nuremberg act, Frontline.Work was also completed on a more rock oriented TNT release for the end of the year, A Farewell To Arms, which returned to the classic sound of the band and was well received by fans and critics alike. Just after the summer, it was reported that <mask> had suffered a heart attack at an airport in Norway, which prompted the singer to announce his departure from Serpentine before the completion of his second album with the band. The album has since been completed. Serpentine moved quickly to recruit 24-year-old British vocalist Matt Black as his replacement, to allow the band to commence touring to support the A Touch of Heaven album. The band's follow up, Living and Dying in High Definition also received great support from the media during its late 2010 release. After a full recovery from his heart condition, at the opening of 2011, <mask> had relocated to Norway to embrace the release of the latest TNT album and began touring to promote A Farewell To Arms, which in Scandinavia, was titled Engine. The change of album title for different territories was inextricably linked to his heart failure and consequent recovery.He consequently set to writing tracks toward a rock opera with Trondheim writer Andreas Nergard whilst touring Europe with TNT. <mask> was also be part of the Norwegian artist force supporting relief aid in Japan for their recent tragedies. After increasing unrest

masks: Mills Mills Mills Mills


texts:
 in the Norway camp, <mask> quit TNT in August 2013, after over seven years, to satisfy his own artistic integrity and produce more solo material. Later career
The onset of 2013 saw <mask> writing new solo material including a single, "Girls in Norway" and two new albums; an AOR album for existing fans in Europe and Japan and a final album for the SIAM project involving members from the band's history and his new connections in Norway. Attempts to fire up Siam again were futile, so <mask> reverted to the solo plan intent on recreating the same atmosphere that existed in the Siam days. As the writing had clearly split into two different projects, he focussed on the heavier album and finally completed it at the beginning of 2015, over two years later. The album, Over My Dead Body was released through Battlegod Productions on 23 February 2015.It was co-written by Robert Sall, Henning Ramseth, Paul Sabu and Douglas R. Docker. It was produced by <mask> and mixed by his old colleague from the Shy era, Neil Kernon. Ongoing projects at that time, included a new solo album, Streets of Chance, co written with Pete Newdeck, Tommy Denander, Robert Sall and Robby Boebel, and the co-writing of a new album by Italian metal stars, Crying Steel for 2017. In 2012, <mask> was featured on Douglas R. Docker's progressive rock space opera, Docker's Guild. He sang on three songs for the debut album The Mystic Technocracy - Season 1: The Age of Ignorance: "Legion of Aliens", "The Gem of Love," and "The Secret of DNA". He further contributed to projects such as Nergard, Guild, China Blue and Serpentine. Personal life
<mask> married Linda Kristine in 2016, and lived in Tjøme off the south coast of Norway.Death
In April 2019, <mask> announced that he was diagnosed with terminal cancer. Beyond the Law became his last album. He died on 18 September 2019 at the age of

masks: Mills Mills Mills Mills Mills Mills Mills


texts:
<mask> (; 24 February 1932 – 26 January 2019) was a French musical composer, arranger, conductor, and jazz pianist. Legrand was a prolific composer, having written over 200 film and television scores, in addition to many songs. His scores for two of the films of French New Wave director Jacques Demy, The Umbrellas of Cherbourg (1964) and The Young Girls of Rochefort (1967), earned Legrand his first Academy Award nominations. Legrand won his first Oscar for the song "The Windmills of Your Mind" from The Thomas Crown Affair (1968). Life and career
Legrand was born in Paris to his father, <mask>, who was himself a conductor and composer, and his mother, Marcelle Ter-Mikaëlian, who was the sister of conductor Jacques Hélian. Raymond and Marcelle were married in 1929. His maternal grandfather was Armenian.Legrand composed more than two hundred film and television scores. He won three Oscars and five Grammys. He studied music at the Conservatoire de Paris from age 11, working with, among others, Nadia Boulanger and graduated with top honors as both a composer and a pianist. He burst upon the international music scene at 22 when his album I Love Paris became a surprise hit. He established his name in the United States by working with such jazz stars as Miles Davis and Stan Getz. His sister Christiane Legrand was a member of The Swingle Singers and his niece <mask> is a member of the dream pop band Beach House. Legrand composed music for Jacques Demy's films The Umbrellas of Cherbourg (1964) and The Young Girls of Rochefort (1966), and appeared and performed in Agnès Varda's Cléo from 5 to 7 (1961).He also composed music for Joseph Losey's Eva (1962), The Thomas Crown Affair (1968) (which features "The Windmills of Your Mind"), Ice Station Zebra (1968), The Picasso Summer (1969), The Lady in

masks:
Michel Jean Legrand
Raymond Legrand
Victoria Legrand


texts:
 the Car with Glasses and a Gun (1970), The Go-Between (1971), Summer of '42 (1971), Clint Eastwood's Breezy (1973), The Three Musketeers (1973), Orson Welles's last-completed film F for Fake (1974) and would later compose the score for Welles's posthumously-released movie The Other Side of the Wind (2018). He also composed the score for Yentl (1983), as well as the film score for Louis Malle's film Atlantic City (1980). His instrumental version of the theme from Brian's Song charted 56th in 1972 on the Billboard's pop chart. Legrand died of sepsis, during the night of 25–26 January 2019, at the American Hospital of Paris in Neuilly-sur-Seine, where he had been hospitalized for two weeks for a pulmonary infection. His funeral was held in Paris at the Alexander Nevsky Cathedral on 1 February 2019. He was interred at the Père Lachaise Cemetery. He remained active until his death and had concerts scheduled to take place in the spring.Musical theatre
In 1997, Legrand composed the score for the musical Le Passe-muraille, with a book by Didier Van Cauwelaert. It premiered on Broadway in 2002 as Amour and was translated into English by Jeremy Sams and was directed by James Lapine. This musical was his Broadway debut and he was nominated for a Tony Award in 2003 for Best Score. Later he recorded Legrand Affair with Melissa Errico, a 100-piece symphony orchestra that included songs with lyrics by Alan and Marilyn Bergman. The world premiere of the new musical Marguerite from Alain Boublil and Claude-<mask>, the creators of Les Misérables and Miss Saigon, included music by <mask> and lyrics by Herbert Kretzmer. Marguerite is set during World War II in occupied Paris, and was inspired by the romantic novel La Dame aux Camélias by Alexandre Dumas fils. It premiered in May 2008 at the Haymarket

masks:
Michel Schönberg
Michel Legrand


texts:
 Theatre, London and was directed by Jonathan Kent.Discography

Awards

<mask> has won three Oscars (from 13 nominations), five Grammys, and was nominated for an Emmy. His first Academy Award win was in 1969 for the song "The Windmills of Your Mind", followed with the Academy Award for his music for Summer of ’42 in 1972 and for Yentl in 1984. Following are a selection of the awards and nominations with which <mask>'s works have been honored:

Academy Award awards and nominations
Source: AllMovie

 Best Original Score, Substantially Original Score: The Umbrellas of Cherbourg (1965) - nominated
 Best Original Score for a Motion Picture (not a Musical): The Thomas Crown Affair (1968)  - nominated
 Best Original Song Score and Its Adaptation or Best Adaptation Score: The Young Girls of Rochefort (1968) - nominated
 Best Original Dramatic Score: Summer of '42 (1971) - won
 Best Original Song Score and Its Adaptation or Best Adaptation Score: Yentl (1983) - won
 Best Original Song:
 "I Will Wait for You" from The Umbrellas of Cherbourg (1965) - nominated
 "The Windmills of Your Mind" from The Thomas Crown Affair (1968) - won
 "What Are You Doing the Rest of Your Life?" from The Happy Ending (1969) - nominated
 "Pieces of Dreams" from Pieces of Dreams (1970) - nominated
 "How Do You Keep the Music Playing?" from Best Friends (1982) - nominated
 "Papa, Can You Hear Me?" from Yentl (1983) - nominated
"The Way He Makes Me Feel" from Yentl (1983) - nominated

Golden Globe awards and nominations
Source: All Movie

 Original Score:
 The Thomas Crown Affair (1968)
 The Happy Ending (1969)
 Wuthering Heights (1970)
 Le Mans (1971)
 Summer of '42 (1971)
 Lady Sings the Blues (1972)
 Breezy (1973)
 Yentl (1983)
 Original Song:
 "The Windmills of Your Mind" from The Thomas Crown Affair (1968) (won)

masks: Legrand Legrand


texts:
 "What are You Doing the Rest of Your Life?" from The Happy Ending (1969)
 "Pieces of Dreams" from Pieces of Dreams (1970)
 "Breezy's Song" from Breezy (1973)
 "Yesterday's Dreams" from Falling in Love Again (1980)
 "The Way He Makes Me Feel" from Yentl (1983)

Grammy Award awards and nominations
Source: Grammy.com

Best Instrumental Composition: "Theme from Summer of '42 (The Summer Knows)" (1971) - win
Best Instrumental Arrangement: "Theme From Summer Of '42" (1971) - nomination
Best Pop Instrumental Performance: "Theme From Summer Of '42" (1971) - nomination
 Best arrangement accompanying vocalist: What Are You Doing the Rest of Your Life?Documentary
"<mask>nd, let the music play", directed by Gregory Monro in 2018

References

External links

 <mask> at the British Film Institute

 Interview with <mask> at the Press Launch for Margeruite in London UK

1932 births
2019 deaths
20th-century French conductors (music)
20th-century French male musicians
21st-century French conductors (music)
21st-century French male musicians
Best Original Music Score Academy Award winners
Best Original Music BAFTA Award winners
Best Original Song Academy Award-winning songwriters
Burials at Père Lachaise Cemetery
Broadway composers and lyricists
Columbia Records artists
Conservatoire de Paris alumni
Deaths from sepsis
Easy listening musicians
French expatriates in the United States
French film score composers
French jazz composers
French jazz pianists
French male conductors (music)
French male pianists
French music arrangers
French musical theatre composers
French people of Armenian descent
Golden Globe Award-winning musicians
Grammy Award winners
Jazz arrangers
French male film score composers
Male jazz composers
Musicians from Paris
Philips Records artists
Prix Benois de la Danse winners
RCA

masks:
Michel Legra
Michel Legrand
Michel Legrand


texts:
<mask> (November 16, 1975 – November 15, 2021) was a Dominican professional baseball shortstop. He played 12 seasons in Major League Baseball (MLB) for the Houston Astros, Tampa Bay Devil Rays, Los Angeles Dodgers, Boston Red Sox, St. Louis Cardinals, Baltimore Orioles, and Atlanta Braves. He was the elder brother of pitcher <mask>. Baseball career
<mask> was born in the Dominican Republic and at age 13 moved to Sunset Park, Brooklyn, where he attended Fort Hamilton High School. In addition to playing baseball for Fort Hamilton, he played in the Youth Service League in Brooklyn; alumni of that program include Manny Ramírez and Shawon Dunston. He went on to play college baseball at Connors State College in Oklahoma. Houston Astros
The Houston Astros selected <mask> in the 43rd round of the 1994 MLB draft, although he did not sign with the team until May 1995.He made his professional debut in 1995 with the Auburn Astros, a Class A Short Season team in the New York–Penn League; appearing in 59 games, he had a .291 batting average with one home run and 16 runs batted in (RBIs). He advanced through the Houston farm system, reaching the Triple-A level in 2000 with the New Orleans Zephyrs. Early that season, <mask> was promoted to the major-league Astros, and made his MLB debut on April 15, 2000. <mask> played in 116 games for the Astros that year, batting .283 with 10 home runs and 40 RBIs. He made appearances at shortstop, second base, all three outfield positions, and designated hitter. In 2001, <mask> played in 140 games, batting .263 with 10 home runs and 37 RBIs. The following season, he batted .261 with eight home runs and 35 RBIs in 88 games.In mid-August, <mask>'s left arm was broken when he was hit by a pitch from Kerry Wood of the

masks:
Julio Cesar Lugo
Ruddy Lugo
Lugo
Lugo
Lugo
Lugo
Lugo
Lugo


texts:
 Chicago Cubs, ending his 2002 season. On April 30, 2003, <mask> was arrested after a game at Minute Maid Park and charged with assaulting his wife. He was designated for assignment and subsequently released by the Astros. <mask> had appeared with 22 games that season with Houston. Overall, <mask> appeared in 366 games for the Astros, batting .268 with 28 home runs and 114 RBIs. He appeared in one postseason series with Houston, the 2001 National League Division Series, batting 0-for-8 in three games. Tampa Bay Devil Rays
In mid-May 2003, <mask> signed with the Tampa Bay Devil Rays.In mid-July, he was acquitted of the assault charges after his then-wife (the couple had filed for divorce) testified that she had instigated the incident and he did not intend to hurt her. <mask> appeared in 117 games with the Rays through the end of the season, batting .275 with 15 home runs and 53 RBIs. He hit home runs in four consecutive games against the Toronto Blue Jays during September 22–25. In 2004, <mask> batted .275 with seven home runs and 75 RBIs in 157 games. The following season, he played 158 games while batting .295 with six home runs and 57 RBIs. <mask> spent the first half of 2006 with the Devil Rays, playing in 73 games with 12 home runs, 27 RBIs, and a .308 average. Two of his home runs came in a single inning, the fifth, of a home game against the Baltimore Orioles on July 22.Overall with Tampa Bay in parts of four seasons, <mask> had a .287 average with 40 home runs and 212 RBIs in 505 games. Los Angeles Dodgers

<mask> was traded at the 2006 trade deadline to the Los Angeles Dodgers for infielder Joel Guzmán and minor-league outfielder Sergio Pedroza. He appeared in 49 games with the Dodgers through the end of the regular season,

masks: Lugo Lugo Lugo Lugo Lugo Lugo Lugo Lugo Lugo


texts:
 batting .219 with no home runs and 10 RBIs. In the 2006 National League Division Series, <mask> batted 1-for-4 in two games as the Dodgers lost to the New York Mets. At the end of October, he became a free agent. Boston Red Sox

On December 5, 2006, <mask> signed a four-year, $36 million contract with the Boston Red Sox. <mask> was brought on to bat leadoff, but was moved by manager Terry Francona to the bottom part of the order primarily due to his inability to consistently get on base.During the 2007 season, from June 15 through July 2, inclusive, <mask> went 0–31 at the plate. At that time, Lugo had a .189 batting average. Since 1996, only Greg Vaughn—who had a .163 average with Tampa Bay on June 27, 2002—had a lower batting average with more than 250 at bats 80 games into a season. After the first week of July, <mask> turned his hitting performance around, compiling a 14-game hitting streak on July 25. He was 24-for-54 (.444) during the career-best streak, raising his average from .189 to .226. He had a streak of 20 consecutive stolen bases that ended on July 2, setting a club record. <mask> ended the regular season with a .237 average with eight home runs and 73 RBIs in 147 games.The Red Sox advanced to the World Series where they swept the Colorado Rockies in four games; <mask> played in 14 postseason games with Boston, while batting .385 (5-for-13) in the World Series. During 2008, <mask> committed 16 errors through July 5, nearly one-third of the 50 errors made by the Red Sox as a team to that point in the season. Six days later, <mask> injured his left quad running out a hit; he was placed on the disabled list and missed the rest of the season. In 82 games, he batted .268 with one home run and 22 RBIs. On March 17, 2009, <mask>

masks: Lugo Lugo Lugo Lugo Lugo Lugo Lugo Lugo Lugo Lugo


texts:
 underwent arthroscopic surgery on his right knee to repair a torn meniscus cartilage. He returned to the team in late April, batting .284 in 37 games through early July, while committing seven errors. On July 17, <mask> was designated for assignment by the Red Sox.Overall during 2007–2009 with the Red Sox, <mask> appeared in 266 games while batting .251 with 10 home runs and 103 RBIs. Later career
On July 22, 2009, <mask> was traded to the St. Louis Cardinals for Chris Duncan and cash considerations. In 51 games with the Cardinals through the end of the season, <mask> batted .277 with two home runs and 13 RBIs. Defensively, he split time between shortstop (24 appearances) and second base (30 appearances). He batted 2-for-5 in three games of the 2009 National League Division Series, which the Cardinals lost to the Dodgers. On April 1, 2010, <mask> was traded to the Baltimore Orioles for a player to be named later. He batted .249 in 93 games with no home runs and 20 RBIs during the season.He was used primarily at second base (59 appearances) while also seeing time at shortstop, third base, left field, and designated hitter. <mask> signed a minor-league contract with the Atlanta Braves on May 23, 2011. He was added to the Braves' major-league roster when they purchased his contract on June 21. In 22 games with Atlanta, <mask> batted .136 (6-for-44) with no home runs and three RBIs. The Braves released <mask> on September 2. On January 21, 2012, <mask> agreed to a minor league contract with the Cleveland Indians with an invitation to spring training. On January 30, the deal was reported to have fallen apart and he remained a free agent.<mask> did not play professionally during the 2012 regular season. His final season was in 2013, as a


texts:
 member of the Peoria Explorers of the Freedom Pro Baseball League, an independent baseball league. In 1352 MLB games over 12 seasons, <mask> batted .269 with 80 home runs and 475 RBIs; he stole 198 bases. In eight minor-league seasons, he batted .294 with 39 home runs and 250 RBIs in 570 games. He also played three seasons in the Dominican Winter League for Leones del Escogido, and played for the Dominican Republic three times in the Caribbean Series. Personal life
<mask> and his wife had one son and two daughters; he also had an older son with his former spouse. In 2013, <mask> was inducted to the Connors State College athletic hall of fame.In 2015, <mask> was arrested in the Dominican Republic for kidnapping a couple and holding them at gun pointe. In 2018, the Boston Red Sox held their first alumni game since 1993; <mask> hit a two-run homer off of Pedro Martínez for the only runs in the game. <mask> died of a heart attack on November 15, 2021, just one day before his 46th birthday. References

External links

<mask> homers twice in the 5th inning from MLB via YouTube

1975 births
2021 deaths
People from Barahona Province
Dominican Republic expatriate baseball players in the United States
Major League Baseball players from the Dominican Republic
Major League Baseball shortstops
Atlanta Braves players
Baltimore Orioles players
Boston Red Sox players
Houston Astros players
Los Angeles Dodgers players
St. Louis Cardinals players
Tampa Bay Devil Rays players
Fort Hamilton High School alumni
Connors State Cowboys baseball players
Auburn Astros players
Gwinnett Braves players
Jackson Generals (Texas League) players
Kissimmee Cobras players
New Orleans Zephyrs players
Pawtucket Red Sox players
Quad Cities River Bandits players
Leones del

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Jacques-<mask> (; 30 August 174829 December 1825) was a French painter in the Neoclassical style, considered to be the preeminent painter of the era. In the 1780s his cerebral brand of history painting marked a change in taste away from Rococo frivolity toward classical austerity and severity and heightened feeling, harmonizing with the moral climate of the final years of the Ancien Régime. <mask> later became an active supporter of the French Revolution and friend of Maximilien Robespierre (1758–1794), and was effectively a dictator of the arts under the French Republic. Imprisoned after Robespierre's fall from power, he aligned himself with yet another political regime upon his release: that of Napoleon, the First Consul of France. At this time he developed his Empire style, notable for its use of warm Venetian colours. After Napoleon's fall from Imperial power and the Bourbon revival, <mask> exiled himself to Brussels, then in the United Kingdom of the Netherlands, where he remained until his death. <mask> had many pupils, making him the strongest influence in French art of the early 19th century, especially academic Salon painting.Early life

Jacques-<mask> was born into a prosperous French family in Paris on 30 August 1748. When he was about nine his father was killed in a duel and his mother left him with his well-off architect uncles. They saw to it that he received an excellent education at the Collège des Quatre-Nations, University of Paris, but he was never a good student—he had a facial tumor that impeded his speech, and he was always preoccupied with drawing. He covered his notebooks with

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texts: drawings, and he once said, "I was always hiding behind the instructor's chair, drawing for the duration of the class". Soon, he desired to be a painter, but his uncles and mother wanted him to be an architect. He overcame the opposition, and went to learn from François Boucher (1703–1770), the leading painter of the time, who was also a distant relative. Boucher was a Rococo painter, but tastes were changing, and the fashion for Rococo was giving way to a more classical style.Boucher decided that instead of taking over <mask>'s tutelage, he would send <mask> to his friend, Joseph-Marie Vien (1716–1809), a painter who embraced the classical reaction to Rococo. There, <mask> attended the Royal Academy, based in what is now the Louvre. Each year the Academy awarded an outstanding student the prestigious Prix de Rome, which funded a 3- to 5-year stay in Rome. Since artists were now revisiting classical styles, the trip provided its winners the opportunity to study the remains of classical antiquity and the works of the Italian Renaissance masters at first hand. Called pensionnaire they were housed in the French Academy's Rome outpost, which from the years 1737 to 1793 was the Palazzo Mancini in the Via del Corso. <mask> Fighting Mars, Diana and Apollo Killing Niobe's Children and The Death of Seneca) with each failure allegedly contributing to his lifelong grudge against the institution. After his second loss in 1772, <mask> went on a hunger strike, which lasted two and a half days before the faculty encouraged him to continue painting.Confident he now had the support and backing needed to win the prize, he

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texts: resumed his studies with great zeal—only to fail to win the Prix de Rome again the following year. Finally, in 1774, <mask> was awarded the Prix de Rome on the strength of his painting of Erasistratus Discovering the Cause of Antiochus' Disease, a subject set by the judges. In October 1775 he made the journey to Italy with his mentor, Joseph-Marie Vien, who had just been appointed director of the French Academy at Rome. While in Italy, <mask> mostly studied the works of 17th-century masters such as Poussin, Caravaggio, and the Carracci. Although he declared, "the Antique will not seduce me, it lacks animation, it does not move", <mask> filled twelve sketchbooks with drawings that he and his studio used as model books for the rest of his life. He was introduced to the painter Raphael Mengs (1728–1779), who opposed the Rococo tendency to sweeten and trivialize ancient subjects, advocating instead the rigorous study of classical sources and close adherence to ancient models. Mengs' principled, historicizing approach to the representation of classical subjects profoundly influenced <mask>'s pre-revolutionary painting, such as The Vestal Virgin, probably from the 1780s.Mengs also introduced <mask> to the theoretical writings on ancient sculpture by Johann Joachim Winckelmann (1717–1768), the German scholar held to be the founder of modern art history. As part of the Prix de Rome, <mask> toured the newly excavated ruins of Pompeii in 1779, which deepened his belief that the persistence of classical culture was an index of its eternal conceptual and formal power. During the trip <mask> also assiduously studied the

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 High Renaissance painters, Raphael making a profound and lasting impression on the young French artist. Early work

Although <mask>'s fellow students at the academy found him difficult to get along with, they recognized his genius. <mask>'s stay at the French Academy in Rome was extended by a year. In July 1780, he returned to Paris. There, he found people ready to use their influence for him, and he was made an official member of the Royal Academy.He sent the Academy two paintings, and both were included in the Salon of 1781, a high honor. He was praised by his famous contemporary painters, but the administration of the Royal Academy was very hostile to this young upstart. After the Salon, the King granted <mask> lodging in the Louvre, an ancient and much desired privilege of great artists. When the contractor of the King's buildings, M. Pécoul, was arranging with <mask>, he asked the artist to marry his daughter, Marguerite Charlotte. This marriage brought him money and eventually four children. <mask> had about 50 of his own pupils and was commissioned by the government to paint "Horace defended by his Father", but he soon decided, "Only in Rome can I paint Romans." His father-in-law provided the money he needed for the trip, and <mask> headed for Rome with his wife and three of his students, one of whom, Jean-Germain Drouais (1763–1788), was the Prix de Rome winner of that year.In Rome, <mask> painted his famous Oath of the Horatii, 1784. In this piece, the artist references Enlightenment values while alluding to Rousseau's social contract. The republican ideal of the general became the central focus of


texts: the painting with all three sons positioned in compliance with the father. The Oath between the characters can be read as an act of unification of men to the binding of the state. The issue of gender roles also becomes apparent in this piece, as the women in Horatii greatly contrast the group of brothers. <mask> depicts the father with his back to the women, shutting them out of the oath. They also appear to be smaller in scale and physically isolated from the male figures.The masculine virility and discipline displayed by the men's rigid and confident stances is also severely contrasted to the slouching, swooning female softness created in the other half of the composition. Here we see the clear division of male-female attributes that confined the sexes to specific roles under Rousseau's popularized doctrine of "separate spheres". These revolutionary ideals are also apparent in the Distribution of Eagles. While Oath of the Horatii and The Tennis Court Oath stress the importance of masculine self-sacrifice for one's country and patriotism, the Distribution of Eagles would ask for self-sacrifice for one's Emperor (Napoleon) and the importance of battlefield glory. In 1787, <mask> did not become the Director of the French Academy in Rome, which was a position he wanted dearly. The Count in charge of the appointments said <mask> was too young, but said he would support him in 6 to 12 years. This situation would be one of many that would cause him to lash out at the Academy in years to come.For the Salon of 1787, <mask> exhibited his famous Death of Socrates. "Condemned to death, Socrates, strong, calm and at

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texts: peace, discusses the immortality of the soul. Surrounded by Crito, his grieving friends and students, he is teaching, philosophizing, and in fact, thanking the God of Health, Asclepius, for the hemlock brew which will ensure a peaceful death... The wife of Socrates can be seen grieving alone outside the chamber, dismissed for her weakness. Plato is depicted as an old man seated at the end of the bed." Critics compared the Socrates with Michelangelo's Sistine Ceiling and Raphael's Stanze, and one, after ten visits to the Salon, described it as "in every sense perfect". Denis Diderot said it looked like he copied it from some ancient bas-relief.The painting was very much in tune with the political climate at the time. For this painting, <mask> was not honored by a royal "works of encouragement". For his next painting, <mask> created The Lictors Bring to Brutus the Bodies of His Sons. The work had tremendous appeal for the time. Before the opening of the Salon, the French Revolution had begun. The National Assembly had been established, and the Bastille had fallen. The royal court did not want propaganda agitating the people, so all paintings had to be checked before being hung.<mask>'s portrait of Lavoisier, who was a chemist and physicist as well as an active member of the Jacobin party, was banned by the authorities for such reasons. When the newspapers reported that the government had not allowed the showing of The Lictors Bring to Brutus the Bodies of His Sons, the people were outraged, and the royals were forced to give in. The painting was hung in the exhibition, protected by art students. The painting

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 depicts Lucius Junius Brutus, the Roman leader, grieving for his sons. Brutus's sons had attempted to overthrow the government and restore the monarchy, so the father ordered their death to maintain the republic. Brutus was the heroic defender of the republic, sacrificing his own family for the good of the republic. On the right, the mother holds her two daughters, and the nurse is seen on the far right, in anguish.Brutus sits on the left, alone, brooding, seemingly dismissing the dead bodies of his sons. Knowing what he did was best for his country, but the tense posture of his feet and toes reveals his inner turmoil. The whole painting was a Republican symbol, and obviously had immense meaning during these times in France. It exemplified civic virtue, a value highly regarded during the Revolution. The French Revolution
In the beginning, <mask> was a supporter of the Revolution, a friend of Robespierre, and a member of the Jacobin Club. While others were leaving the country for new and greater opportunities, <mask> stayed behind to help destroy the old order; he was a regicide who voted in the National Convention for the Execution of Louis XVI. It is uncertain why he did this, as there were many more opportunities for him under the King than the new order; some people suggest <mask>'s love for the classical made him embrace everything about that period, including a republican government.Others believed that they found the key to the artist's revolutionary career in his personality. Undoubtedly, <mask>'s artistic sensibility, mercurial temperament, volatile emotions, ardent enthusiasm, and fierce


texts: independence might have been expected to help turn him against the established order but they did not fully explain his devotion to the republican regime. Nor did the vague statements of those who insisted upon his "powerful ambition...and unusual energy of will" actually account for his revolutionary connections. Those who knew him maintained that "generous ardor", high-minded idealism and well-meaning though sometimes fanatical enthusiasm, rather than opportunism and jealousy, motivated his activities during this period. Soon, <mask> turned his critical sights on the Royal Academy of Painting and Sculpture. This attack was probably caused primarily by the hypocrisy of the organization and their personal opposition to his work, as seen in previous episodes in <mask>'s life. The Royal Academy was controlled by royalists, who opposed <mask>'s attempts at reform; so the National Assembly finally ordered it to make changes to conform to the new constitution.<mask> then began work on something that would later hound him: propaganda for the new republic. <mask>'s painting of Brutus was shown during the play Brutus by Voltaire. In 1789, Jacques-<mask> attempted to leave his artistic mark on the historical beginnings of the French Revolution with his painting of The Oath of the Tennis Court. <mask> undertook this task not out of personal political conviction but rather because he was commissioned to do so. The painting was meant to commemorate the event of the same name but was never completed. A meeting of the Estates General was convened in May to address reforms of the monarchy. Dissent arose over whether the

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texts: three estates would meet separately, as had been tradition, or as one body.The King's acquiescence with the demands of the upper orders led to the deputies of the Third Estate renaming themselves as the National Assembly on 17 June. They were locked out of the meeting hall three days later when they attempted to meet, and forced to reconvene to the royal indoor tennis court. Presided over by Jean-Sylvain Bailly, they made a 'solemn oath never to separate' until a national constitution had been created. In 1789 this event was seen as a symbol of the national unity against the ancien regime. Rejecting the current conditions, the oath signified a new transition in human history and ideology. <mask> was enlisted by the Society of Friends of the Constitution, the body that would eventually form the Jacobins, to enshrine this symbolic event. This instance is notable in more ways than one because it eventually led <mask> to finally become involved in politics as he joined the Jacobins.The picture was meant to be massive in scale; the figures in the foreground were to be life-sized portraits of the counterparts, including Jean-Sylvain Bailly, the President of the Constituent Assembly. Seeking additional funding, <mask> turned to the Society of Friends of the Constitution. The funding for the project was to come from over three thousand subscribers hoping to receive a print of the image. However, when the funding was insufficient, the state ended up financing the project. <mask> set out in 1790 to transform the contemporary event into a major historical picture which would appear at the Salon of 1791 as a large


texts: pen-and-ink drawing. As in the Oath of the Horatii, <mask> represents the unity of men in the service of a patriotic ideal. The outstretched arms which are prominent in both works betray <mask>'s deeply held belief that acts of republican virtue akin to those of the Romans were being played out in France.In what was essentially an act of intellect and reason, <mask> creates an air of drama in this work. The very power of the people appears to be "blowing" through the scene with the stormy weather, in a sense alluding to the storm that would be the revolution. Symbolism in this work of art closely represents the revolutionary events taking place at the time. The figure in the middle is raising his right arm making the oath that they will never disband until they have reached their goal of creating a "constitution of the realm fixed upon solid foundations". The importance of this symbol is highlighted by the fact that the crowd's arms are angled to his hand forming a triangular shape. Additionally, the open space in the top half contrasted to the commotion in the lower half serves to emphasize the magnitude of the Tennis Court Oath. In his attempt to depict political events of the Revolution in "real time", <mask> was venturing down a new and untrodden path in the art world.However, Thomas Crow argues that this path "proved to be less a way forward than a cul-de-sac for history painting". Essentially, the history of the demise of <mask>'s The Tennis Court Oath illustrates the difficulty of creating works of art that portray current and controversial political occurrences. Political circumstances in France

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texts: proved too volatile to allow the completion of the painting. The unity that was to be symbolized in The Tennis Court Oath no longer existed in radicalized 1792. The National Assembly had split between conservatives and radical Jacobins, both vying for political power. By 1792 there was no longer consensus that all the revolutionaries at the tennis court were "heroes". A sizeable number of the heroes of 1789 had become the villains of 1792.In this unstable political climate <mask>'s work remained unfinished. With only a few nude figures sketched onto the massive canvas, <mask> abandoned The Oath of the Tennis Court. To have completed it would have been politically unsound. After this incident, when <mask> attempted to make a political statement in his paintings, he returned to the less politically charged use of metaphor to convey his message. When Voltaire died in 1778, the church denied him a church burial, and his body was interred near a monastery. A year later, Voltaire's old friends began a campaign to have his body buried in the Panthéon, as church property had been confiscated by the French Government. In 1791, <mask> was appointed to head the organizing committee for the ceremony, a parade through the streets of Paris to the Panthéon.Despite rain and opposition from conservatives due to the amount of money spent, the procession went ahead. Up to 100,000 people watched the "Father of the Revolution" being carried to his resting place. This was the first of many large festivals organized by <mask> for the republic. He went on to organize festivals for martyrs that died fighting royalists. These


texts: funerals echoed the religious festivals of the pagan Greeks and Romans and are seen by many as Saturnalian. <mask> incorporated many revolutionary symbols into these theatrical performances and orchestrated ceremonial rituals, in effect radicalizing the applied arts themselves. The most popular symbol for which <mask> was responsible as propaganda minister was drawn from classical Greek images; changing and transforming them with contemporary politics.In an elaborate festival held on the anniversary of the revolt that brought the monarchy to its knees, <mask>'s Hercules figure was revealed in a procession following the Goddess of Liberty (Marianne). Liberty, the symbol of Enlightenment ideals was here being overturned by the Hercules symbol; that of strength and passion for the protection of the Republic against disunity and factionalism. In his speech during the procession, <mask> "explicitly emphasized the opposition between people and monarchy; Hercules was chosen, after all, to make this opposition more evident". The ideals that <mask> linked to his Hercules single-handedly transformed the figure from a sign of the old regime into a powerful new symbol of revolution. "<mask> turned him into the representation of a collective, popular power. He took one of the favorite signs of monarchy and reproduced, elevated, and monumentalized it into the sign of its opposite." Hercules, the image, became to the revolutionaries, something to rally around.In June 1791, the King made an ill-fated attempt to flee the country, but was apprehended short of his goal on the Austrian Netherlands border and was forced to

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texts: return under guard to Paris. Louis XVI had made secret requests to Emperor Leopold II of Austria, Marie-Antoinette's brother, to restore him to his throne. This was granted and Austria threatened France if the royal couple were hurt. In reaction, the people arrested the King. This led to an Invasion after the trials and execution of Louis and Marie-Antoinette. The Bourbon monarchy was destroyed by the French people in 1792—it would be restored after Napoleon, then destroyed again with the Restoration of the House of Bonaparte. When the new National Convention held its first meeting, <mask> was sitting with his friends Jean-Paul Marat and Robespierre.In the convention, <mask> soon earned the nickname "ferocious terrorist". Robespierre's agents discovered a secret vault containing the King's correspondence which proved he was trying to overthrow the government, and demanded his execution. The National Convention held the trial of Louis XVI; <mask> voted for the death of the King, causing his wife, a royalist, to divorce him. When Louis XVI was executed on 21 January 1793, another man had already died as well—Louis Michel le Peletier de Saint-Fargeau. Le Peletier was killed on the preceding day by a royal bodyguard in revenge for having voted for the death of the King. <mask> was called upon to organize a funeral, and he painted Le Peletier Assassinated. In it, the assassin's sword was seen hanging by a single strand of horsehair above Le Peletier's body, a concept inspired by the proverbial ancient tale of the sword of Damocles, which illustrated the insecurity of power and position.This underscored the


texts: courage displayed by Le Peletier and his companions in routing an oppressive king. The sword pierces a piece of paper on which is written "I vote the death of the tyrant", and as a tribute at the bottom right of the picture <mask> placed the inscription "<mask> to Le Peletier. 20 January 1793". The painting was later destroyed by Le Peletier's royalist daughter, and is known by only a drawing, an engraving, and contemporary accounts. Nevertheless, this work was important in <mask>'s career because it was the first completed painting of the French Revolution, made in less than three months, and a work through which he initiated the regeneration process that would continue with The Death of Marat, <mask>'s masterpiece. On 13 July 1793, <mask>'s friend Marat was assassinated by Charlotte Corday with a knife she had hidden in her clothing. She gained entrance to Marat's house on the pretense of presenting him a list of people who should be executed as enemies of France.Marat thanked her and said that they would be guillotined next week upon which Corday immediately fatally stabbed him. She was guillotined shortly thereafter. Corday was of an opposing political party, whose name can be seen in the note Marat holds in <mask>'s subsequent painting, The Death of Marat. Marat, a member of the National Convention and a journalist, had a skin disease that caused him to itch horribly. The only relief he could get was in his bath over which he improvised a desk to write his list of suspect counter-revolutionaries who were to be quickly tried and, if convicted, guillotined. <mask> once again organized a spectacular


texts: funeral, and Marat was buried in the Panthéon. Marat's body was to be placed upon a Roman bed, his wound displayed and his right arm extended holding the pen which he had used to defend the Republic and its people.This concept was to be complicated by the fact that the corpse had begun to putrefy. Marat's body had to be periodically sprinkled with water and vinegar as the public crowded to see his corpse prior to the funeral on 15 and 16 July. The stench became so bad however that the funeral had to be brought forward to the evening of 16 July. The Death of Marat, perhaps <mask>'s most famous painting, has been called the Pietà of the revolution. Upon presenting the painting to the convention, he said "Citizens, the people were again calling for their friend; their desolate voice was heard: <mask>, take up your brushes..., avenge Marat... I heard the voice of the people. I obeyed."<mask> had to work quickly, but the result was a simple and powerful image. The Death of Marat, 1793, became the leading image of the Terror and immortalized both Marat and <mask> in the world of the revolution. This piece stands today as "a moving testimony to what can be achieved when an artist's political convictions are directly manifested in his work". A political martyr was instantly created as <mask> portrayed Marat with all the marks of the real murder, in a fashion which greatly resembles that of Christ or his disciples. The subject although realistically depicted remains lifeless in a rather supernatural composition. With the surrogate tombstone placed in front of him and the almost holy light cast upon the whole scene;


texts: alluding to an out of this world existence. "Atheists though they were, <mask> and Marat, like so many other fervent social reformers of the modern world, seem to have created a new kind of religion."At the very center of these beliefs, there stood the republic. After the King's execution, war broke out between the new Republic and virtually every major power in Europe. <mask>, as a member of the Committee of General Security, contributed directly to the Reign of Terror. <mask> organized his last festival: the festival of the Supreme Being. Robespierre had realized what a tremendous propaganda tool these festivals were, and he decided to create a new religion, mixing moral ideas with the Republic and based on the ideas of Rousseau. This process had already begun by confiscating church lands and requiring priests to take an oath to the state. The festivals, called fêtes, would be the method of indoctrination.On the appointed day, 20 Prairial by the revolutionary calendar, Robespierre spoke, descended steps, and with a torch presented to him by <mask>, incinerated a cardboard image symbolizing atheism, revealing an image of wisdom underneath. Soon, the war began to go well; French troops marched across the southern half of the Netherlands (which would later become Belgium), and the emergency that had placed the Committee of Public Safety in control was no more. Then plotters seized Robespierre at the National Convention and he was later guillotined, in effect ending the Reign of Terror. As Robespierre was arrested, <mask> yelled to his friend "if you drink hemlock, I shall drink it with you." After this, he


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 supposedly fell ill, and did not attend the evening session because of "stomach pain", which saved him from being guillotined along with Robespierre. <mask> was arrested and placed in prison, first from 2 August to 28 December 1794 and then from 29 May to 3 August 1795. There he painted his own portrait, showing him much younger than he actually was, as well as that of his jailer.Post-revolution

After <mask>'s wife visited him in jail, he conceived the idea of telling the story of The rape of the Sabine women. The Sabine Women Enforcing Peace by Running between the Combatants, also called The Intervention of the Sabine Women is said to have been painted to honor his wife, with the theme being love prevailing over conflict. The painting was also seen as a plea for the people to reunite after the bloodshed of the revolution. <mask> conceived a new style for this painting, one which he called the "Pure Greek Style", as opposed to the "Roman style" of his earlier historical paintings. The new style was influenced heavily by the work of art historian Johann Joachim Winckelmann. In <mask>'s words, "the most prominent general characteristics of the Greek masterpieces are a noble simplicity and silent greatness in pose as well as in expression." Instead of the muscularity and angularity of the figures of his past works, these were smoother, more feminine, and painterly.This work also brought him to the attention of Napoleon. The story for the painting is as follows: "The Romans have abducted the daughters of their neighbors, the Sabines. To avenge this abduction, the Sabines attacked Rome, although not


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 immediately—since Hersilia, the daughter of Tatius, the leader of the Sabines, had been married to Romulus, the Roman leader, and then had two children by him in the interim. Here we see Hersilia between her father and husband as she adjures the warriors on both sides not to take wives away from their husbands or mothers away from their children. The other Sabine Women join in her exhortations." During this time, the martyrs of the Revolution were taken from the Pantheon and buried in common ground, and revolutionary statues were destroyed. When <mask> was finally released to the country, France had changed.His wife managed to get him released from prison, and he wrote letters to his former wife, and told her he never ceased loving her. He remarried her in 1796. Finally, wholly restored to his position, he retreated to his studio, took pupils and for the most part, retired from politics. In August 1796, <mask> and many other artists signed a petition orchestrated by Quatremère de Quincy which questioned the wisdom of the planned seizure of works of art from Rome. The Director Barras believed that <mask> was "tricked" into signing, although one of <mask>'s students recalled that in 1798 his master lamented the fact that masterpieces had been imported from Italy. Napoleon

<mask>'s close association with the Committee of Public Safety during the Terror resulted in his signing of the death warrant for Alexandre de Beauharnais, a minor noble. Beauharnais's widow, Joséphine, went on to marry Napoleon Bonaparte and became his empress; <mask> himself depicted their coronation in the Coronation of Napoleon and


texts: Josephine, 2 December 1804.<mask> had been an admirer of Napoleon from their first meeting, struck by Bonaparte's classical features. Requesting a sitting from the busy and impatient general, <mask> was able to sketch Napoleon in 1797. <mask> recorded the face of the conqueror of Italy, but the full composition of Napoleon holding the peace treaty with Austria remains unfinished. This was likely a decision by Napoleon himself after considering the current political situation. He may have considered the publicity the portrait would bring about to be ill-timed. Bonaparte had high esteem for <mask>, and asked him to accompany him to Egypt in 1798, but <mask> refused, seemingly unwilling to give up the material comfort, safety, and peace of mind he had obtained through the years. Draftsman and engraver Dominique Vivant Denon went to Egypt instead, providing mostly documentary and archaeological work.After Napoleon's successful coup d'état in 1799, as First Consul he commissioned <mask> to commemorate his daring crossing of the Alps. The crossing of the St. Bernard Pass had allowed the French to surprise the Austrian army and win victory at the Battle of Marengo on 14 June 1800. Although Napoleon had crossed the Alps on a mule, he requested that he be portrayed "calm upon a fiery steed". <mask> complied with Napoleon Crossing the Saint-Bernard. After the proclamation of the Empire in 1804, <mask> became the official court painter of the regime. During this period he took students, one of whom was the Belgian painter Pieter van Hanselaere. One of the works <mask> was commissioned for was The Coronation of Napoleon

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 (1805-1807).<mask> was permitted to watch the event. He had plans of Notre Dame delivered and participants in the coronation came to his studio to pose individually, though never the Emperor (the only time <mask> obtained a sitting from Napoleon had been in 1797). <mask> did manage to get a private sitting with the Empress Joséphine and Napoleon's sister, Caroline Murat, through the intervention of erstwhile art patron Marshal Joachim Murat, the Emperor's brother-in-law. For his background, <mask> had the choir of Notre Dame act as his fill-in characters. Pope Pius VII came to sit for the painting, and actually blessed <mask>. Napoleon came to see the painter, stared at the canvas for an hour and said "<mask>, I salute you." <mask> had to redo several parts of the painting because of Napoleon's various whims, and for this painting, he received twenty-four thousand Francs.<mask> was made a Chevalier de la Légion d'honneur in 1803. He was promoted to an Officier in 1808. And, in 1815, he was promoted to a Commandant (now Commandeur) de la Légion d'honneur. Exile and death

On the Bourbons returning to power, <mask> figured in the list of proscribed former revolutionaries and Bonapartists—for having voted execution for the deposed King Louis XVI; and for participating in the death of Louis XVII. Mistreated and starved, the imprisoned Louis XVII was forced into a false confession of incest with his mother, Queen Marie-Antoinette. This was untrue, as the son was separated from his mother early and was not allowed communication with her; nevertheless, the allegation helped earn her the guillotine. The newly


texts: restored Bourbon King, Louis XVIII, however, granted amnesty to <mask> and even offered him the position of court painter.<mask> refused, preferring self-exile in Brussels. There, he trained and influenced Brussels artists like François-Joseph Navez and Ignace Brice, painted Cupid and Psyche and quietly lived the remainder of his life with his wife (whom he had remarried). In that time, he painted smaller-scale mythological scenes, and portraits of citizens of Brussels and Napoleonic émigrés, such as the Baron Gerard. <mask> created his last great work, Mars Being Disarmed by Venus and the Three Graces, from 1822 to 1824. In December 1823, he wrote: "This is the last picture I want to paint, but I want to surpass myself in it. I will put the date of my seventy-five years on it and afterwards I will never again pick up my brush." The finished painting—evoking painted porcelain because of its limpid coloration—was exhibited first in Brussels, then in Paris, where his former students flocked to view it.The exhibition was profitable—13,000 francs, after deducting operating costs, thus, more than 10,000 people visited and viewed the painting. In his later years, <mask> remained in full command of his artistic faculties, even after a stroke in the spring of 1825 disfigured his face and slurred his speech. In June 1825, he resolved to embark on an improved version of his Anger of Achilles (also known as the Sacrifice of Iphigenie); the earlier version was completed in 1819 and is now in the collection of the Kimbell Art Museum in Fort Worth, Texas. <mask> remarked to his friends who visited his studio "this


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 [painting] is what is killing me" such was his determination to complete the work, but by October it must have already been well advanced, as his former pupil Gros wrote to congratulate him, having heard reports of the painting's merits. By the time <mask> died, the painting had been completed and the commissioner Ambroise Firmin-Didot brought it back to Paris to include it in the exhibition "Pour les grecs" that he had organised and which opened in Paris in April 1826. When <mask> was leaving a theater, a carriage struck him, and he later died, on 29 December 1825. At his death, some portraits were auctioned in Paris, they sold for little; the famous Death of Marat was exhibited in a secluded room, to avoid outraging public sensibilities.Disallowed return to France for burial, for having been a regicide of King Louis XVI, the body of the painter Jacques-<mask> was buried in Brussels and moved in 1882 to Brussels Cemetery, while some say his heart was buried with his wife at Père Lachaise Cemetery, Paris. Freemasonry
The theme of the oath found in several works like The Oath of the Tennis Court, The Distribution of the Eagles, and Leonidas at Thermopylae, was perhaps inspired by the rituals of Freemasonry. In 1989 during the "David against <mask>" conference Albert Boime was able to prove, on the basis of a document dated in 1787, the painter's membership in the "La Moderation" Masonic Lodge. Medical analysis of <mask>'s face
Jacques-<mask>'s facial abnormalities were traditionally reported to be a consequence of a deep facial sword wound after a fencing incident. These left him with a noticeable asymmetry

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 during facial expression and resulted in his difficulty in eating or speaking (he could not pronounce some consonants such as the letter 'r'). A sword scar wound on the left side of his face is present in his self-portrait and sculptures and corresponds to some of the buccal branches of the facial nerve. An injury to this nerve and its branches are likely to have resulted in the difficulties with his left facial movement.Furthermore, as a result of this injury, he suffered from a growth on his face that biographers and art historians have defined as a benign tumor. These, however, may have been a granuloma, or even a post-traumatic neuroma. As historian Simon Schama has pointed out, witty banter and public speaking ability were key aspects of the social culture of 18th-century France. In light of these cultural keystones, <mask>'s tumor would have been a heavy obstacle in his social life. <mask> was sometimes referred to as "<mask> of the Tumor". Portraiture
In addition to his history paintings, <mask> completed a number of privately commissioned portraits. Warren Roberts, among others, has pointed out the contrast between <mask>'s "public style" of painting, as shown in his history paintings, and his "private style", as shown in his portraits.His portraits were characterized by a sense of truth and realism. He focused on defining his subjects' features and characters without idealizing them. This is different from the style seen in his historical paintings, in which he idealizes his figures' features and bodies to align with Greek and Roman ideals of beauty. He puts a great deal of detail into his


texts: portraits, defining smaller features like hands and fabric. The compositions of his portraits remain simple with blank backgrounds that allow the viewer to focus on the details of the subject. The portrait he did of his wife (1813) is an example of his typical portrait style. The background is dark and simple without any clues as to the setting, which forces the viewer to focus entirely on her.Her features are un-idealized and truthful to her appearance. There is a great amount of detail that can be seen in his attention to portraying the satin material of the dress she wears, the drapery of the scarf around her, and her hands which rest in her lap. In the painting of Brutus (1789), the man and his wife are separated, both morally and physically. Paintings like these, depicting the great strength of patriotic sacrifice, made <mask> a popular hero of the revolution. In the Portrait of Antoine-Laurent Lavoisier and his wife (1788), the man and his wife are tied together in an intimate pose. She leans on his shoulder while he pauses from his work to look up at her. <mask> casts them in a soft light, not in the sharp contrast of Brutus or of the Horatii.Also of interest—Lavoisier was a tax collector, as well as a famous chemist. Though he spent some of his money trying to clean up swamps and eradicate malaria, he was nonetheless sent to the guillotine during the Reign of Terror as an enemy of the people. <mask>, then a powerful member of the National Assembly, stood idly by and watched. Other portraits include paintings of his sister-in-law and her husband, Madame and Monsieur Seriziat. The picture of Monsieur


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 Seriziat depicts a man of wealth, sitting comfortably with his horse-riding equipment. The picture of the Madame shows her wearing an unadorned white dress, holding her young child's hand as they lean against a bed. <mask> painted these portraits of Madame and Monsieur Seriziat out of gratitude for letting him stay with them after he was in jail.Towards the end of <mask>'s life, he painted a portrait of his old friend Abbé Sieyès. Both had been involved in the Revolution, both had survived the purging of political radicals that followed the reign of terror. Shift in attitude
The shift in <mask>'s perspective played an important role in the paintings of <mask>'s later life, including this one of Sieyès. During the height of The Terror, <mask> was an ardent supporter of radicals such as Robespierre and Marat, and twice offered up his life in their defense. He organized revolutionary festivals and painted portraits of martyrs of the revolution, such as Lepeletier, who was assassinated for voting for the death of the king. <mask> was an impassioned speaker at times in the National Assembly. In speaking to the Assembly about the young boy named Bara, another martyr of the revolution, <mask> said, "O Bara!O Viala! The blood that you have spread still smokes; it rises toward Heaven and cries for vengeance." After Robespierre was sent to the guillotine, however, <mask> was imprisoned and changed the attitude of his rhetoric. During his imprisonment he wrote many letters, pleading his innocence. In one he wrote, "I am prevented from returning to my atelier, which, alas, I should never have left. I believed that in

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 accepting the most honorable position, but very difficult to fill, that of legislator, that a righteous heart would suffice, but I lacked the second quality, understanding." Later, while explaining his developing "Grecian style" for paintings such as The Intervention of the Sabine Women, <mask> further commented on a shift in attitude: "In all human activity the violent and transitory develops first; repose and profundity appear last.The recognition of these latter qualities requires time; only great masters have them, while their pupils have access only to violent passions." Legacy

Jacques-<mask> was, in his time, regarded as the leading painter in France, and arguably all of Western Europe; many of the painters honored by the restored Bourbons following the French Revolution had been <mask>'s pupils. <mask>'s student Antoine-Jean Gros for example, was made a Baron and honored by Napoleon Bonaparte's court. Another pupil of <mask>'s, Jean Auguste Dominique Ingres became the most important artist of the restored Royal Academy and the figurehead of the Neoclassical school of art, engaging the increasingly popular Romantic school of art that was beginning to challenge Neoclassicism. <mask> invested in the formation of young artists for the Rome Prize, which was also a way to pursue his old rivalry with other contemporary painters such as Joseph-Benoît Suvée, who had also started teaching classes. To be one of <mask>'s students was considered prestigious and earned his students a lifetime reputation. He called on the more advanced students, such as Jérôme-Martin Langlois, to help him paint his large

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texts: canvases.Musician and artist Therese Emilie Henriette Winkel also studied with <mask>. Despite <mask>'s reputation, he was more fiercely criticized right after his death than at any point during his life. His style came under the most serious criticism for being static, rigid, and uniform throughout all his work. <mask>'s art was also attacked for being cold and lacking warmth. <mask>, however, made his career precisely by challenging what he saw as the earlier rigidity and conformity of the French Royal Academy's approach to art. <mask>'s later works also reflect his growth in the development of the Empire style, notable for its dynamism and warm colors. It is likely that much of the criticism of <mask> following his death came from <mask>'s opponents; during his lifetime <mask> made a great many enemies with his competitive and arrogant personality as well as his role in the Terror.<mask> sent many people to the guillotine and personally signed the death warrants for King Louis XVI and Marie Antoinette. One significant episode in <mask>'s political career that earned him a great deal of contempt was the execution of Emilie Chalgrin. A fellow painter Carle Vernet had approached <mask>, who was on the Committee of Public Safety, requesting him to intervene on behalf of his sister, Chalgrin. She had been accused of crimes against the Republic, most notably possessing stolen items. <mask> refused to intervene in her favor, and she was executed. Vernet blamed <mask> for her death, and the episode followed him for the rest of his life and after. In the last 50 years <mask> has enjoyed a revival in popular favor

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 and in 1948 his two-hundredth birthday was celebrated with an exhibition at the Musée de l'Orangerie in Paris and at Versailles showing his life's works.Following World War II, Jacques-<mask> was increasingly regarded as a symbol of French national pride and identity, as well as a vital force in the development of European and French art in the modern era. The birth of Romanticism is traditionally credited to the paintings of eighteenth-century French artists such as Jacques-Louis <mask>. There are streets named after <mask> in the French cities of Carcassonne and Montpellier. Filmography
Danton (Andrzej Wajda, France, 1982) – Historical drama. Many scenes include <mask> as a silent character watching and drawing. The film focuses on the period of the Terror. Gallery

See also
 Napoleon legacy and memory
 Neoclassicism in France

References

Sources

Brookner, Anita, Jacques-Louis <mask>, Chatto & Windus (1980)

Chodorow, Stanley, et al.The Mainstream of Civilization. New York: The Harcourt Press (1994) pg. 594

Delécluze, E., <mask>, son école et son temps, Paris, (1855) re-edition Macula (1983)
Dowd, <mask>, Pageant-Master of the Republic, Lincoln, University of Nebraska Press, (1948)

Humbert, Agnès, <mask>, peintre et conventionnel: essai de critique marxiste, Paris, Editions sociales internationales (1936)
 Humbert, Agnès, <mask>, collection des Maîtres, 60 illustrations, Paris, Braun (1940)

Johnson, Dorothy, Jacques-Louis <mask>. New Perspectives, Newark (2006)
Lajer-Burcharth, Ewa, Necklines. The art of Jacques-Louis <mask> after the Terror, ed. Yale University Press, New Haven London (1999)
Lee,

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 Simon, <mask>, Phaidon, London (1999). Lévêque, Jean-Jacques, Jacques-Louis <mask> édition Acr Paris (1989)
Leymarie, Jean, French Painting, the 19th century, Cleveland (1962)
Lindsay, Jack, Death of the Hero, London, Studio Books (1960)
Malvone, Laura, L'Évènement politique en peinture.A propos du Marat de <mask> in Mélanges de l'École française de Rome, Italie et Méditerranée 106, 1 (1994)
Michel, R. (ed), <mask> contre <mask>, actes du colloque au Louvre du 6-10 décembre 1989, Paris (1993)
Monneret, Sophie Monneret, <mask> et le néoclassicisme, ed. Terrail, Paris (1998)
Noël, Bernard, <mask>, éd. Flammarion, Paris (1989)

Rosenberg, Pierre, Prat, Louis-Antoine, Jacques-Louis <mask> 1748-1825. Catalogue raisonné des dessins, 2 volumes, éd. Leonardo Arte, Milan (2002)
Rosenberg, Pierre, Peronnet, Benjamin, Un album inédit de David in Revue de l'art, n°142 (2003–04), pp. 45–83 (complete the previous reference)
 Sahut, Marie-Catherine & Michel, Régis, <mask>, l'art et le politique, coll. "Découvertes Gallimard" (nº 46), série Peinture.Éditions Gallimard et RMN Paris (1988)
Sainte-Fare Garnot, N., Jacques-Louis <mask> 1748-1825, Paris, Ed. Chaudun (2005)

Schnapper, Antoine, <mask> témoin de son temps, Office du Livre, Fribourg, (1980)
Thévoz, Michel, Le théâtre du crime. Essai sur la peinture de <mask>, éd. de Minuit, Paris (1989)
Vanden Berghe, Marc, Plesca, Ioana, Nouvelles perspectives sur la Mort de Marat: entre modèle jésuite et références mythologiques, Bruxelles (2004) / New Perspectives on <mask>'s Death of Marat, Brussels (2004) - online on www.art-chitecture.net/publications.php
Vanden Berghe,

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 Marc, Plesca, Ioana, Lepelletier de Saint-Fargeau sur son lit de mort par Jacques-Louis <mask>: saint Sébastien révolutionnaire, miroir multiréférencé de Rome, Brussels (2005) - online on www.art-chitecture.net/publications.php
Vaughan, William and Weston, Helen (eds),Jacques-Louis <mask>'s Marat, Cambridge (2000)
 The Death of Socrates. Retrieved 29 June 2005. New York Med. Jacques-Louis <mask>, on An Abridged History of Europe.Retrieved 29 June 2005
 J.L<mask> on CGFA. Retrieved 29 June 2005

Further reading
 (see index)

External links

A Closer Look at <mask>'s Consecration of Napoleon multimedia feature; Louvre museum official website
The Intervention of the Sabines (Louvre museum)
Web Gallery of Art
www.jacqueslouisdavid.org 101 paintings by Jacques-Louis <mask>-<mask> at Olga's Gallery
Jacques-<mask> in the "History of Art"
smARThistory: Death of Socrates
Sterling and Francine Clark Art Institute 2005 exhibition, Jacques-Louis <mask>: Empire to Exile
The equestrian portrait of Stanislaw Kostka Potocki at the Wilanow Palace Museum

Jacobins
French neoclassical painters
Prix de Rome for painting
1748 births
1825 deaths
Artists from Paris
University of Paris alumni
Deputies to the French National Convention
Regicides of Louis XVI
First French Empire
French Roman Catholics
Members of the Académie des beaux-arts
Alumni of the École des Beaux-Arts
Road incident deaths in Belgium
Burials at Père Lachaise Cemetery
01
Pedestrian road incident deaths
18th-century French painters
French male painters
19th-century French painters
French history painters
People of the Reign of Terror
French

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<mask> of Bourbon-Parma (Zita Maria delle Grazie Adelgonda Micaela Raffaela Gabriella Giuseppina Antonia Luisa Agnese; 9 May 1892 – 14 March 1989) was the wife of Charles, the last monarch of Austria-Hungary. As such, she was the last Empress of Austria and Queen of Hungary, in addition to other titles. She is venerated in the Catholic Church, having been declared Servant of God by Pope Benedict XVI. Born as the seventeenth child of the dispossessed Robert I, Duke of Parma, and his second wife, Infanta Maria Antonia of Portugal, Zita married the then Archduke Charles of Austria in 1911. Charles became heir presumptive to the Emperor Franz Joseph I of Austria in 1914 after the assassination of his uncle Archduke Franz Ferdinand of Austria, and acceded to the throne in 1916 after the elderly emperor's death. After the end of World War I in 1918, the Habsburgs were deposed and the former empire became home to the states of Austria, Hungary, and Czechoslovakia whilst other parts were annexed to or joined the Kingdom of the Serbs, Croats and Slovenes, Italy, Romania and a reconstituted independent Poland. Charles and Zita left for exile in Switzerland and after the failure of attempts to restore royal rule in Hungary, were subsequently removed from that country by the Allies to Madeira, where Charles died in 1922.After her husband's death, <mask> and her son Otto served as symbols of unity for the exiled dynasty. A devout Catholic, she raised a large family after being widowed at the age of 29, and never remarried. Early life
Princess <mask> of Bourbon-Parma was born at the Villa Pianore in the Italian Province of Lucca, 9 May 1892. The unusual name Zita was given to her after <mask>, a popular Italian saint who had lived in Tuscany in the 13th century. She was the third daughter and fifth child of the deposed Robert I, Duke of Parma and his second wife Infanta Maria Antonia of Portugal, a daughter of King Miguel of Portugal and his wife Princess

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 Adelaide of Löwenstein-Wertheim-Rosenberg. <mask>'s father had lost his throne as a result of the movement for Italian unification in 1859 when he was still a child. He fathered twelve children during his first marriage to Princess Maria Pia of the Two Sicilies (six of whom were mentally disabled, and three of whom died young).Duke Robert became a widower in 1882, and two years later he married Infanta Maria Antonia of Portugal, Zita's mother. The second marriage produced a further twelve children. <mask> was the 17th child among Duke Robert's 24 children. Robert moved his large family between Villa Pianore (a large property located between Pietrasanta and Viareggio) and his Schwarzau Castle in lower Austria. It was mainly in these two residences that Zita spent her formative years. The family spent most of the year in Austria, moving to Pianore in the winter and returning in the summer. To move between them, they took a special train with sixteen coaches to accommodate the family and their belongings.<mask> and her siblings were raised to speak Italian, French, German, Spanish, Portuguese and English. She recalled:

At the age of ten, <mask> was sent to a boarding school at Zanberg in Upper Bavaria, where there was a strict regime of study and religious instruction. She was summoned home in the autumn of 1907 at the death of her father. Her maternal grandmother sent <mask> and her sister Francesca to a convent on the Isle of Wight to complete her education. Brought up as devout Catholics, the Parma children regularly undertook good works for the poor. In Schwarzau the family turned surplus cloth into clothes. <mask> and Francesca personally distributed food, clothing, and medicines to the needy in Pianore.Three of <mask>'s sisters became nuns and, for a time, she considered following the same path. <mask> went through a patch of poor health and was sent for the traditional cure at a European spa for two years. Marriage

In the close vicinity

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 of Schwarzau castle was the Villa Wartholz, residence of Archduchess Maria Theresa of Austria, <mask>'s maternal aunt. She was the stepmother of Archduke Otto, who died in 1906, and the step-grandmother of Archduke Charles of Austria-Este, at that time second-in-line to the Austrian throne. The two daughters of Archduchess Maria Theresa of Austria were Zita's first cousins and Charles' half-aunts. They had met as children but did not see one another for almost ten years, as each pursued their education. In 1909, his Dragoon regiment was stationed at Brandýs nad Labem, from where he visited his aunt at Františkovy Lázně.It was during one of these visits that Charles and Zita became reacquainted. Charles was under pressure to marry (Franz Ferdinand, his uncle and first-in-line, had married morganatically, and his children were excluded from the throne) and Zita had a suitably royal genealogy. <mask> later recalled:

Archduke Charles traveled to Villa Pianore and asked for Zita's hand and, on 13 June 1911, their engagement was announced at the Austrian court. Zita in later years recalled that after her engagement she had expressed to Charles her worries about the fate of the Austrian Empire and the challenges of the monarchy. Charles and Zita were married at the Schwarzau castle on 21 October 1911. Charles's great-uncle, the 81-year-old Emperor Franz Joseph, attended the wedding. He was relieved to see an heir make a suitable marriage, and was in good spirits, even leading the toast at the wedding breakfast.Archduchess <mask> soon conceived a son, and Otto was born 20 November 1912. Seven more children followed in the next decade. Wife of the heir to Austrian throne
At this time, Archduke Charles was in his twenties and did not expect to become emperor for some time, especially while Franz Ferdinand remained in good health. This changed on 28 June 1914 when the heir and his wife Sophie were assassinated in Sarajevo by Bosnian Serb nationalists.

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 Charles and Zita received the news by telegram that day. She said of her husband, "Though it was a beautiful day, I saw his face go white in the sun." In the war that followed, Charles was promoted to General in the Austrian army, taking command of the 20th Corps for an offensive in Tyrol.The war was personally difficult for <mask>, as several of her brothers fought on opposing sides in the conflict (Prince Felix and Prince René had joined the Austrian army, while Prince Sixtus and Prince Xavier lived in France before the war and enlisted in the Belgian army.) Also her country of birth, Italy, joined the war against Austria in 1915, and so rumours of the 'Italian' Zita began to be muttered. Even as late as 1917, The German ambassador in Vienna, Count Botho von Wedel-Jarlsberg would write to Berlin saying "The Empress is descended from an Italian princely house... People do not entirely trust the Italian and her brood of relatives." At Franz Joseph's request, Zita and her children left their residence at Hetzendorf and moved into a suite of rooms at Schönbrunn Palace. Here, Zita spent many hours with the old Emperor on both formal and informal occasions, where Franz Joseph confided in her his fears for the future. Emperor Franz Joseph died of bronchitis and pneumonia at the age of 86 on 21 November 1916. "I remember the dear plump figure of Prince Lobkowitz going up to my husband," Zita later recounted, "and, with tears in his eyes, making the sign of the cross on Charles's forehead.As he did so he said, 'May God bless Your Majesty.' It was the first time we had heard the Imperial title used to us." Empress and queen

Charles and <mask> were crowned in Budapest on 30 December 1916. Following the coronation there was a banquet, but after that the festivities ended, as the emperor and empress thought it wrong to have prolonged celebrations during a time of war. At the beginning of the reign, Charles was more often than not away from Vienna, so he

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 had a telephone line installed from Baden (where Charles's military headquarters were located) to the Hofburg. He called Zita several times a day whenever they were separated. Zita had some influence on her husband and would discreetly attend audiences with the Prime Minister or military briefings, and she had a special interest in social policy.However, military matters were the sole domain of Charles. Energetic and strong-willed, Zita accompanied her husband to the provinces and to the front, as well as occupying herself with charitable works and hospital visits to the war-wounded. Sixtus affair
By the spring of 1917, the War was dragging on towards its fourth year, and <mask>'s brother Sixtus of Bourbon-Parma, a serving officer in the Belgian Army, was a main mover behind a plan for Austria-Hungary to make a separate peace with France. Charles initiated contact with Sixtus through contacts in neutral Switzerland, and Zita wrote a letter inviting him to Vienna. <mask>'s mother Maria Antonia delivered the letter in person. Sixtus arrived with conditions for talks which had been agreed with the French – the restoration to France of Alsace-Lorraine (annexed by Germany after the Franco-Prussian War in 1870); restoration of the independence of Belgium; independence for the kingdom of Serbia; and the handover of Constantinople to Russia. Charles agreed, in principle, to the first three points and wrote a letter to Sixtus dated 25 March 1917 which sent "the secret and unofficial message" to the President of France that "I will use all means and all my personal influence".This attempt at dynastic diplomacy eventually foundered. Germany refused to negotiate over Alsace-Lorraine, and, seeing a Russian collapse on the horizon, was loath to give up the war. Sixtus continued his efforts, even meeting Lloyd George in London about Italy's territorial demands on Austria in the Treaty of London of 1915, but the Prime Minister could not persuade his generals


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 that Britain should make peace with Austria. <mask> managed a personal achievement during this time by stopping the German plans to send airplanes to bomb the home of the King and Queen of Belgium on their name days. In April 1918, after the German-Russian Treaty of Brest-Litovsk, Austrian Foreign Minister Count Ottokar Czernin made a speech attacking incoming French Prime Minister Georges Clemenceau as being the main obstacle to a peace favouring the Central Powers. Clemenceau was incensed and, after seeing the Emperor Charles's letter of 24 March 1917, had it published. For a while, the life of Sixtus appeared to be in danger, and there were even fears that Germany might occupy Austria.Czernin persuaded Charles to send a 'Word of Honour' to Austria's allies saying that Sixtus had not been authorised to show the letter to the French Government, that Belgium had not been mentioned, and that Clemenceau had lied about the mentioning of Alsace. Czernin had actually been in contact with the German Embassy throughout the whole crisis and attempted to persuade the Emperor to step down because of the Affair. After failing to do so, Czernin resigned as Foreign Minister. End of Empire
By this time, the war was closing in on the embattled Emperor. A Union of Czech Deputies had already sworn an oath to a new Czechoslovak state independent of the Habsburg Empire on 13 April 1918, the prestige of the German Army had taken a severe blow at the Battle of Amiens, and, on 25 September 1918, her brother in law King Ferdinand I of Bulgaria broke away from his allies in the Central Powers and sued for peace independently. Zita was with Charles when he received the telegram of Bulgaria's collapse. She remembered it "made it even more urgent to start peace talks with the Western Powers while there was still something to talk about."On 16 October, the emperor issued a "People's Manifesto" proposing the empire be restructured on federal lines with each nationality


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 gaining its own state. Instead, each nation broke away and the empire effectively dissolved. Leaving behind their children at Gödöllő, Charles and Zita travelled to the Schönbrunn Palace. By this time ministers had been appointed by the new state of "German-Austria", and by 11 November, together with the emperor's spokesmen, they prepared a manifesto for Charles to sign. <mask>, at first glance, mistook it for an abdication and made her famous statement:

Charles gave his permission for the document to be published, and he, his family and the remnants of his Court departed for the Royal shooting lodge at Eckartsau, close to the borders with Hungary and Slovakia. The Republic of German-Austria was proclaimed the next day. Exile

After a difficult few months at Eckartsau, the Imperial Family received aid from an unexpected source.Prince Sixtus had met King George V and appealed to him to help the Habsburgs. George was reportedly moved by the request, it being only months since his imperial relatives in Russia had been executed by revolutionaries, and promised "We will immediately do what is necessary." Several British Army officers were sent to help Charles, most notably Lieutenant-Colonel Edward Lisle Strutt, who was a grandson of Lord Belper and a former student at the University of Innsbruck. On 19 March 1919, orders were received from the War Office to "get the Emperor out of Austria without delay". With some difficulty, Strutt managed to arrange a train to Switzerland, enabling the Emperor to leave the country with dignity without having to abdicate. Charles, Zita, their children and their household left Eckartsau on 24 March escorted by a detachment of British soldiers from the Honourable Artillery Company under the command of Strutt. Hungary and exile in Madeira

The family's first home in exile was Wartegg Castle in Rorschach, Switzerland, a property owned by the Bourbon-Parmas.However, the Swiss authorities, worried about the


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 implication of the Habsburgs living near the Austrian border, compelled them to move to the western part of the country. The next month, therefore, found them moving to Villa Prangins, near Lake Geneva, where they resumed a quiet family life. This abruptly ended in March 1920 when, after a period of instability in Hungary, Miklós Horthy was elected regent. Charles was still technically King (as Charles IV) but Horthy sent an emissary to Prangins advising him not to go to Hungary until the situation had calmed. After the Trianon Treaty Horthy's ambition soon grew. Charles became concerned and requested the help of Colonel Strutt to get him into Hungary. Charles twice attempted to regain control, once in March 1921 and again in October 1921.Both attempts failed, despite <mask>'s staunch support (she insisted on travelling with him on the final dramatic train journey to Budapest). Charles and Zita temporarily resided at Castle Tata, the home of Count Esterházy, until a suitable permanent exile could be found. Malta was mooted as a possibility, but was declined by Lord Curzon, and French territory was ruled out given the possibility of <mask>'s brothers intriguing on Charles's behalf. Eventually, the Portuguese island of Madeira was chosen. On 31 October 1921, the former Imperial couple were taken by rail from Tihany to Baja, where the Royal Navy monitor HMS Glowworm was waiting. They finally arrived at Funchal on 19 November. Their children were being looked after at Wartegg Castle in Switzerland by Charles's step-grandmother Maria Theresa, although Zita managed to see them in Zurich when her son Robert needed an operation for appendicitis.The children joined their parents in Madeira in February 1922. Death of Charles
Charles had been in poor health for some time. After going shopping on a chilly day in Funchal to buy toys for Carl Ludwig, he was struck by an attack of bronchitis. This rapidly worsened into pneumonia, not helped by the inadequate


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 medical care available. Several of the children and staff were also ill, and Zita (at the time eight months pregnant) helped nurse them all. Charles weakened and died on 1 April, his last words to his wife being "I love you so much." Charles was 34 years old.After his funeral, a witness said of Zita "This woman really is to be admired. She did not, for one second, lose her composure... she greeted the people on all sides and then spoke to those who had helped out with the funeral. They were all under her charm." Zita wore mourning black in Charles's memory throughout sixty-seven years of widowhood. Widowhood

After Charles's death, the former Austrian imperial family were soon to move again. Alfonso XIII of Spain had approached the British Foreign Office via his ambassador in London, and they agreed to allow Zita and her seven (soon to be eight) children to relocate to Spain. Alfonso duly sent the warship Infanta Isabel to Funchal and this took them to Cadiz.They were then escorted to the Pardo Palace in Madrid, where shortly after her arrival Zita gave birth to Archduchess Elisabeth. Alfonso XIII offered his exiled Habsburg relatives the use of Palacio Uribarren at Lekeitio in the Bay of Biscay. This appealed to Zita, who did not want to be a heavy burden to the state that harboured her. For the next six years Zita settled in Lekeitio, where she got on with the job of raising and educating her children. They lived with straitened finances, mainly living on income from private property in Austria, income from a vineyard in Johannisberg in the Rhine Valley, and voluntary collections. Other members of the exiled Habsburg dynasty, however, claimed much of this money, and there were regular petitions for help from former Imperial officials. Move to Belgium
By 1929, several of the children were approaching the age to attend university and the family sought to move to the Belgian village of Steenokkerzeel near Brussels, where they were closer to