texts:
 Chinese repayment of U. S. loans his personal responsibility. His pride: that China has repaid $2,300,000 of her previous $25,000,000 loan, is now, because of U. S. needs for tung oil and tin, ahead of schedule." The most important elements in his success were his American education and connections; his sense of professionalism (demonstrated by his opposition to official interference); his ability to compete and collaborate with foreign firms; his desire to innovate and explore various business strategies; his skill at obtaining community and professional support; and the unity of Chinese bankers.See also
Chinese financial system

Notes

References
 Tianshi, Yang. "Hu Shi and <mask>." Chinese Studies in History 39.3 (2006): 51-79. Lee, <mask>-tak. The Making of Modern Chinese Financial Entrepreneurship: The Case of <mask> (University of Hong Kong)
 Ho Kwong Shing Lawrence. "China's Quest for American Monetary Aid: The Role of <mask>, 1935-1944". Ph.D. Thesis.The University of Hong Kong. 2010. Lee, P. T. Emergence of Modern Chinese Financial Corporations: Case Study of Shanghai Commercial And Savings Bank, China Assurance Corporation Ltd, and China Travel Agency Centre of Asian Studies Department, July 1998 - June 2000)
Andrea McElderry. "Confucian Capitalism? : Corporate Values in Republican Banking" (Univ. of Louisville) Modern China, Vol. 12, No.3 (Jul., 1986), pp. 401–416 (c) 1986 Sage Publication Inc.
Whither Japan - Page 122 by Shuxi Xu - 1941 | Today's announcement follows three months' negotiations with US financial mission headed by Dr. KP <mask>. It was further announced that the credits would be ...
Morgenthau Diary (China): Prepared by the Subcommittee to

masks:
Chen Guangfu
Pui
Chen Guangfu
Chen Guangfu
Chen


type: original

texts:
 Investigate the Administration of the ... - Page 551 | by United States. Congress. Senate. Judiciary - 1965 | On his return from Chungking to Hong Kong, Mr. Cochran had a talk with KP <mask> in which the latter indicated his desire to withdraw from the Board. ...
Morgenthau Diary (China): Prepared by the Subcommittee to Investigate the Administration of the ... - Page 885 | by United States.Congress. Senate. Judiciary - 1965 | Mr. KP CHEN On April 17, 1942 Mr. KP <mask>, chairman of the Currency Stabilization Board, appeared much older and more fatigued than the year before when he ...
Interlocking Subversion in Government Departments: Hearing Before the Subcommittee to Investigate ... - Page 2337 | by United States. Congress. Senate. Committee on the Judiciary - 1954 | I told him that I learned from Mr. KP <mask> that wood oil, tung oil, the annual production is about 44000 tons a year and in about five years, ... The Amerasia Spy Case: Prelude to McCarthyism - Page 21 | by Harvey Klehr - History - 1996 - 280 pages | In 1940 Solomon Adler and Frank Coe, another Treasury Department employee who was a member of the CPUSA, introduced Chi to KP <mask>, the Nationalist ...The Amerasia Papers: A Clue to the Catastrophe of China ... Prepared by the Subcommittee to ... - Pages 1216, 1373, 1374 | by United States. Congress. Senate. Judiciary Committee - 1970 | It has been learned that Keswick proposed the formation of a Chinese company in the United States by KP Chen and Bang HOT and others ...
A History of Modern Shanghai Banking: The Rise and Decline of China's Financial Capitalism - Page 293 | by Zhaojin Ji - Business & Economics - 2003 - 325 pages | ... fl Chase Bank <mask>i

masks:
Chen
Chen
Chen
Chen
Chen Bule


texts:
 <mask> (KP Chen) Chen Guofu Chen Yun ...
Institute of Pacific Relations: Hearings, Eighty-second Congress, First[-second] Session ... | by United States. Congress. Senate.Committee on the Judiciary - 1953 | ... I told him that so far as I was informed, ! in this country, having arrived with KP <mask>, but that to get 1 public perhaps is difficult. ...
Shanghai: Revolution and Development in an Asian Metropolis - Page 9 | edited by Christopher Howe - Science - 1981 - 461 pages | ... the Chien brothers (Chien Chao-nan and Chien Yu-chieh) and the bankers, KP <mask> (Ch'en Kuang-fu) and Chang Kia-ngau (Chang Chia-ao). ...
Guide to Nanking and the Nanyang Exposition - Page 9 | 1910 - 55 pages | KP <mask>wei-teh, 13. 83-1: Executive Sessions of The Senate Permanent Subcommittee on Investigations of The Committee ... - Page 3433 | by United States. Congress.Senate. Committee on Governmental Affairs - 2003 | There were also Chinese members of the boards, Mr. KP <mask> was one, and he was the head of the Shanghai Commercial Bank, and Mr. Tsu ... The Life and Political Economy of Lauchlin Currie: New Dealer, Presidential Advisor and ... - Page 392 | by Roger J. Sandilands - 1990 | ... the finance minister whom he urged the Generalissimo to replace by someone more honest and efficient. He recommended KP <mask> as an alternative. ... The Cambridge History of China - Page 775 | edited by John K. Fairbank, Denis Twitchett - History - 1983 - 1120 pages | ... the interests of the Chinese residents on the Shanghai Municipal Council), he was in touch with the bankers Sung Han-chang and KP <mask> as well as the ...
Repeal of Silver Purchase Acts: Hearings Before a Subcommittee of the

masks:
Chen Guangfu
Chen
Chen
Chen H
Chen
Chen
Chen


texts:
 Committee on Banking and ... - Page 38 | by United States. Congress.Senate. Committee on Banking and Currency - 1955 - 368 pages | ... The Chinese representatives were: KP <mask>, YC Koo, and P. W. Kuo. Apparently the
Shanghai Money Market - Page 26 | by Shinwei Peng - 1946 - 56 pages | Mr. KP <mask>, founder and chairman of the Shanghai Commercial and Savings Bank a year or so ago assured the author that the aim of that bank was to help ... Chung-Kuo wen hua yen chiu so, Tai pei Chung-Kuo wen hua yen chiu so, Inc United Publishing Center, Chinese Institute of Translation and Research
Going to War with Japan, 1937-1941 - Page 194 by Jonathan G Utley - History - 2005 - 256 pages Harry Dexter White memo, March 16, July 12, 1938, folder 189, box 62, RG 56; Morgenthau diary, box 127, 109; HH Kung letter to KP <mask>, Aug.
Banking in Modern China: Entrepreneurs, Professional Managers, and the Development of Chinese ... - Page 257 by Linsun Cheng
Chinese Economic Journal and Bulletin by China. Shi ye bu. Guo ji mao yi ju, China.Jing ji tao lun chu. Published by Bureau of Foreign Trade, Ministry of Industry [etc.] Chinese Economic Bulletin - Page 104 | by China. Jing ji tao lun chu, China. Industrial and Commercial Information Bureau, China. Shi ye bu. Guo ji mao yi ju | ... who are as follows:— Li Ming, General Manager of the Chekiang Industrial Bank; KP <mask>, General Manager of the Shanghai Commercial and Savings Bank;
Chinese Economic Journal and Bulletin - Page 187 | by China.Shi ye bu. Guo ji mao yi ju, China. Jing ji tao lun chu | KP <mask> and John H<mask>, Managing Directors of the Bank. The Chairmanship of the Board of Directors was entrusted to Dr. HH Kung. The Board of

masks:
Chen
Chen
Chen
Chen
Chen
. Chen


texts:
 Supervisors ...
Chinese Economic Bulletin - Page 240 | by China. Jing ji tao lun chu, China. Industrial and Commercial Information Bureau, China.Shi ye bu. Guo ji mao yi ju
Chinese Economic Bulletin - Page 263 | by China. Jing ji tao lun chu, China. Industrial and Commercial Information Bureau, China. Shi ye bu. Guo ji mao yi ju
Chinese Economic Bulletin - Page 253 | by China. Jing ji tao lun chu, China.Industrial and Commercial Information Bureau, China. Shi ye bu. Guo ji mao yi ju
Chinese Economic Bulletin - Page 382 | by China. Jing ji tao lun chu, China. Industrial and Commercial Information Bureau, China. Shi ye bu. Guo ji mao yi ju
 Lee P.T.Banker and banking business in modern China: conference and publication of the diaries of K.P<mask>—To study banker and banking business in modern China: conference and publication of the diaries of K.P<mask> (Hang Seng Bank Golden Jubilee Education Fund for Research, July 2001)
 "Tung Oil Wanted" Apr. 6, 1942, TIME magazine
Time Inc.'s Nanking correspondent, Frederick Gruin, Monday, Oct. 20, 1947
"Everyday Life" Mar. 18, 1940, Time magazine
"Emergency As Usual," Dec. 22, 1941, Time magazine
<mask> Pioneered China's Modern Tourism; Part 2 Yao Huiyuan, Cao Lingjiao, Jeffery Seow

External links
Finding aid to the K.P<mask> papers at Columbia University Rare Book & Manuscript Library
Personal papers of <mask> / K. P<mask> deposited in the Rare Book and Manuscript Library, Columbia University. 1880 births
1976 deaths
Businesspeople from Jiangsu
Chinese bankers
Taiwanese bankers
People from Zhenjiang
Taiwanese people from Jiangsu
Wharton School of the University of Pennsylvania alumni
Members of the 1st Legislative Yuan
Members of the

masks:
. Chen
. Chen
Chen Guangfu
. Chen
Chen Guangfu
. Chen


texts:
R. C. O<mask> (March 31, 1855 – October 2, 1900) was a journalist, lawyer, and minister in the United States. He was an editor or contributor to numerous newspapers throughout the country, and may have been the first black editor of a white paper when he became editor of the Daily Sun In Los Angeles. He was also possibly the first black man admitted to the California bar, and may have been admitted to the bar in twelve states. In 1900 he was working as a prominent lawyer in Lexington Kentucky when he was beaten for helping register black voters by a white man who opposed his efforts. Later that day he was killed by the same man. Early life and education
<mask>'<mask> was born in St. Kitts on March 31, 1855. He attended compulsory schools until the age of eleven when he was sent to England for private tutoring, and then enrolled in Trinity College, Oxford University where he studied for three years.He left Oxford without receiving a degree and made a two year tour of the East Indies including Sumatra and Java. After returning to England, he sailed to New York City, arriving April 13, 1869. Ten days later he took a six month cruise to South America and the Caribbean as a cabin boy on the Lepanto captained by <mask>. Staples. The tour stopped in Venezuela, Curaçao, Demerara, and the West Indies. In the fall of 1869 he returned and settled in New York City. Early career
In New York he became associated with Henry Highland Garnet, <mask>, Isaac Hayes, and Joe Howard, Jr. He took work as a soliciting agent for the paper, the New York Star, where Howard was an editor.In this position, he befriended J. J. Freeman, editor of the Progressive American, and <mask> was made city editor of that paper. Around this time he was naturalized as a US citizen. In 1876, he campaigned for Republican presidential

masks:
. Benjamin
Robert Charles O
Hara Benjamin
Cyrus E
Cornelius Vancott
Benjamin


texts:
 candidate <mask>. Hayes, who would win. As a result of his political efforts, <mask> was appointed letter carrier in the New York Post office. After nine months, he resigned and moved to Kentucky where he worked as a school teacher in various places and began studying law. Among his tutors were ex-Congressman <mask> and Kentucky politician Dave Smith. He then moved to Decatur, Alabama where he became principal of a public school, and then to Brinkley, Arkansas and finally Memphis, Tennessee.In Memphis, he continued to study law, now under Josiah Patterson. With Patterson's help, he was admitted to the bar in January 1880. He was also admitted to the bar in Charlottesville, Virginia in the 1880s. Journalist, writer, and orator
He returned to journalism, and owned and edited a number of papers throughout the country, including the Colored Citizen in Pittsburgh, Pennsylvania, the Chronicle in Evansville, Indiana, and the Negro American in Birmingham, Alabama, where he settled for some time. In Birmingham 1887, together with A. L. Scott, <mask>, George Turner, J. H. Thompson, Sandy Goodloe, D. A. Williams, A. T. Walker, William R. Pettiford, and J. T. Jones he incorporated the Robert Brown Elliot School of Technology in Birmingham, the first school of its kind for blacks in the U.S. He also was a pamphlet writer, writing pamphlets on African-American history and issues. Further, he was a noted orator and often spoke out against lynchings and violence against blacks.For his outspokenness, <mask> was forced to leave Brinkley, Arkansas in 1879 and Birmingham in 1887. He was also noted as a poet, and his work was published in an anthology of nineteenth century African American poetry in 1992. California
In 1887, <mask> moved to California where he was an editor for the Los Angeles Observer and the

masks:
Rutherford B
Benjamin
Reed
Samuel Roebuck
Benjamin
Benjamin


texts:
 San Francisco Sentinel. He was for some time the local editor of the Daily Sun In Los Angeles. The Sun was a white paper, and <mask> may have been the first black man to edit a white journal. In California, he became the first black man admitted to the bar in 1887. He practiced in San Francisco and may have been the first black lawyer to visit Oregon.<mask> is claimed to have been admitted to the bar in 12 states, including Virginia, Tennessee, California, Rhode Island, and Alabama. Later career and death

In December 1892, <mask> married Lula M<mask>. They had a son and a daughter. In 1895, while practicing law in Rhode Island, <mask>, who was ordained in the African Methodist Episcopal Church, was nominated to the position of chaplain of the United States House of Representatives. In 1897, <mask>, his wife, Lula, and their two children he returned to Lexington, Kentucky where he edited the Lexington Standard. In 1900, he was an attorney for <mask> and <mask> "Tallow Dick" <mask> in the assassination of governor-elect William Goebel. Murder
On October 2, 1900 he was murdered while helping to register blacks to vote in Lexington.That day he chastised a white man, Michael Moynahan, for harassing a group of black men registering to vote. Moynahan beat <mask> with a revolver, and was then arrested for assault. When Moynahan was released from jail that evening, he went to <mask>'s house and awaited his return. When <mask> returned and saw Moynahan, he turned to run. Moynahan then shot <mask> in the back six times. At his trial, Moynahan pleaded not-guilty for reasons of self defense and the case was dismissed. His life in Lexington is the subject of historic fiction told in first person narratives in the novel A Wounded Snake by Joseph G. Anthony.<mask> was buried in Lexington's African

masks:
Benjamin
Benjamin
Benjamin
. Robinson
Benjamin
Benjamin
Caleb Powers
Richard
Combes
Benjamin
Benjamin
Benjamin
Benjamin
Benjamin


texts:
 Cemetery No. 2. In 1910, a monument was dedicated at his grave site. Publications
<mask>, R. C. O. Poetic gems, Peck & Allan, (Charlottesville, Va.) 1883. <mask>, R. C. O. Life of Toussaint L'Ouverture: Warrior and Statesman, with an Historical Survey of the Island of San Domingo from the Discovery of the Island by <mask>, in 1492, to the Death of Toussaint, in 1803. Vol.1. Evening Express Print Company, 1888. <mask>, R. C. O. Don't : a book for girls. Valleau & Peterson, Book and Job Printers, (San Francisco), 1891. <mask>, R. C. O. The negro problem : and the method of its solution, an address delivered at the A.M.E. Zion Church, Portland, Oregon, June 3d, 1891.George E. Watkins Souvenir and Directory Publishing Co., (San Francisco) 1891. <mask>, R. C. O. Southern outrages; a statistical record of lawless doings. (Los Angeles, Cal. ), 1894
<mask>, R. C. O. <mask>'s pocket history of the American Negro : a story of thirty-one years, from 1863 to 1894. Marion Trint, (Providence, RI) 1894. <mask>, R. C. O.Light after darkness : being an up-to-date history of the American Negro. Daniel Murray Pamphlet Collection (Library of Congress), Marshall & Beveridge, Printers, (Xenia, Ohio), 1896. See also
List of first minority male lawyers and judges in California

References

Sources
Smith Jr, J<mask>. Emancipation: The Making of the Black Lawyer, 1844-1944. University of Pennsylvania Press, 1999. 1855 births
1900 deaths
Activists for African-American civil rights
African Methodist Episcopal Church clergy
African-American educators
African-American journalists
African-American lawyers
American educators
Journalists from California
Lawyers from Birmingham, Alabama
Lawyers from Richmond, Virginia
People from Memphis, Tennessee
Writers from Lexington, Kentucky
Writers from Los Angeles
19th-century

masks:
Benjamin
Benjamin
Christopher Columbus
Benjamin
Benjamin
Benjamin
Benjamin
Benjamin
Benjamin
. Clay


texts:
<mask> (born May 24, 1947) is an American country music artist, composer, and former American football player. Born and raised in Altoona, Pennsylvania, United States, <mask> attended college at and graduated from the Pennsylvania State University, where he played defensive lineman for the Penn State Nittany Lions football team. He then spent five seasons with the Cincinnati Bengals in the National Football League, earning trips to the Pro Bowl after the 1972 and 1973 seasons, before retiring after the 1974 season. He subsequently focused on his musical career, co-writing several hit singles for country music artists, including Ronnie Milsap's "Stranger in My House", which won a Grammy Award for Best Country Song in 1984. <mask> later began a solo recording career, releasing two studio albums for Columbia Records. He charted seven singles on the Billboard Hot Country Singles & Tracks (now Hot Country Songs) chart as a singer, including the number one hit "Walk on Faith". Football career
At college, <mask> was a captain on both the Nittany Lions undefeated 1968 and 1969 teams that went 22-0.In his senior year (1969), the tackle spearheaded Penn State on defense with 89 tackles and was a unanimous All-America choice and All-East selection. He won the Outland Trophy as the best College football interior lineman in 1969, and also was awarded the 1969 Maxwell Award and finished fifth in the Heisman Trophy balloting. <mask> also wrestled at Penn State and in 1967 he won the Eastern heavyweight wrestling title. In addition to athletics, <mask> played Chicago gangster Big Julie in Penn State's production of the musical Guys and Dolls. <mask> was the first-round selection (#7 pick overall) of the Cincinnati Bengals in the 1970 NFL Draft. In the

masks:
Michael Barry Reid
Reid
Reid
Reid
Reid
Reid
Reid


texts:
 team's third season, it won the AFC Central Division and made the playoffs. In 1971, <mask> established himself as one of the NFL's best pass rushers by recording 12 sacks, a figure he repeated in 1972.In 1971 <mask> was a consensus All-AFC selection and the following year he was consensus All-Pro as well as being voted consensus All-AFC again. In 1973, he topped those marks by recording 13 sacks. He was named All-Pro by the Newspaper Enterprise Association (NEA) and was second-team All-Pro according to the Associated Press and Pro Football Writers Association. For the third consecutive season <mask> was consensus All-AFC. In 1974, due primarily to injuries, he recorded only seven sacks, bringing his career total to 49. In his final season, <mask> was again an All-AFC selection by Pro Football Weekly. Although sacks were an unofficial statistic, the Bengals kept track of them and <mask> retired as the leading sacker in the team's short history.He made two trips to the Pro Bowl (1972 and 1973) before his retirement following the 1974 season due to knee and hand injuries and his desire to focus on a music career. In 1996, he received the NFL Alumni Career Achievement Award for his success in his post-NFL career. He was elected to the College Football Hall of Fame in 1987 and received the Walter Camp "Alumnus of the Year" award in 1987. In 1995, he received the NCAA Silver Anniversary Award. <mask> was named as part of the Bengals' 40th Anniversary All-Time team in 2007. In 2017, <mask> was named as part of the Bengals' 50th Anniversary All-Time Team. Music career
After receiving his BA in music from Pennsylvania State University in 1969, <mask> would perform as a pianist for the Utah Symphony Orchestra, Dallas Symphony Orchestra, and

masks: Reid Reid Reid Reid Reid Reid Reid Reid


texts: Cincinnati Symphony Orchestra.When he abandoned his football career, he formed a band and began playing at a Holiday Inn location across the Ohio River from Cincinnati, then abandoned the idea of performing in bands and began playing solo at the Blind Lemon, and in the process, beginning to write his own songs. Living in Mount Lookout, he drove Eastern Avenue daily, and slowly "Eastern Avenue River Railway Blues" grew out of that. After a gig in Atlanta, <mask> and some other musicians attended Southeastern Music Hall about 3:30 a.m. A cassette tape of that session somehow found its way to Jerry Jeff Walker, who, in 1978, became the first artist to record a <mask> song, that being "Eastern Avenue River Railway Blues". In 1980, <mask> moved to Nashville, and quickly became known as an in-demand songwriter for Ronnie Milsap. Larry Gatlin also helped <mask> spearhead his songwriting career. In 1984, <mask> won a Grammy Award for Best Country Song with "Stranger in My House", which was recorded by Ronnie Milsap. <mask> would also contribute compositions to artists such as Marie Osmond, Tanya Tucker, Collin Raye, Alabama, and Conway Twitty.In the 1980s and 1990s, <mask> wrote 12 No. 1 singles including "Forever's as Far as I'll Go", which was recorded in 1990 by Alabama; their 29th number one country hit. He was also featured as a guest vocalist on Milsap's "Old Folks", a No. 2 hit from early 1988. He also co-wrote, with Allen Shamblin, Bonnie Raitt's standard "I Can't Make You Love Me". In 1990, <mask> signed to Columbia Records as a recording artist. His debut album Turning for Home produced a No.1 country hit in its lead-off single "Walk on Faith", although the album's other singles were not as successful. His second album, 1992's Twilight


texts:
 Town, produced two singles which both missed the Top 40. A third album, New Direction Home, was released two decades later in 2012 by the small Off Row Records label and is available on iTunes and Spotify as well as in an mp3 download from <mask>'s website. By 1991, <mask> composed the music for the Civil War musical A House Divided. Over the following two decades, he wrote more musicals, including Quilts, Different Fields, Eye of the Blackbird, Tales of Appalachia, In This House, and The Ballad of Little Jo, a 1997 winner of the Academy of Arts and Letters' 'Richard Rodgers Award for Musical Theater'. In 2019, he again returned to the musical theater stage with The Last Day, a commissioned production co-written with NYU Tisch School of Performing Arts Assistant Dean, <mask>, for <mask>'s alma mater, Penn State. <mask> was inducted into the Nashville Songwriters Hall of Fame in 2005.Discography

Studio albums

Singles

Songwriting
For the most notable recordings of songs written by <mask> see :Category:Songs written by <mask> (singer)

Music videos

References

External links

1947 births
Living people
20th-century American singers
21st-century American singers
All-American college football players
American Conference Pro Bowl players
American country singer-songwriters
American football defensive tackles
American male composers
American musical theatre composers
Cincinnati Bengals players
College Football Hall of Fame inductees
Columbia Records artists
Country musicians from Pennsylvania
Grammy Award winners
Male musical theatre composers
Maxwell Award winners
Penn State Nittany Lions football players
Players of American football from Pennsylvania
Singer-songwriters from Pennsylvania
Sportspeople from Altoona, Pennsylvania
American male

masks:
Reid
Reid
Sarah Schlesinger
Reid
Reid
Mike Reid
Mike Reid


texts:
<mask> (born 8 March 1932 - died 4 december 2020) is a French composer. Life
<mask> was born in Neuilly-sur-Seine of a polytechnician father, a good violinist and violist and a mother playing the piano, daughter of Marcel Chadeigne who was, before and after the First World War, choir conductor at the Paris Opera and pianist - accompanist - decipherer - reducer of orchestral scores. He had formed with Maurice Ravel, Maurice Delage, Déodat de Séverac, Florent Schmitt, Paul Ladmirault, Émile Vuillermoz, Désiré Inghelbrecht, Ricardo Viñes and Tristan Klingsor, a group they had named Les Apaches, and whose rallying call was whistling the first theme of Borodin's Second Symphony. Arriving in Paris in 1938, he began studying piano and music theory with , wrote his Opus 1, a string quartet (for the family!) and then returned to the Conservatoire de Paris (direction of Claude Delvincourt) in specialized solfege class, at Lucette Descaves, where he met Michel Legrand, Roger Boutry, Jean-Michel Defaye and <mask>. He then followed Jules Gentil's piano class (1st medal) - studied harmony with Jacques de La Presle (1st prize) - counterpoint and fugue with Noël Gallon (1st medal and 1st prize) - finally musical composition with Tony Aubin (1st Prix de Rome in 1953 with Ouverture à la française for 2 pianos). He won the 2nd Prix de Rome in 1955 with the cantata Le Rire de Gargantua then 1st Grand Prix de Rome in 1957 with the cantata La fée Urgèle.<mask> stayed 40 months at the Villa Médicis, a stay during which he wrote a quartet for saxophones, Les chants de la jungle - six melodies for baritone and string orchestra on poems from Rudyard Kipling, a Symphony, an Ouverture pour orchestre de chambre (1960), a Messe brève for mixed choir and organ (1958), a

masks:
Alain Bernaud
Bernaud
Alain Weber
Bernaud


texts:
 Nocturne pour orchestre à cordes, Sept mélodies pour flûte et mezzo soprano on poems by Omar Khayyam. Back in France, he wrote scores for television shows Présence du passé, for short films and also feature films and was appointed, in 1963, professor of solfege for instrumentalists at the Conservatoire de Paris, and a little later, in 1971, harmony teacher in the same establishment. He provided this teaching there until the end of 1999. He is currently retired in northern Brittany and continues to compose and put in order his existing production. Compositions

1950s
 1951: Sonate pour violon et piano
 1953: Ouverture à la française for 2 pianos
 1955: Concerto lyrique for clarinet and orchestra (Ed. Alphonse Leduc)
 1957: Récitatif et air for clarinet and piano (Ed. Leduc)
 1958: Capriccio rustique for oboe and piano (Ed.Leduc)
 1959: Suite en trois mouvements: Ouverture, Sarabande & Gigue pour grand orchestre
 1959: Chants de la Jungle, after Kipling for baritone and string orchestra (Ed. Combre)

1960s
 1963: Pavane et saltarelle for trumpet and piano (Ed. Ricordi)
 1964: Humoresque for tuba (or Bb saxhorn or cello) and piano (Ed. Max Eschig)
 1965: Diptyque for oboe and piano (Ed. Leduc)
 1965: Cadence pour le concerto de piano K491 de Mozart (Ed. Musimage)
 1966: D’une extrême gravité, 2 pieces for double bass and piano (Ed. Leduc)
 1967:Trois pièces pour les percussions (Ed.Rideau Rouge)
 1968: Contrastes for viola and piano (Ed. Rideau Rouge)
 1969: Réversibilité for violin and piano (concours J. Thibaud 1969 - Édition Rideau Rouge)

1970s
 1970: Phantasmes for clarinet and piano (Ed. Rideau Rouge)
 1972: Obliques for cello and piano (Ed. Rideau Rouge)
 1973: Incantation et danse for flute and piano (Ed. Rideau Rouge)
 1973: Magyar for


texts:
 violin and piano (concours Jacques Thibaud 1973 - Ed. Rideau Rouge)
 1974: Sonate pour les deux saxophones, soprano and bariton (Ed. Combre)
 1975: Scherzo pour cor et piano (Ed.Max Eschig)
 1975: Le jardin de Gabriel Six evocations for violin and piano
 1976: Hommage au capitaine Fracasse for percussion and piano (Ed. Rideau Rouge)
 1977: Final pour saxophone alto et piano (Ed. Choudens)
 1978: Hallucinations for bassoon and piano (Ed. Peermusic - E.M.I. 1978)
 1979: Crescendo, progressive pieces for young pianists (Ed. Kercoz)
 1979: Étude-expression for quintet with clarinet

1980s
 1980: Exponentielles for tenor trombone and piano (Ed. E.M.I.)1981: Variations pour hautbois et piano (Ed. Billaudot)
 1984: Rhapsodie pour saxophone alto et piano (Ed. Choudens)
 1986: Dies irae Deus misericordiæ for Large Organ (Ed.Kercoz)

1990–2000
 1990: Le Miroir d’Euterpe 49 preludes for string quartet (Ed.Kercoz)
 1997: Catalyses, Rhapsody for piano (Ed. Kercoz) musical journey for an exhibition of the painter <mask>
 2000: Cinq pièces pour quatuor de violoncelles, in honour of Howard Buten (Ed.Kercoz)
 2004: Variazioni Napoli for baroque harpsichord (Ed.Kercoz)
 2005: Quatre mouvements pour trois archets et douze cordes for string trio (Ed. Kercoz)
 2005: Partita pour violoncelle solo (Ed. 1st Grand Prix de Rome for composition 1957. References

External links
 Personal website
 <mask>, Hallucinations for bassoon and piano (YouTube)

1932 births
Living people
People from Neuilly-sur-Seine
20th-century French composers
21st-century French composers
French film score composers
Conservatoire de Paris alumni
Conservatoire de Paris faculty
Prix de Rome for composition
French male film score composers
20th-century French male musicians
21st-century French male

masks:
François Bernaud
Alain Bernaud


texts:
<mask><mask> (23 March 1514 – 26 February 1548), also known as Lorenzaccio, was an Italian politician, writer, and dramatist, and a member of the Medici family. He became famous for  assassinating his cousin, Alessandro de<mask>, Duke of Florence in 1537. He was in turn murdered in 1548 in retaliation for his deed. Biography

Childhood and youth
Son of Pierfrancesco and Maria Soderini, <mask> lost his father when he was only eleven (1525). He was then raised by his mother at the Villa del Trebbio along with his younger brother Giuliano and his two sisters Laudomia and Maddalena. In 1526 his mother decided to move to Venice with Giuliano and the future Cosimo I de<mask> to escape the arrival of the Landsknechts. Their departure was timely because, only one year later, the Sack of Rome enormously weakened Pope Clement VII (formerly known as Giulio di Giuliano de<mask>) and as a consequence, the Medici were expelled from Florence.In 1530 Lorenzino moved to Rome, where in 1534 he mutilated the heads of some of the ancient statues of the Arch of Constantine. Only the intercession of his cousin Cardinal Ippolito saved Lorenzino from the anger of the Pope, who had promised to condemn the vandal to death. Nevertheless, after this virtually inexplicable action, <mask> was disgracefully expelled from Rome. Relationship with Alessandro de<mask>
After leaving Rome, Lorenzino returned to Florence, where he soon established a close relationship with his cousin Alessandro, who had become lord of Florence in 1530 and duke in 1532. The two were partners in riotous escapades, but the authenticity of their friendship is doubtful and their relationship had more than one dark side. In 1536, the duke sided against Lorenzino in a legal controversy on the inheritance

masks:
Lorenzino de
' Medici
' Medici
Lorenzino
' Medici
' Medici
Lorenzino
' Medici


texts:
 of Pierfrancesco the Elder, Lorenzino's great-grandfather, which caused substantial financial damage to Lorenzino. In the same year, Alessandro married Margaret of Parma, the natural daughter of the Emperor Charles V.

Assassination of Alessandro

On the evening of 6 January 1537, Lorenzino lured Alessandro to his apartments with the promise of a night of passion, and left him alone pretending that he was going to fetch a woman who had already agreed to meet him.According to most historians, the woman was Caterina Soderini, wife of Leonardo Ginori, but others think it was Laudomia, Lorenzino's sister. In the meantime, Alessandro fell asleep and, having previously sent away his men, he was completely defenceless when Lorenzino came back with his servant Piero di Giovannabate, also known as Scoronconcolo. The two men assaulted the duke with swords and daggers, and Alessandro was killed even though he reacted ferociously and fought with all his might. Many hypotheses have been proposed to explain the reasons for the murder, from the personal resentment caused by jealousy or patrimonial reasons, to Lorenzino's desire to make a sensational gesture to immortalize his glory. <mask> himself, however, stated in his famous Apology - written only a few days after his crime - that he acted for political reasons; he killed the duke to free Florence from the man that many considered to be a tyrant. The Florentine republican exiles generally had the same explanation; they considered Lorenzino a hero, since in so doing he could have made the reintroduction of the Republic possible. Dominant figures in the republican exiles, such as Benedetto Varchi, even compared Lorenzino's cause and actions to Brutus, the killer of Julius Caesar who held the same


texts:
 republicanism ideal.Exile
After the murder, Lorenzino took the horses he had previously prepared and left Florence along with Piero and another servant. He first arrived in Bologna, where the jurist Silvestro Aldobrandini, another republican exile, did not believe him. Then Lorenzino continued his journey until he reached Venice, where he was welcomed with open arms by the very rich banker Filippo Strozzi, the leader of the exiles, who promised him that he would marry his sons Piero and Roberto to Lorenzino's sisters Laudomia and Maddalena de' <mask>. Among the many other exiles that exulted over the duke's death were the famous men of letters Iacopo Nardi and Benedetto Varchi: the latter said that Lorenzino was greater than Brutus. Also the poet Luigi Alamanni praised Lorenzino from France, whereas the sculptor Jacopo Sansovino promised to dedicate a statue to him. With Alessandro's death, the main branch of the Medici family was extinguished. The lack of a suitable lineal descendant created the conditions for the rise to power of the seventeen-year-old Cosimo, a member of the cadet branch of the family who was chosen as the new duke with the approval of the Holy Roman Emperor Charles V.

After a few days in Venice, Lorenzino decided to go to Mirandola, where he was hosted by Count Galeotto Pico and remained for around two weeks.He then returned to Venice and from there, on 16 February 1537, he left to go to Constantinople, with the Ottoman ambassador in Venice and Giorgio Gritti, son of Doge Andrea. The choice to leave Italy was due partly to the risk of being killed and partly to a diplomatic mission to the Ottoman Sultan Suleiman the Magnificent on behalf of the King of France. A few months later, the battle of Montemurlo, won by Cosimo's


texts:
 army, ended the hopes of Filippo Strozzi and the other exiles. <mask>'s patron Filippo was taken prisoner. He died in 1538 (suicide, according to the official version) after being tortured in the attempt to establish an unlikely connection between him and the Duke's assassination. In September 1537 Lorenzino went to France, to the court of Francis I of France, where he could count on the political support of the king and on the hospitality of many Florentines, especially his maternal uncle, the bishop of Saintes Giuliano Soderini, and the royal treasurer Giuliano Bonaccorsi. Contrary to what was previously believed, in this period Lorenzino went often to Italy and carried out important political-diplomatic missions on behalf of Francis I.Most importantly, he was in Italy from February to July 1542 to act as a go-between for the king and the Florentine exiles in Venice, with the aim of organizing a military venture against Cosimo. Death

In 1544 <mask> returned for good to Venice, where he was in close contact with the other Florentine exiles and established a friendship with the papal legate Giovanni Della Casa. In Venice, a nest of imperial and Medici spies, Lorenzino was much more vulnerable than in France, and the attempts to kill him and revenge the death of Duke Alessandro multiplied. The situation got even more complicated when, between the end of 1547 and the beginning of 1548, almost all the Florentines left Venice and moved to France, thus leaving Lorenzino isolated. Consequently, on 26 February 1548, Lorenzino was murdered in Venice by two hired killers. One of them, Francesco da Bibbona, left a detailed account of the deed which includes precious information on the execution of the murder. For several centuries, it has been

masks: Lorenzino Lorenzino


texts:
 believed that the Medici secretary Giovanni Francesco Lottini had organized the murder, but new research has demonstrated that he played no part in it.Moreover, both his contemporaries and historians of the following centuries have always believed that <mask>'s assassination had been ordered by Duke Cosimo I, as revenge for the murder of his predecessor. On the contrary, a new study by Stefano Dall’Aglio has shown that the entire operation was orchestrated by the Emperor Charles V, who could not forgive the death of his son-in-law, the husband of his daughter Margaret. It was Charles V who explicitly ordered the murder, writing from Augsburg unbeknownst to Cosimo, and gave detailed instructions to his ambassador in Venice, Juan Hurtado de Mendoza, who was in charge of the operation. Works
<mask> was also a writer. In his Apology he defended himself, explaining that he had committed the murder for the love of liberty: he had followed the example of Brutus – one of the assassins of Julius Caesar – and had murdered the duke after pretending he was his faithful servant and friend. The Apology is considered one of the loftiest examples of Renaissance eloquence and a masterpiece of anti-tyrannical thought. It was written in two subsequent versions, the first of which, not very different from the definitive one, dates back to January 1537, a few days after the murder.He also authored a play entitled Aridosia, written around 1535 and successfully presented in Florence, first at the Spedale dei Tessitori and later at Palazzo Medici. Cultural Depiction

<mask>'s assassination of Alessandro, as well as his republicanism, anti-tyrannical spirit, inspired French playwriter Alfred de Musset to write the play of Lorenzaccio. References

Bibliography

masks: Lorenzino Lorenzino Lorenzino


texts:
 Dall'Aglio, Stefano. "Solving a Renaissance Murder Mystery." History Today (Feb 2020) 70#2 pp 38–49. Dall'Aglio, Stefano, The Duke's Assassin. Exile and Death of <mask> de<mask> (New Haven and London: Yale University Press, 2015), .Other languages
 Bredekamp, Horst, 'Lorenzinos de’ Medici Angriff auf den Konstantinsbogen als Schlacht von Cannae', in L’art et les révolutions (Strasbourg: Societè Alsacienne pour le Développement de l’Histoire de l’Art, 1992), 4, pp. 95–115. Dall'Aglio, Stefano, 'Il presunto colpevole. Giovan Francesco Lottini e l'assassinio di Lorenzino de' <mask>', in Rivista Storica Italiana, CXXI (2009), pp. 840–856. Dall'Aglio, Stefano, 'Nota sulla redazione e sulla datazione dell' Apologia di Lorenzino de' <mask>', in 'Bibliothèque d'Humanisme et Renaissance', LXXI (2009), pp. 233–241.Ferrai, Luigi Alberto, 'La giovinezza di Lorenzino de' <mask>', in Giornale Storico della Letteratura Italiana, II, 1883, pp. 79–112. Ferrai, Luigi Alberto, <mask> de<mask> e la società cortigiana del Cinquecento (Milan: Hoepli, 1891). Racconto della morte di <mask> de<mask>, tratto da una relazione del capitano Francesco Bibbona, che l'uccise, in Cesare Cantù, 'Spigolature negli archivi toscani', in Rivista Contemporanea 20 (1860), pp. 332–345. External links

 Entry on <mask> de<mask> on the Encyclopaedia Britannica
 Article on <mask> de<mask> on The Weekly Standard

Assassins of heads of state
Italian assassins
Italian male writers
1514 births
1548 deaths
1537 crimes
1548 crimes
Lorenzino
Executed Italian people
People executed by Florence
People executed for murder
Nobility from Florence
16th-century people of the Republic of Florence
16th-century executions by Italian states
16th-century Venetian people
16th-century Italian

masks:
Lorenzino
' Medici
Medici
Medici
Medici
Lorenzino
' Medici
Lorenzino
' Medici
Lorenzino
' Medici
Lorenzino
' Medici


texts:
<mask>-Muwaqqit (died 1571, the epithet al-Muwaqqit means "the timekeeper"), also known as <mask> and Koca Saatçi, was an Ottoman astronomer and author of geography from the sixteenth century. Because of his works on the science of timekeeping and practical astronomy,  he is considered "the founder of the Ottoman tradition" of those fields. He was one of the pioneers of astronomy literature in Ottoman Turkish—instead of Arabic which was more common in the Islamic world—following Muhammad al-Qunawi. Since his youth he served as the muwaqqit (religious timekeeper) attached to the Mosque of Selim I in Istanbul, in which capacity he produced most of his writing. In 1560 or later he was appointed to the office of müneccimbaşı, the highest post for astronomers of the Empire. Early life
Muslih al-<mask>-Qustantini al-Rumi was born in Istanbul, the capital of the Ottoman Empire, in the early sixteenth century. Among his teachers were the astronomer Mirim Çelebi (1475–1525), as well Muhammad al-Qunawi (d. ) a muwaqqit (religious timekeeper) in the tradition of Shams al-Din al-Khalili and Ibn al-Shatir, and Ottoman astronomer who began the attempt to write about his field in Ottoman Turkish rather than Arabic.Career

<mask> <mask> was appointed as the muwaqqit of the Mosque of Selim I in Istanbul, when he was young. He produced most of his works during this tenure. Instead of Arabic, the customary scientific language of the Islamic World at the time, he wrote mostly in Ottoman Turkish. This decision was made in order to

masks:
Mustafa ibn Ali al
Müneccimbaşı Mustafa Çelebi
Din Mustafa ibn Ali al
Mustafa ibn
Ali


texts: popularise the field of astronomy in the Ottoman state, to make it accessible to more students, and to facilitate the mention of non-Arabic place names. Many of his works were dedicated for Sultan Suleiman the Magnificent and his grand viziers, possibly aimed to be used by the state bureaucracy; this application was facilitated by the use of Turkish. According to the historian of science İhsan Fazlıoğlu, the relatively high number of extant copies of his works was an indication of the success of his attempt to reach a wider audience by using Turkish. His works were reproduced up to the middle of the nineteenth century and were used as textbooks in madrasa and muvakkithanes (offices of the muwaqqits).Fazlıoğlu characterised his works by their "high level of geometry, trigonometry (especially spherical trigonometry), and numerical analysis", and their style of writing that is easy to understand and apply. Among his earliest works was a book of mathematical geography titled I'lam al-'ibad fi a'lam al-bilad ("Notices on the Distances of Cities of the World"), written in Ottoman Turkish. It includes a list of 100 major cities from Morocco to China, and the coordinates, distance from Istanbul, the qibla (direction that indicates Mecca) of each city. It was written in 1525 and was dedicated to Suleiman the Magnificent. His subsequent work on geography, Tuhfat az-zaman wa-kharidat al-awan (also in Ottoman Turkish), discusses the discipline of geography and its roots, the celestial objects, the Earth, its geographical


texts: features, and its division into seven climes. It was built on works by earlier scholars, including astronomers Jaghmini, Qadizade al-Rumi, and Zakariya al-Qazwini, as well as the zoologist Al-Damiri. Many of his other works were about astronomical instruments.Among these, Faraḥ Fazā was dedicated to the grand vizier Pargalı Ibrahim Pasha and describes the horizontal quadrant (al-rub' al-afaqi), which according to <mask> was his own invention. Another work, Kifayat al-qanu' fi al-'amal bi'r-rub' al-maqtu was written in Arabic and was a commentary on the works of an earlier muwaqqit Sibt al-Maridini. His other works, Kifayat al-waqt, also known as Risala fi al-muqantarat (1529), was written in Turkish and describes an instrument called the astrolabic quadrant, as well as other themes in geometry, trigonometry, and astronomy. Today 120 copies of this work are extant in various libraries. His Tashil al-miqat (1529) discusses the science of timekeeping and the sine quadrant (al-rub' al-mujayyab). This work appeared to have been continuously updated, and today it is found in 100 extant copies of five distinct versions. He describes another instrument, al-mujayyab al-afaqi in the work Risalah-i jayb-i afaqi (1529, Turkish) and describes its use for the coordinates of Istanbul in the work Hall da'irat mu'addil al-nahar (1531, Turkish) which was commissioned by the grand vizier Ayas Mehmed Pasha.His longest work was Risalat al-asturlab al-Selimi ("Selim's Treatise on the Astrolabe"), which was written in 1544, also in Turkish,


texts:
 and discusses the construction of the astrolabe, its mathematical properties, and its uses, based on Zij-i Sultani published by the astronomer Ulugh Beg in 1438 or 1439. In or after 1560, he was appointed müneccimbaşı (or munajjim-bashi, "head astrologer"), the highest office for astronomers in the Ottoman Empire, hence his other name "Müneccimbaşı <mask>". He replaced <mask> Umar and held the post until his death in 1571. He was the primary reference in the Ottoman Empire on the science of timekeeping, and according to the Turkish explorer Evliya Çelebi his works were cited in Western Europe. Other than the title al-muwaqqit and müneccimbaşı, based on his offices, he was also known by the honorific Koca Saatçi ("the great timekeeper"). After <mask>'s death, Sultan Selim II appointed the prominent scholar Taqi ad-Din Muhammad <mask>'ruf—who just returned to Istanbul in 1570 after his service in the Egypt Eyalet—as his successor. Legacy
<mask> <mask> was one of the most important Ottoman astronomers of the sixteenth century.Because of his works on the theory and applications of the science of timekeeping and practical astronomy, Fazlıoğlu writes that he is considered to be "the founder of the Ottoman tradition" of those fields. He was one of the earliest authors of astronomy in Turkish, a tradition started by Muhammad al-Qunawi. References

Bibliography

Astronomers of the Ottoman Empire
People from Istanbul
16th-century births
1571 deaths
16th-century people of the Ottoman Empire
16th-century

masks:
Mustafa Çelebi
Yusuf ibn
Mustafa
ibn Ma
Mustafa ibn
Ali


texts:
<mask> (; 19 October 879 – 1 August 953), nickname Yueliduo (月里朵), formally Empress Yingtian () also known as Empress Di (地皇后) during the reign of her husband Emperor Taizu of Liao (Yelü Abaoji), posthumous name initially Empress Zhenlie (貞烈皇后, "the virtuous and achieving empress") then Empress Chunqin (淳欽皇后, "the pure and honoured empress") was an empress of the Khitan-led Liao dynasty of China. After Emperor Taizu's death in 926, she served as empress dowager until her  death in 953. She was directly involved in two imperial successions and is credited with changing expectations of widows in Khitan society. Background
<mask> was born in 879. Her great-great-grandfather Shulü Nuosi (述律糯思) was said to be of Huigu extraction. Her father was named Shulü Pogu (述律婆姑), who also had the name of Yuewan (月碗), served under the Khitan Yaonian (遙輦) clan. Her mother was said to be a daughter of "King Yundejia" (勻德恝王) — apparently the grandfather of her eventual husband Yelü Abaoji, Yelü Yundeshi (耶律勻德實) — which would make her and Yelü Abaoji cousins.Eventually, she married Yelü Abaoji as his wife, but it is not known when that occurred. She bore Yelü Abaoji three sons — Yelü Bei, Yelü Deguang, and Yelü Lihu. During Emperor Taizu's reign
In 916, Yelü Abaoji, having consolidated the power over the Khitan tribes into his hands, declared himself emperor of a new Liao dynasty, and created  Shulü <mask> empress. As empress, she was described as brave, resolute, and full of strategies, often participating in Emperor Taizu's military decisions. There was one time when Emperor Taizu were attacking the Dangxiang through the desert. He left Empress Shulü in charge of the headquarters. Hearing that he was away, two Shiwei

masks:
Shuü Ping
Shuü Ping
Ping


texts: tribes, the Huangtou (黃頭) and the Choubo (臭泊), decided to raid the Khitan headquarters.She heard of their plans, however, and put her army on an ambush posture, crushing them upon their arrival. Her reputation among the nomadic people thereafter became prominent. It was said that she refused to bow to her mother and her mother-in-law, but rather received their bows, stating, "I only bow to Heaven, not to people." As, at that time, the Shatuo prince of Jin, Li Cunxu, was locked in a war against archrival Later Liang, he sought an alliance with the Khitan, and he honoured Emperor Taizu as an uncle and Empress Shulü as an aunt. In 921, the general Lu Wenjin, who had defected from Jin to Khitan, urged Emperor Taizu to attack Jin. About the same time, two coups occurred within the domains of Jin allies Zhao and Yiwu Circuit (義武, headquartered in modern Baoding, Hebei) — as Zhao's prince Wang Rong was assassinated and his adoptive son Zhang Wenli seized control of the domain, and Yiwu's military governor Wang Chuzhi was overthrown by his adoptive son Wang Du. Zhang sought aid from Khitan.Wang Chuzhi's biological son Wang Yu (王郁) fled to Khitan, also encouraging Emperor Taizu to aid Zhang and use the chance to take control of both domains. Emperor Taizu agreed, and launched his army south. Empress Shulü opposed the operation. The Khitan army was subsequently defeated by the Jin army, and forced to withdraw. In 926, Emperor Taizu launched a major attack on Balhae, conquering it. He converted it to a kingdom named Dongdan, creating his and Empress Shulü's oldest son Yelü Bei its king, with the title of "Imperial King Ren" (人皇王, Ren Huangwang) — while their second son Yelü Deguang was, at the same time, given the


texts:
 title of "General Crown Prince". It was said that this campaign was conducted with Empress Shulü's strategies.Soon after conquering Balhae, Emperor Taizu died. Empress Shulü, at that time with Yelü Bei at Dongan, apparently to destroy potential dissent, gathered the wives of many generals and officials that she considered difficult to control, and stated to them, "I am now a widow. You should be like I am." Then, she gathered their husbands and, weeping, asked them, "Do you miss the deceased Emperor?" They responded, "The deceased Emperor has shown us much grace. Of course we miss him." She responded, "If you miss him, then go see him."She then slaughtered them. She then, leaving Emperor Taizu's younger brother Yelü Anduan (耶律安端) temporarily in charge at Dongdan, returned to the Khitan capital Linhuang (臨潢, in modern Chifeng, Inner Mongolia) with Yelü Bei, escorting Emperor Taizu's casket. Once then returned to Linhuang, she wanted to divert the succession away from Yelü Bei, as she had favored Yelü Deguang. However, formally, she called an assembly of the chieftains, along with Yelü Bei and Yelü Deguang, and stated to them, "I love both of my sons, and I do not know which one to make emperor. You can decide which one you wish to support by holding his rein." The chieftains, knowing that she favoured Yelü Deguang, rushed to him and held to his rein. She thereafter declared him emperor (as Emperor Taizong).Yelü Bei, angry over this turn of events, took several hundred soldiers and wanted to flee to Later Tang (Jin's successor state), but was intercepted by Khitan border guards. Empress Shulü did not punish him, but sent him to Dongdan. During Emperor Taizong's reign
Emperor Taizong honored Empress Shulü


texts: as empress dowager, and it was said that she made the key decisions for the state. She also had him marry her niece (Xiao Wen) as empress. (The reason why Empress Xiao, and other members of her clan, were from this point referred to with the surname of Xiao rather than Shulü, was that Emperor Taizu had the several clans that produced consorts for his line change their names to Xiao.) It was said that Emperor Taizong was filially pious, such that if she were unable to eat due to an illness, he would not eat either. She commissioned the ethnic Han official Han Yanhui as a chancellor.She also allowed the Later Tang emissary Yao Kun (姚坤), whom Emperor Taizu had detained, to return to Later Tang, and sent an emissary herself to Later Tang to report Emperor Taizu's death. Meanwhile, Empress Dowager Shulü continued to carry out killings of those she considered difficult to control. She would often tell such killing targets, "Deliver a message to the deceased Emperor for me!" After they arrived at Emperor Taizu's tomb, she would execute them. After several hundreds were killed in this way, she sent one Zhao Siwen (趙思溫) to do so. Zhao refused. She stated to him, "You were a close attendant of the deceased Emperor.Why do you refuse to go?" He responded, "No one was closer than you, Empress. If you go, I, your subject, will go next." Apparently impressed, she responded, "It is not that I am not willing to follow the deceased Emperor below ground. It is that the heir, my son, is young and weak. The state needs a leader, and therefore I cannot go." However, she cut off one of her hands and ordered that it be buried at Emperor Taizu's tomb.After this event, Zhao was spared. (Another account had it that she wanted to


texts: die as well at Emperor Taizu's death, but was dissuaded by her relatives, so she then came up with the solution of cutting off one of her hands.) In 936, the Later Tang general Shi Jingtang, with military assistance from Emperor Taizong, overthrew then-Later Tang emperor Li Congke and established a new state of Later Jin, subservient to the Liao. When one of the Later Tang generals that Emperor Taizong captured, Zhao Dejun the military governor of Lulong Circuit (盧龍, headquartered in modern Beijing), was delivered to Empress Dowager Shulü, she pointed out Zhao's hypocrisy in claiming to want to defend the Later Tang emperor while actually engaging in negotiations with Emperor Taizong to have his support for the throne instead. When Zhao offered his properties at Lulong's capital You Prefecture (幽州) to her, she pointed out that Shi, as part of his agreement with Emperor Taizong to cede 16 prefectures to Khitan, had already been ceded to her, and therefore was no longer Zhao's, causing Zhao to be distressed and subsequently dying in Khitan captivity. Shi Jingtang honoured Emperor Taizong and Empress Dowager Shulü faithfully and often offered them gifts, and in fact referred to himself as "Son Emperor" and Emperor Taizong as "Father Emperor." However, after Shi Jingtang's death and succession by his nephew Shi Chonggui, Shi Chonggui took a confrontational stance against the Liao, refusing to submit to Emperor Taizong as a subject, only referring to himself as "grandson."He also had Liao merchants arrested, and their assets seized. As a result, war erupted between the states. Empress Dowager Shulü was not in favor of waging war against Later Jin. As a result, Emperor Taizong entered into some peace


texts:
 negotiations with Shi Conggui in 945 that, however, were ultimately fruitless. In 946, Shi Chonggui commissioned the Later Jin general Du Wei with an army to attack Liao, with the intent to recapture the territory Shi Jingtang previously ceded to Liao. Emperor Taizong, however, was able to have Du's army surrounded, and Du surrendered. He then attacked south toward Later Jin's capital Kaifeng.With the capital defenceless because the army had been given to Du, Shi Chonggui surrendered, ending Later Jin. Emperor Taizong initially claimed to be the emperor for the former Later Jin territory as well. To congratulate him for this great victory, Empress Dowager Shulü sent wine, delicacies, and fruits from Khitan lands to Kaifeng. Whenever he drank the wine that she sent, he stood up and stated, "This was bestowed by the Empress Dowager. I do not dare to drink it sitting down." Soon, however, faced with many rebellions against Liao rule in the former Later Jin lands, Emperor Taizong decided to return north to Liao proper. However, he became ill on the way and died near Heng Prefecture (恆州, in modern Shijiazhuang, Hebei).Upon receiving his casket, Empress Dowager Shulü did not weep. Instead, she, apparently sensing that her power would be challenged, stated, "When all of the tribes are peaceful, I will then bury you." During Emperor Shizong's and Emperor Muzong's reigns
In fact, Empress Dowager Shulü's will would soon be challenged. She had intended that Emperor Taizong be succeeded by Yelü Lihu. However, the Khitan chieftains, remembering how she had slaughtered many upon Emperor Taizu's death, decided to support Yelü Bei's son Yelü Ruan the Prince of Yongkang instead, and Yelü Ruan declared himself emperor at


texts:
 Heng Prefecture (as Emperor Shizong). He continued north, heading toward Linhuang. Empress Dowager Shulü sent troops under her to resist Emperor Shizong's progress.Yelü Lihu, in command of these troops, was however defeated by Emperor Shizong's forward commanders Yelü Anduan and Yelü Liuge (耶律留哥), and she then negotiated a peace agreement accepting Emperor Shizong as emperor. Emperor Shizong then put her under house arrest at Emperor Taizu's tomb at Zu Prefecture (祖州, in modern Chifeng). She died there in 953, during the reign of Emperor Muzong, a son of Emperor Taizong's. Both Shizong and Muzong resented her for supporting Lihu, so neither lifted her house arrest, nor honored her as grand empress dowager. She was buried with Emperor Taizu. Important contributions
While Empress Shulü dominated the court in the first succession, she also made other contributions to Khitan culture. Most importantly regards the expectations of widows.In traditional Khitan society, women were expected to sacrifice themselves. Obviously, she did not do that, providing an example for other women, at least within the elite strata, of Khitan society. Differences from Han counterparts
Ethnic Han empress dowagers of the era were expected to wield their influence behind the scenes. However, Khitan women held a far higher status than their Han counterparts in the tenth century. Empress Shulü openly wielded her influence in the court of her husband as well as that of her son as empress dowager. Notes

Work Referenced

 History of Liao, vol. 71.Zizhi Tongjian, vols. 269, 271, 275, 280, 281, 284, 286, 287. |-

879 births
953 deaths
Liao dynasty empresses
10th-century women rulers
Chinese amputees
9th-century Khitan women
10th-century


texts:
<mask> (, , ; December 21, 1401 – summer 1428), born Tommaso di Ser Giovanni di Simone, was a Florentine artist who is regarded as the first great Italian painter of the Quattrocento period of the Italian Renaissance. According to Vasari, <mask> was the best painter of his generation because of his skill at imitating nature, recreating lifelike figures and movements as well as a convincing sense of three-dimensionality. He employed nudes and foreshortenings in his figures. This had seldom been done before him. The name <mask> is a humorous version of Maso (short for Tommaso), meaning "clumsy" or "messy" Tom. The name may have been created to distinguish him from his principal collaborator, also called Maso, who came to be known as Masolino ("little/delicate Tom"). Despite his brief career, he had a profound influence on other artists and is considered to have started the Early Italian Renaissance in painting with his works in the mid- and late-1420s.He was one of the first to use linear perspective in his painting, employing techniques such as vanishing point in art for the first time. He moved away from the International Gothic style and elaborate ornamentation of artists like Gentile da Fabriano to a more naturalistic mode that employed perspective and chiaroscuro for greater realism. <mask> died at the age of twenty-six and little is known about the exact circumstances of his death. Upon hearing of <mask>’s death, Filippo Brunelleschi said: "We have suffered a great loss." Early life
<mask> was born to Giovanni di Simone Cassai and Jacopa di Martinozzo in Castel San Giovanni di Altura, now San

masks: Masaccio Masaccio Masaccio Masaccio Masaccio Masaccio


texts:
 Giovanni Valdarno (today part of the province of Arezzo, Tuscany). His father was a notary and his mother the daughter of an innkeeper of Barberino di Mugello, a town a few miles north of Florence. His family name, Cassai, comes from the trade of his paternal grandfather Simone and granduncle Lorenzo, who were carpenters/cabinet makers (casse, hence cassai).<mask>'s father died in 1406, when he was only five; later that same year a brother was born, named Giovanni (1406–1486) after his father. He also was to become a painter, with the nickname of lo Scheggia meaning "the splinter." In 1412 Monna Jacopa married an elderly apothecary, Tedesco di maestro Feo, who already had several daughters, one of whom grew up to marry the only other documented painter from Castel San Giovanni, Mariotto di Cristofano (1393–1457). There is no evidence for Masaccio's artistic education,  however Renaissance painters traditionally began an apprenticeship with an established master around the age of 12. Masaccio would likely have had to move to Florence to receive his training, but he was not documented in the city until he joined the painters guild (the Arte de' Medici e Speziali) as an independent master on January 7, 1422, signing as "Masus S. Johannis Simonis pictor populi S. Nicholae de Florentia." First works
The first works attributed to Masaccio are the San Giovenale Triptych (1422), now in the Masaccio Museum of Sacred Art in Cascia di Reggello near Florence, and the Virgin and Child with Saint Anne (Sant'Anna Metterza) (c. 1424) at the Uffizi. The San Giovenale altarpiece was discovered in 1961 in the church of


texts:
 San Giovenale at Cascia di Reggello, very close to <mask>'s hometown.It depicts the Virgin and Child with angels in the central panel, Sts. Bartholomew and Blaise on the left panel, and Sts. Juvenal (i.e. San Giovenale) and Anthony Abbot in the right panel. The painting has lost much of its original framing, and its surface is badly abraded. Nevertheless, <mask>'s concern to suggest three-dimensionality through volumetric figures and foreshortened forms is apparent, and stands as a revival of Giotto's approach, rather than a continuation of contemporary trends. The second work was perhaps <mask>'s first collaboration with the older and already-renowned artist, Masolino da Panicale (1383/4–c.1436). The circumstances of the two artists' collaboration are unclear; since Masolino was considerably older, it seems likely that he brought <mask> under his wing, but the division of hands in the Virgin and Child with Saint Anne is so marked that it is hard to see the older artist as the controlling figure in this commission. Masolino is believed to have painted the figure of St. Anne and the angels that hold the cloth of honor behind her, while Masaccio painted the more important Virgin and Child on their throne. Masolino's figures are delicate, graceful and somewhat flat, while <mask>'s are solid and hefty. Maturity
In Florence, Masaccio could study the works of Giotto and become friends with Brunelleschi and Donatello. According to Vasari, at their prompting in 1423 Masaccio travelled to Rome with Masolino: from that point he was freed of all Gothic and Byzantine influence, as seen in his altarpiece for the

masks: Masaccio Masaccio Masaccio Masaccio Masaccio


texts:
 Carmelite Church in Pisa. The traces of influences from ancient Roman and Greek art that are present in some of Masaccio's works presumably originated from this trip: they should also have been present in a lost Sagra, (today known through some drawings, including one by Michelangelo), a fresco commissioned for the consecration ceremony of the church of Santa Maria del Carmine in Florence (April 19, 1422).It was destroyed when the church's cloister was rebuilt at the end of the 16th century. Brancacci Chapel

In 1424, the "duo preciso e noto" ("well and known duo") of <mask> and Masolino was commissioned by the powerful and wealthy Felice Brancacci to execute a cycle of frescoes for the Brancacci Chapel in the church of Santa Maria del Carmine in Florence. With the two artists probably working simultaneously, the painting began around 1425, but for unknown reasons the chapel was left unfinished, and was completed by Filippino Lippi in the 1480s. The iconography of the fresco decoration is somewhat unusual; while the majority of the frescoes represent the life of St. Peter, two scenes, on either side of the threshold of the chapel space, depict the temptation and expulsion of Adam and Eve. As a whole, the frescoes recount the life of St Peter as if it were the story of salvation. The style of Masaccio's scenes shows the influence of Giotto especially. Figures are large, heavy, and solid; emotions are expressed through faces and gestures; and there is a strong impression of naturalism throughout the paintings.Unlike Giotto, however, <mask> uses linear and atmospheric perspective, directional light, and

masks: Masaccio Masaccio


texts:
 chiaroscuro, which is the representation of form through light and color without outlines. As a result, his frescoes are even more convincingly lifelike than those of his trecento predecessor. Works of the chapel

The Expulsion from the Garden of Eden, depicts a distressed Adam and Eve, chased from the garden by a threatening angel. Adam covers his entire face to express his shame, while Eve covers her breasts and groin. The fresco had a huge influence on Michelangelo and his work. Another major work is The Tribute Money in which Jesus and the Apostles are depicted as neo-classical archetypes. Scholars have often noted that the shadows of the figures all fall away from the chapel window, as if the figures are lit by it; this is an added stroke of verisimilitude and further tribute to Masaccio's innovative genius.In the Resurrection of the Son of Theophilus, he painted a pavement in perspective, framed by large buildings to obtain a three-dimensional space in which the figures are placed proportionate to their surroundings. In this he was a pioneer in applying the newly discovered rules of perspective. In September 1425 Masolino left the work and went to Hungary. It is not known if this was because of money quarrels with Felice or an artistic divergence with Masaccio. It has also been supposed that Masolino planned this trip from the very beginning, and needed a close collaborator who could continue the work after his departure. But <mask> left the frescoes unfinished in 1426 in order to respond to other commissions, probably coming from the same patron. However, it has also been suggested that the


texts:
 declining finances of Felice Brancacci were insufficient to pay for any further work, so the painter sought work elsewhere.<mask> returned in 1427 to work again in the Carmine, beginning the Resurrection of the Son of Theophilus, but apparently left it, too, unfinished, although it has been suggested that the painting was severely damaged later in the century because it had contained portraits of the Brancacci family, at that time excoriated as enemies of the Medici. This painting was either restored or completed more than fifty years later by Filippino Lippi. Some of the scenes completed by <mask> and Masolino were lost in a fire in 1771; we know about them only through Vasari's biography. The surviving parts were extensively blackened by smoke. In the twentieth century, the removal of marble slabs covering two areas of the paintings revealed the original appearance of the work. Pisa Altarpiece
On February 19, 1426, <mask> was commissioned by Giuliano di Colino degli Scarsi da San Giusto, for the sum of 80 florins, to paint a major altarpiece, the Pisa Altarpiece, for his chapel in the church of Santa Maria del Carmine in Pisa. The work was dismantled and dispersed in the 18th century, and only eleven of about twenty original panels have been rediscovered in various collections around the world.The central panel of the altarpiece (The Madonna and Child) is now in the National Gallery, London. Although it is very damaged, the work features a sculptural and human Madonna as well as a convincing perspectival depiction of her throne. <mask> probably worked on it entirely in Pisa, shuttling back and

masks: Masaccio Masaccio Masaccio Masaccio


texts:
 forth to Florence, where he was still working on the Brancacci Chapel. In these years, Donatello was also working in Pisa at a monument for Cardinal Rinaldo Brancacci, to be sent to Naples. It is suggested that <mask>'s first ventures in plasticity and perspective were based on Donatello's sculpture, before he could study Brunelleschi's more scientific approach to perspective. Holy Trinity
Around 1427 Masaccio won a prestigious commission to produce a Holy Trinity for the Dominican church of Santa Maria Novella in Florence. No contemporary documents record the patron of the fresco, but recently references to ownership of a tomb at the foot of the fresco have been found in the records of the Berti family of the Santa Maria Novella Quarter of Florence; this working-class family expressed a long-standing devotion to the Trinity, and may well have commissioned Masaccio's painting.Probably it is the male patron who is represented to the left of the Virgin in the painting, while his wife is right of St. John the Evangelist. The fresco, considered by many to be Masaccio's masterwork, is the earliest surviving painting to use systematic linear perspective, possibly devised by Masaccio with the assistance of Brunelleschi. According to the reconstruction Masaccio started by producing a rough drawing of the composition and perspective lines on the wall. The drawing was covered with fresh plaster for making the fresco. To ensure the precise transfer of the perspective lines from the sketch to the plaster, Masaccio inserted a nail in at the vanishing point under the base of the cross and attached strings to it,


texts:
 which he pressed in (or carved into) the plaster. The marks of the preparatory works are still visible. The sacred figures and the donors are represented above an image of a skeleton lying on a sarcophagus.An inscription seemingly carved into the wall above the skeleton reads:  "Io fui gia quel che voi siete e quel ch'io sono voi anco sarete" (I once was what now you are and what I am, you shall yet be). This skeleton is at once a reference to Adam, whose sin brought humans to death and a reminder to viewers that their time on earth is transitory. It is only through faith in the Trinity, the fresco suggests, that one overcomes this death. The Holy Spirit is seen in the form of a dove, above Jesus. The combination of trinity, death and decay "can be interpreted as a transposition of the Golgotha chapel"  in the Church of the Holy Sepulchre in Jerusalem. Other paintings
Masaccio produced two other works, a Nativity and an Annunciation, now lost, before leaving for Rome, where his companion Masolino was frescoing a chapel with scenes from the life of St. Catherine in the Basilica di San Clemente. It has never been confirmed that Masaccio collaborated on that work, even though it is possible that he contributed to Masolino's polyptych for the altar of Santa Maria Maggiore with his panel portraying St. Jerome and St. John the Baptist, now in the National Gallery of London.<mask> died at the end of 1428. According to a legend, he was poisoned by a jealous rival painter. Only four frescoes undoubtedly from Masaccio's hand still exist today, although many other works have been at least partially attributed


texts:
 to him. Others are believed to have been destroyed. Legacy
Masaccio profoundly influenced the art of painting and is considered to have begun the Early Italian Renaissance in painting. According to Vasari, all "most celebrated" Florentine "sculptors and painters" studied his frescoes extensively in order to "learn the precepts and rules for painting well." He transformed the direction of Italian painting, moving it away from the idealizations of Gothic art, and, for the first time, presenting it as part of a more profound, natural, and humanist world.Moreover, Masaccio influenced a great many artists both while he was alive and posthumously. His influence is particularly notable in the works of Florentine minor masters, such as Andrea di Giusto, Giovanni dal Ponte, and others who attempted to replicate his glowing, lifelike forms. 408, 409)" in The John G. Johnson Collection: A History and Selected Works, a Philadelphia Museum of Art free digital publication. Italian Renaissance painters
Painters from Florence
Quattrocento painters
1401 births
1428 deaths
Painters from Tuscany
People from the Province of Arezzo
Italian male painters
15th-century people of the Republic of Florence
15th-century Italian


texts:
<mask> (March 24, 1853–September 1, 1911) was a nationally active American architect based in New York City. He is known for designing the Tower Building in 1889, the first steel-framed building anywhere and the first skyscraper in New York City. This technique was soon copied across the United States. He also designed Atlanta's Cotton States and International Exposition of 1895, the Flatiron Building in Atlanta, and many railroad stations. Background
<mask> was born in Watertown, New York, the son of civil engineer and banker <mask> and his wife Marie Antoinette (née Bacon). His uncle was Jasper W<mask>, a justice with the New York Supreme Court. He attended Siglar's School in Newburg and the Sedgwick Institute in Great Barrington, Massachusetts.Later, he had private tutors at home in Irvington, New York to get ready to attend Yale University, rather than his father's alma mater Norwich University. However, <mask> decided to forgo college as he was very anxious to learn architecture. He became a student with the architectural firm J. Cleveland Cady in New York City for five years, beginning in 1872. In 1876, <mask> was hired as an architect for the New York, Lake Earie and Western Railroad, under engineer Octave Chanute. Through his work with the railroad in the Northern and Northwestern states, <mask> earned a reputation for originality. Although his  body of work is diverse, he preferred Romanesque style and consistently featured, "sinuous, interlaced patterns, virtuoso brickwork and deep red color effects." By 1890, <mask> opened a firm in his name in at 1 Broadway in New York City, initially specializing in railroad and public buildings.He said, "It certainly costs no more, often not

masks:
Bradford Lee Gilbert
Bradford
Horatio Gates Gilbert
. Gilbert
Gilbert
Gilbert
Gilbert
Gilbert


texts:
 such much, to design a building that is architecturally correct, of good, quiet contour, the whole effect gained by constructional outlines, in place of the fancy 'ginger-bread' work to often adopted; and with the interior arrangements designed to meet every requirement." Throughout his career, <mask> also designed apartment buildings, churches, clubs, exhibition buildings, hospitals, hotels, houses, and office buildings. <mask> did not just design buildings, he also managed the projects and visited the construction sites; this was documented in newspapers articles announcing his arrival in town to check on progress of the projects. This attention to detail may have paid off as many of his other projects steamed from his railroad connections, including designing residences for William H. Baldwin, Jr. who was president of the Long Island Railroad, Alfred Skitt who was president of the New York City Interborough Railway Company, Arthur M. Dodge whose father built the Macon and Brunswick Railroad, Benjamin A. Kimball who was president of the Concord and Montreal Railroad Company, and William Greene Raoul president of the Atlantic and Birmingham Railway, the Central Railroad and Banking Company of Georgia, the Mexican National Railroad Company, and the Southwestern Railroad. Projects

Railroad stations

As an architect with the New York, Lake Erie & Western Railroad, <mask> designed many railroad stations and related buildings. Through his private practice, his railroad clients included the Atlantic Coast Line Railroad; Boston & Maine Railroad; Central Railroad of New Jersey; Concord and Montreal Railroad; the Delaware, Lackawanna & Western Railroad; Flint & Pere Marquette Railroad; Georgia

masks: Gilbert Gilbert Gilbert


texts: Railroad Company; Grand Rapids and Indiana Railroad; Illinois Central Railroad; Intercolonial Railroad (Canada); Michigan Central Railroad; Missouri-Kansas-Texas Railroad; New York, New Haven and Hartford Railroad; Norfolk and Virginia Beach Railroad; Northern Pacific Railway; Old Colony Railroad; Philadelphia & Reading Company and others. In 1901, he designed the Ottawa Central Railway Station.He also designed stations, offices and terminals for the National Railroad of Mexico. <mask> designed the Illinois Central Terminus at 12th Street in Chicago—it was constructed in nine months for the 1893 for the World's Columbian Exposition. The location and use of the building created certain challenges given the brief that all fair buildings have impact and beauty; <mask>'s solution was to increase the size of the station and give it strong Romanesque details, as "the first impression gained of the building by the general public would be regarding its general contour and 'massing' as well as the outline skylines." In other words, it need to be impressive at a distance. His design included a ten story office building, with lobby and offices connected via a pneumatic tube service. The first three stories were built from dark speckled granite, with buff brick for the upper levels. The roof was dark glazed Spanish tiles, along with a coppery dome.<mask> was also instructed to make the building fireproof. He achieved this in part by using the building's adjacent tower as a series of fire-proof vaults. The 15-story tower was also a functional clock tower. The cost of this project was over a million dollars, including the passenger station, waiting rooms, restaurant, office building, and a train shed


texts:
 that covered eight tracks. The waiting room was the largest in the world, at 100 x 150 feet, and 100 feet high. This elaborate structure remained in use until it was demolished in 1974. <mask> was also the architect for the 1898 remodel of New York City's Grand Central Terminal—a project started in 1892 where "no expense is to be spared in making the building attractive"  The actual cost was around $175,000.<mask> designed the ten-story building in the Romanesque style. The front of the building had ornamental bronze panels and bay windows on the second story. The lower level was granite, with limestone from Indiana on top. Inside, there were tiled floors and deeply paneled ceilings, as well as pneumatic tubes to connect the lobby to the offices. This building was replaced by the current Grand Central Station in 1913. Whether designing a large railroad station for New York City or a small station for a Mexican village, <mask> believe the structure should be comfortable, functional, and aesthetically pleasing so as to be an asset to its community. In Engineering Magazine, <mask> wrote, "No excuse should exempt a railroad company from being amenable to 'local pride.'"He also criticized designing public buildings in Queen Anne or other overly decorative styles as being both expensive to construct and to maintain. World's Columbian Exposition
In 1893, <mask> designed an exhibition building for the for the World's Columbian Exposition in Chicago for his clients the New York Central and Hudson River Railroad along with The Wagner Palace Car Co. The building contained wings on either side for railroad engines; inside was an exhibit showing photographs and sketches of <mask>'s work on railroad

masks: Gilbert Gilbert Gilbert Gilbert Gilbert Gilbert


texts:
 station architecture. The Exposition's Board of Directors gave <mask> a gold medal "for a new type of American architecture." In 1895, the exhibit illustrations were published by Railway Gazette as a book, Sketch Portfolio of Railroad Stations and Kindred Structures. <mask> noted that railroad buildings had been overlooked in the past, but were an excellent place to "to illustrate the modern architecture." Mason Stables
Edmund Coffin Jr., a prominent real estate investor and lawyer in New York City, hired <mask> to design the Mason Stables.This project took three years to construct and was divided into two phases, 1881-1882 and 1883-1894. When completed, the Mason Stables were one of the largest livery stables in New York City. The five-story stables included 158 stalls and room for more than 300 carriages. Primarily Romanesque Revival in style, the building was decorated with some Celtic-style ornaments, repeating patterns in variegated orange-yellow and orange-red brick, and rows of repeating slender windows. One modern writer says, "The stables were nearly abstract, a field of dreams in orange, red and yellow masonry." The New York City Landmarks Preservation Commission says, "Color and texture, rather than ornament, were skillfully used to give the structure its simple, yet monumental character." Another unique aspect of the Mason Stables was its layout, as the stables wrapped around other buildings, resulting in three entrances—76th Street, 77th Street, and Amsterdam.Two of the entrances featured step-gables, a characteristic of Dutch Renaissance Revival style that <mask> used with other public buildings in New York City. In 1912, the stables were remodeled into a carpark and were

masks: Gilbert Gilbert Gilbert Gilbert


texts:
 renamed the Dakota Stables (not to be confused with a 19th-century facility with that name), and the Pyramid Garage in the 1950s. Over the years, the building lost many of its period details and it was demolished in 2011. Tower Building

John Noble Sterns, a supporter of the Cremorne Mission where <mask> was a trustee, hired <mask> in 1888 to design an eleven-story office building in New York City. For such a tall building, traditional construction methods required very thick walls that would have dominated the lot that was just 21 feet 6 inches wide. Calling upon his railroad background, <mask> thought of turning a railroad bridge on end, with iron girders to support the floors and external walls. This innovation of  "skeleton construction” with “steel-framed curtain walls” allowed him to construct a skyscraper without having thick load-bearing walls.Another benefit of this construction technique was that it was fire proof. To work around local building ordinances, <mask> had to first construct a foundation that was four stories or seventy feet tall, essentially the height of the adjacent buildings. This foundation was constructed of iron and Little Falls stone. Next, came ten stories constructed in Philadelphia and Tiffany brick, with an octagonal roof covered in Spanish tiles. The brickwork was colorful, and there were Celtic ornamentation similar to that of Mason Stables. Opening in 1889, the Tower Building is considered New York City's first skyscraper and the first curtain-wall building in the world. It was initially greeted with great skepticism, with members of the public predicting it would blow over.Some engineers declared it "unsafe and impracticable." To assure the public of


texts:
 its safety, <mask> moved his offices to its top floor—and remained there until he stopped practicing. He also scaled the building in the middle of an 1889 hurricane to prove that the building was not vibrating with a plumb line. In 1889, Engineering News called it "a most skillful solution of an exceedingly difficult problem." Kobble's New York and Environs wrote, "The Tower Building, of No. 50 Broadway, with its fifteen stories, is a remarkable example of a clever utilization of a narrow plot of ground." The Tower Building cost $250,000 to build.This was quite a bargain given that as it was expected to earn $210,000 a year in rent, after taxes and upkeep. A building with traditional construction on the same lot would have only netted $30,000 a year in rent, due to the height limit of ten stories and thick walls reducing square footage. Because <mask> had devised a way to double income from property, The Philadelphia Inquirer noted that "the old Knickerbockers who own real estate on Broadway and other gilt-edge thoroughfares in the lower part of New York have a new god in the person of <mask>. <mask>." The building was razed in 1914 to make way for a taller structure. Fire Engine Company No. 258, Hook and Ladder Company No.115
During his career, <mask> designed just one firehouse—for Engine Company No. 1 and Hook & Ladder Company No. 1 in Long Island City. Established in 1891, this company was, as its numbering suggests, the first professional firefighters in Queens. However, the first base of operation for this ladder company was a modest wood-frame shed. The department merged with that of New York City in 1898, and its name changed to Fire Engine Company No. 258 and Ladder Company

masks:
Gilbert
Gilbert
Bradford L
Gilbert
Gilbert


texts:
 No.115 in 1904.Constructed between 1902 and 1904, <mask>'s granite building with 4 1/2 stories not only improved the working condition of the firefighters, but also reflects the importance of this paid crew who fought fires at the Standard Oil refinery, row-frames, schools, tenements and factories such as the Pratt & Lambert varnish factory. New York City's Historic Districts Council says, "This building was one of the more ambitious firehouse projects undertaken by the department due to its size and level of architectural detail." Even the selection of the renowned <mask>, rather than the city's usual firehouse architects, was a statement. Calling on the origins of New York as New Netherland, <mask>'s designed the firehouse in Dutch Renaissance Revival style, with oversized limestone trim to offset the darker granite background. <mask> had also used Dutch Renaissance Revival for other buildings in New York City, including the 1888 YMCA building and the Samuel R. Smith Infirmary and Hospital in Staten Island. The fire house's site cost $20,000; the building was $60,000. The firehouse is still in use and is listed as a NYC Individual Landmark.Southern Projects
In 1888, <mask> designed the Virginia Beach Hotel, with its attached Terminal Station, for the Norfolk and Virginia Beach Railroad in Virginia Beach, Virginia. Later called the Princess Anne Hotel, this marked the beginnings of the beach resort, as well as Norfolk Southern Railroad. In 1895, <mask> designed the Mary F. Ballentine Home for the Aged at 927 Park Ave. in Norfolk, Virginia, for Thomas R. Ballentine. This facility was named after Ballentine's late wife as it was originally her idea. The Ballentine Home was intended to


texts:
 provide a non-institutional, home-like environment for elderly local women, "more specifically gentle folk of irreproachable family." Ballentine endowed the home when he died and it remained in <mask>'s building until new construction at a different location in 1952. W.G.Raoul House
In 1891, wealthy railroad executive William Greene Raoul hired <mask> to design his residence on Peachtree Street in Atlanta, Georgia. The house and its estate included a wine cellar, a cottage for servants, a stable, and the first tennis court in Atlanta. This house was home to the Raoul family through 1914. During the 1940s, the Red Cross acquired the property and used the house as a blood donation and bandage rolling center; around 1950 the Red Cross built a modern building on the property, directly in the front of the Raoul house. The house was also surrounded by the Cabana Motor Hotel and the Biltmore Hotel, losing its original context on a street of mansions. The Raoul House was placed on the National Register of Historic Places in the 1980s, but burned in 1991 while it was leased to a night club. Cotton States and International Exposition

In 1895, <mask> was the supervising architect for the Cotton States and International Exposition in Atlanta.For this world's fair event, he designed many structures, including the Administration Building with Main Entrance and Exits, the Agricultural Building, the Auditorium, the Chime Tower and Band Stand, the Electricity Building, the Fire Building, the Machinery Hall, the Manufacturers & Liberal Arts Building, the Minerals and Forestry Building, the Negro Building, the Semi-Circular Entrance and Exit Gateway, the Transportation Building, and the United States


texts:
 Government Building. There was a logic to his designs; for example, the Minerals and Forestry Building was constructed of natural Southern woods. At his suggestion, <mask> designs were in the Romanesque style as this resulted in cost-effective temporary structures with simple outline. Romanesque style was also a good way for Atlanta "to be seen as au courant with America's commercial trends." In addition to designing for the Exposition, he also created vendor buildings for the Southern Railway Company and the Atlantic Coast Line Railroad. The Atlanta Constitution wrote, "The design for the Administration Building and Gateway is one of the handsomest of the entire Exhibition. The design…is a composite design of old baronial castles…these castlelatted turrets, those embattled ramparts, those ancient moats, the old swinging drawbridge, will prove a source of keen enjoyment and profit."<mask> received a gold medal from the Exposition Directors for "the designing and building all of the fifteen principal structures within the limit of time and appropriation." Albemarle Park & Manor Inn

After a family vacation in 1896, William Greene Raoul decided to make Asheville, North Carolina his family's summer home. Getting away from the heat of a Georgia summer may have been one goal, but his son Thomas contracted tuberculosis in 1897, and the mountain air of Asheville was believed to be a cure. Raoul and his son hired <mask> to design Albemarle Park, a park-like resort development on 32-acres just outside of Asheville. <mask> began with a small hotel called Manor Inn, five cottages (Clover, Columbus, Hollyhock, Marigold, and Milfoil), and the Lodge (or Gatehouse) where the Raouls lived at first. To

masks: Bradford Gilbert Gilbert Gilbert


texts:
 suit the mountain setting, <mask> created a "resort with an English inn atmosphere," with grounds designed by landscape architect Samuel Parsons, Jr. This translated to a hybrid of Tudor Revival, Colonial Revival, Dutch Colonial Revival, and Shingle architectural styles, with exteriors that featured shingles, roughcast plaster, and timber framing.Built between 1898 and 1920, Albemarle Park would eventually consist of 42 structures—some designed by other architects—becoming one of America's first planned residential parks. Albemarle Park is now a National Register Historic District. The National Register says, "The Manor and Cottages compose a picturesque small historic district, evocative of Asheville's dramatic turn-of-the-century resort town boom era." English-American Building

In 1897, <mask> designed the English-American Building for Atlanta's English-American Loan and Trust Company—whose president was Rufus Bullock, a former Georgia governor. Located at the junction of Broad and Peachtree Streets, this triangular-shaped building with eleven stories was the second skyscraper in Atlanta. Its style was Neo-Classical and Neo-Renaissance, but the shape was modern. Within a year, the building's tenants included National Cash Register Co., Otis Bros. Co. (elevators), Rand McNally Co., Mutual Life Insurance Co., Southern Bell and many others along with its owners and the Knights of the Ku Klux Klan.Known as the Flatiron Building since 1916 because of it shape, this is the oldest remaining steel-framed skyscraper in Atlanta and one of the few non-railroad buildings by <mask> that survive today. Dr. Elizabeth Lyon says, "The building plays an important role in its urban setting by


texts:
 establishing a sense of dignity and scale and helping to create a visually interesting sequence of spaces and styles in the central business area of the city." South Carolina Inter-State and West Indian Exposition

<mask> was the supervising architect for the South Carolina Inter-State and West Indian Exposition in 1901. Remarkably, he was responsible for all aspects of this Charleston world's fair event, from the buildings to the 250 acre grounds to its infrastructure, including roads, water, sewage and electricity. <mask> designed 20 large buildings, including the 320 foot long Cotton Palace with and its 75 foot tall dome, and the Administration Building, Agriculture Palace, Art Palace, Auditorium, and the Sunken Garden & Conning Tower Sculpture. The main buildings, with their domes, arcades, finials, and brackets, were all painted in off-white, giving the Exposition its name the Ivory City—a play on the White City of the World's Columbian Exposition of 1893

<mask>'s instructions for this fair were to create a "Southern motif" which seems noticeably lacking in the Italian and Spanish-Revival style he used. However, <mask> gave the exposition a more romantic look than the Atlanta exposition, while also modernizing it with the Mediterranean-style that was, during the 1890s and early 20th-century, in fashion for commercial and residential buildings Rather than Southern plantation architecture, it  seems that <mask> was influenced by the fair's goal of reminding commercial interests of the once lucrative trade route between the West Indies and the port of Charleston.Thus, architect Bruce Harvey concludes "The architecture at Charleston's exposition both reflected and promoted this

masks: Gilbert Gilbert Gilbert Gilbert Gilbert


texts:
 conscious hope for the future." The architectural critic Montgomery Schuyler wrote, "At Chicago they called the style Columbian; at Buffalo they called it Pan-American…in Charleston—the Spanish Renaissance of the Sixteenth Century." <mask>'s layout which divided the fair into sections suggests that he studied that of the widely successful Columbian Exposition. His idea was to split the grounds into areas for the natural and artificial, connect by a "narrow neck" that included the Administration Building. Like Frederick Law Olmsted in Chicago, <mask> used the natural setting—in this case, live oaks and magnolias along the Ashley River—to give structure to his Natural Section that included the Art, Machinery, Negro, various states, Transportation, and Women's Buildings. <mask> wrote that the Natural section "will form a natural park of endless beauty of vista and landscape effect naturalistic [sic. ]…a winding path of 100 feet in width will be carried underneath the overspreading live oaks along the edge of the embankment."The artificial or Art Section was formal with buildings that were architecturally similar: the Palaces of Agriculture, Commerce, and Cotton. <mask> sited this section over the former Washington Race Course, a flat area that was already treeless, allowing him to create "complex geometrical design" for the Court of Palaces which was surround with a sunken garden and connected by a colonnade. After the exposition, the majority of its temporary buildings were razed; the bandstand is the only structure from the event that survives. Personal
In 1872, <mask> married Cora Rathbone, daughter of the late Captain John Rathbone, in Brooklyn, New York. He was 19 and she was seventeen


texts: or eighteen years older. From its beginning, this was an unhappy marriage. <mask> was an elder with the University Presbyterian Church in New York City, and later an elder with the Westminster Presbyterian Church.He was a member of the American Institute of Architects—New York Chapter, the Architectural League of New York, the National Arts Club, the National Sculpture Society, the Quill Club, the Riding Club, and the Transportation Club, as well as the Chicago Club in Illinois. <mask> was a supporter and trustee of the McAuley Water Street Mission (now the New York City Rescue Mission) which was founded in 1887 by missionaries Jerry McAuley and his wife Maria, to give shelter and food to the poor. McAuley and his wife were Christian converts who were previously an alcoholic convict and an alcoholic prostitute, respectively. After her husband's death in 1884, Maria McAuley (née Fahy) became the Matron of the Cremorne Mission which <mask> was a trustee. In 1885, <mask> was secretary of a committee that was raising funds for a public drinking fountain in memory of McAuley. In 1908, <mask> built and outfitted the tugboat Jerry McAuley for use as a floating mission. <mask> separated from his wife in January 1887.In June 1887, he filed for an annulment in Jersey City, New Jersey, on the basis that he was underaged at the time of his marriage, with his wife being seventeen years his senior. On October 13, 1887, <mask> served her husband with divorce papers during the intermission of a prayer meeting at Cremorne Mission. Her claim was on the basis of infidelity, to be heard in the superior court at White Plains. At the same time, she served Maria McAuley with a $50,000 lawsuit for alienation of

masks:
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Gilbert
Cora Gilbert


texts: affections, with allegations that "were numerous and specific." Cora claimed she had been driven from her home, that her husband was abusive, and he "had been paying attention to Mrs. McAuley…nearly to McAuley's death. On October 16, 1887 at the Mission, <mask> made a public announcement saying, "If it did not affect this mission and the noble Christian woman who conducts it, I would remain silent. I suppose you have all read in today's papers…a story reflecting upon Mrs. McAuley and myself.I pronounce it totally false. All those who know me will take my word, and all those who do not know me will see by the result that what I say is true." Standing by <mask> were banker A.S Hatch, real estate agent Sidney Whittemore, Franklin W. Coe, and other ladies and gentlemen associated with McAuley Mission. Hatch also spoke, saying "The very fact that I am on this platform tonight is sufficient for the purpose without saying a word; but I may add that my faith in Mrs. McAuley and Mr. <mask> has not been shaken one jot by what has appeared in print, and I continue to have unwavering confidence in both." McAuley "emphatically denied" the allegations. Later, <mask> said his wife was influenced by would-be blackmailers. In a few years, <mask> obtained a divorce, and Cora withdrew the lawsuit against Maria.Five years later, McAuley's health declined and it was believed she would die. She resigned from her position at Cremorne Mission and moved to Cranford, New Jersey. <mask> discontinued his association with the Mission when McAuley left. On May 12, 1892 in Cranford, <mask> married McAuley "when her health was poor and took care of her." The newspaper announcement said they had courted for five years. He

masks: Gilbert Gilbert Gilbert Gilbert Gilbert Gilbert Gilbert