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Lady Charlotte Lindsay[edit]

Lady Charlotte Lindsay (née North; 1771–1849) was an English noblewoman and lady in waiting to Queen Caroline.

Life[edit]

She was the youngest child of Frederick, Lord North, prime minister to George III, and sister to the 3rd, 4th, and 5th Earls of Guilford.

She was married in 1800 to Colonel the Hon. John Lindsay, uncle to the Earl of Crawford and Balcarres, and was left his widow, without issue, in 1826.

Lady Charlotte Lindsay was a member of the Household of Caroline, Princess of Wales (later Queen Consort).

She died in Green Street, Mayfair, aged 78, on 25 October 1849.

Writing[edit]

She wrote a character of her father, which was published by Lord Brougham in his Eminent Statesmen.

Sources[edit]

Junia Torquata[edit]

Junia Torquata (Latin: Iunia C. Silani f. Torquata; before 10 BC – AD 55) was a Vestal Virgin of the gens Junia.

Life[edit]

She interceded on behalf of her brother, Gaius Junius Silanus, the consul of AD 10, after he was condemned for treason in AD 22. (Tac. Ann. iii. 69–70.)

https://www.wikidata.org/wiki/Q522299

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Virgin of Cuyo[edit]

The Virgin of Cuyo . . .

History[edit]

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https://en.wikisource.org/wiki/Catholic_Encyclopedia_(1913)/Virgin_of_Cuyo

https://www.wikidata.org/wiki/Q6163582

References[edit]


Sources[edit]

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On the Teacher[edit]

On the Teacher (Latin: De magistro) is a work by Augustine of Hippo, written about the year 389.

Background[edit]

The short but significant work, entitled The Teacher, is next to the last in a series of Dialogues begun at Cassiciacum, near Milan, where Augustine had gone in the autumn of 386 to prepare for baptism. The Dialogue reproduces, at least in substance, discussions held with Adeodatus, his son, shortly after their return to Tagaste in 388, and is the only Dialogue in which Adeodatus is the sole interlocutor.[1]

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https://www.wikidata.org/wiki/Q1180712

References[edit]

  1. ^ Russell, ed. 1968, p. 3.

Sources[edit]


Category:4th-century books Category:Works by Augustine of Hippo

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Girl with Dog[edit]

Girl with Dog (German: Mädchen mit Hund), formerly known as Girl Making a Dog Dance on Her Bed (French: Jeune fille faisant danser son chien sur son lit), and sometimes wrongly titled The Ring-Biscuit (French: La Gimblette), is an oil painting by Jean-Honoré Fragonard, painted around 1770. It is housed in the Alte Pinakothek in Munich.[1]

Background[edit]

Girl with Dog and The Ring-Biscuit belong to Fragonard's erotic period. As Joshua James Foster explains:

From this mingling of gallantry with antique or rustic subjects, from frequenting the boudoirs of danseuses, from turning over the collections of witty improprieties lying about on their tables, Fragonard came naturally to erotic painting; he began by Cupids—Cupid armed with his bow, with an arrow or a garland, Cupid dictating verses to Sapho or a love-letter to a lover, Cupid listening to the aspirations of a timid heart, or receiving upon his altar the rose which a young girl has sacrificed to him. Soon he will content himself no longer with symbols of love; he will paint its tendernesses, kisses of all kinds, the amorous kiss, the first kiss of lovers, etc. Then in order to please the financiers, he unclothes his bathers; and still this is not enough: he must show 'Les Hasards Heureux de l'Escarpolette,' 'La Chemise Enlevée,' 'Les Pétards,' 'Les Jets d'Eau,' 'La Gimblette,' 'La Culbute,' 'La Vigilance Surprise,' 'Le Lever,' or 'Le Coucher des Ouvrières en Mode.' When Fragonard had decorated the salons, he ornamented the boudoirs; and when he had adorned the boudoirs, he enriched the private galleries; but he was fortunate enough when the century became moral, or at least moralising, to be still in the fashion.[2]

Description[edit]

The subject is a young girl lying half-naked on a bed, playing with her dog.

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The Ring-Biscuit[edit]

This picture has sometimes been confused with The Ring-Biscuit (French: La Gimblette), a lost painting which depicted a similar scene.[3]

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https://www.wikidata.org/wiki/Q28801539

References[edit]

  1. ^ Dupuy-Vachey 2006, p. 91.
  2. ^ Foster 1907, pp. 46–47.
  3. ^ Wildenstein 1960, p. 263.

Sources[edit]

Category:1770s paintings Category:Paintings by Jean-Honoré Fragonard

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Gurias[edit]

Gurias or Guria (Greek: Γυρíας) was a 4th-century Christian ascetic, martyr, and saint, from Edessa.

Life[edit]

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He died in AD 305.

https://www.oca.org/saints/lives/2021/11/15/103304-holy-martyrs-and-confessors-gurias-samonas-and-abibus-of-edessa

https://www.goarch.org/chapel/saints?contentid=293

https://doi-org.wikipedialibrary.idm.oclc.org/10.31826/9781463214418

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References[edit]


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Category:4th-century Christian saints

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Hekaterides[edit]

The Hekaterides or Hekaterein (Greek: XXXX, XXXX) was an ancient Greek dance . . .

History[edit]

Athenaeus, Julius Pollux and Hesychius all mention a certain dance, called either the Hekaterides or Hekaterein,[1] which was evidently similar to the Bibasis, but apparently involved slapping with the hands as well as kicking with the feet.[2]

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See also[edit]

References[edit]

  1. ^ Ath. xiv. 630 A; Poll. iv. 102; Hsch., s.v. hekaterein.
  2. ^ Lawler 1965, p. 121.

Sources[edit]

Category:Ancient Greek dances

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Sealing in Bass Strait[edit]

Sealing in Bass Strait . . .

Background[edit]

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History[edit]

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References[edit]


Sources[edit]

  • Sprod, Dan (2006). "Sealing". Alexander, Alison (ed.). The Companion to Australian History. Centre for Tasmanian Historical Studies. University of Tasmania. Retrieved 24 August 2022.


Category:History of Tasmania

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Mary Elizabeth Caldwell, Baroness von Zedtwitz[edit]

Mary Elizabeth Breckinridge Caldwell, Baroness von Zedtwitz (née Caldwell; ????–????) was an American philanthropist and socialite.

Life[edit]

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https://www.wikidata.org/wiki/Q68128436

Waldemar von Zedtwitz

References[edit]


Category:19th-century American philanthropists

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Matthias von Buchegg[edit]

Mathias von Buchegg (c. 1280–1328) was a German cleric and statesman who served as Archbishop of Mainz (1321–1328).

He was the son of Count Heinrich von Buchegg, Landgrave of Burgundy, and was born around 1280.

STILL WORKING ON THIS, PLEASE DON'T DELETE


https://www.wikidata.org/wiki/Q1910424

https://de.wikisource.org/wiki/ADB:Matthias_(Erzbischof_von_Mainz)

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Maria Maddalena Morelli[edit]

Maria Maddalena Morelli Fernandez (17 March 1727, Pistoia – 8 November 1800, Florence), also known by the Arcadian pseudonym Corilla Olimpica, was a Florentine Italian poetess, improvisatrice, and musician. The official poetess to the grand ducal court in Florence (1765–75), she won fame as the foremost female performer of the improvised poetry then popular in Italy, and was controversially crowned with the laurel wreath on the Roman Capitol in 1776, an event later fictionalised by Madame de Staël in Corinne.[1]

Life[edit]

Early life[edit]

Maria Maddalena Morelli, born in Pistoia, in the Duchy of Florence, on 17 March 1727, was the daughter of the celebrated violinist Iacopo Morelli by his wife Caterina Caterina, née Buonamici. She was educated in the Salesian school of Pistoia, and moved to Florence in 1746, where she moved in literary circles and performed her own poetry and played the harpsichord and violin. Princess Vittoria Rospigliosi-Pallavicini took her with her to Rome and, at the age of about twenty, while in the custody of Michele Giuseppe Morei, she was ascribed to the Arcadia with the pastoral name Corilla Olimpica.[2]

She then moved to Naples, and lived there from 1750 to 1760 under the protection of Faustina Pignatelli, Princess of Colobrano. In 1751, she dedicated the capitolo Dalle felici gloriose sponde to Pietro Metastasio, inviting the poet to an improvisation contest; although he declined the invitation, he gave a flattering opinion of the young poetess in a letter to the Countess of Sangro. In the same year, Morelli was welcomed into the Accademia degli Agiati in Rovereto under the anagrammatic pseudonym Madonna Damerilla. In 1753, she engaged in long-distance poetic competitions with Francesco Maria Zanotti, who sent her a sonnet on the study of geometry to which she replied with Rotta è la cetra e l'apollinea fronda, and with Giuseppe Passeri (Fileno amabile). In the same year, the capitolo directed to Metastasio was inserted in the Saggio di poesie scelte filosofiche ed eroiche (Florence 1753).[2]

Marriage and travels[edit]

Corilla Olympica Poetria Etrusca

During her stay in Naples, Morelli contracted marriage with a Spanish gentleman, assigned to the secretariat of war, Ferdinando Fernández, with whom she had a son, Angiolo. But soon after she separated from her husband, who remained with her son, and she returned to Rome to the Rospigliosi-Pallavicini family, of whom she had been a guest before her stay in Naples. The new Roman stay, however, did not last long and for unclear reasons Morelli suddenly left Rome in 1760. In the following years, travelling in Italy, she continued successfully to perform in poetic improvisations and, according to contemporary rumours, she was involved in love intrigues.[2]

In Pisa, she met Giacomo Casanova, who left an admiring but circumspect portrait of the poetess in the Histoire de ma vie:

I made the acquaintance of an Englishman, of whom I bought a travelling carriage. He took me to see Corilla, the celebrated poetess. She received me with great politeness, and was kind enough to improvise on several subjects which I suggested. I was enchanted, not so much with her grace and beauty, as by her wit and perfect elocution. How sweet a language sounds when it is spoken well and the expressions are well chosen. A language badly spoken is intolerable even from a pretty mouth, and I have always admired the wisdom of the Greeks who made their nurses teach the children from the cradle to speak correctly and pleasantly. […] Corilla was 'straba', like Venus as painted by the ancients—why, I cannot think, for however fair a squint-eyed woman may be otherwise, I always look upon her face as distorted. I am sure that if Venus had been in truth a goddess, she would have made the eccentric Greek, who first dared to paint her cross-eyed, feel the weight of her anger. I was told that when Corilla sang, she had only to fix her squinting eyes on a man and the conquest was complete; but, praised be God! she did not fix them on me.[3]

In Siena, where Pietro Belli, hearing her improvise, dedicated a long song to her, Morelli founded the gallant and poetic order of the Cavalieri Olimpici. In Parma, she became friends with Giuseppe Maria Pagnini, and with Carlo Innocenzo Frugoni, who dedicated a sonnet to her. In Bologna, some of her verses were published under the name "Madonna Damerilla of the Accademia degli Agiati" in Per le chiarissime nozze del nobile uomo signor conte Prospero Ferdinando Ranuzzi Cospi […] con Maria Maddalena Grassi (Bologna 1763). She followed a noble of the Cornaro family to Venice, but was persuaded to return to Bologna by an adventurer, Giulio Perilli, who also asked for some money on loan which was never repaid.[2]

In Bologna, she composed the song In lode della sac. m. imp.… Maria Teresa imperatrice regina… coronandosi …l'arciduca Giuseppe (Bologna 1764; 2nd ed., Venice 1765). The poem, brought to the Empress by Marshal Antonio Botta Adorno, was also appreciated by Metastasio, and earned her, the following year, an invitation to Innsbruck at the Imperial court. Morelli performed on the occasion of the wedding of Peter Leopold with Maria Luisa of Bourbon in Vienna. During the return trip, she met the Marquis Lorenzo Ginori in Bologna, with whom he established a lifelong bond of affectionate friendship.[2]

Court poet[edit]

Morelli's Florentine home with commemorative plaque

Appointed court poet of the Grand Duchy of Tuscany, she settled in Florence in a house in Via della Forca (currently Via Ferdinando Zannetti), taking her sister Maria Giovanna with her. Minister Pompeo Neri dedicated the long dithyramb Tu se' il mio grande, e luminoso Apollo to her, urging her to abandon occasional poetry and to devote herself to civil poetry, but the invitation remained unheard. In the context of her official functions as court poet, she composed the Ode alla fecondità (Florence, 1767) for the birth of the daughter of Maria Luisa and Peter Leopold of Tuscany and, in 1768, improvised the sonnet Se quei, che tanto alla Città Latina for the Lenten sermon of Father Lorenzo Fusconi in Santa Croce.[2]

Probably in 1769, upon his appointment as director of music at court, the Livorno composer Pietro Nardini began a long collaboration with Morelli, accompanying her with the violin in her performances. Morelli's only aria with the musical text that has survived, Sogno, ma te non miro, was collected by Karl Ludwig Fernow in the essay Über die Improvisatoren in his Römische Studien (Zürich, 1806).[2] However, Charles Burney, who frequented the house of Morelli while visiting Florence in September 1770, has left an important testimony on the singular modalities of her performances:

At another great accademia, at the house of Signor Domenico Baldigiani, I this evening met with the famous Improvvisatrice, Signora Madalena Morelli, commonly called La Corilla, who is likewise a scholar of Signor Nardini, on the violin; and afterwards I was frequently at her house†. († She has, almost every evening a conversazione, or assembly, which is much frequented by the foreigners, and men of letters, at Florence.) Besides her wonderful talent of speaking verses extempore upon any given subject, and being able to play a ripieno part, on the violin, in concert, she sings with a great deal of expression, and has a considerable share of execution.[4]

Long considered not attributable to Morelli due to its very free and unscrupulous content, the Anacreontic Ogni cura in abbandono (1772) is one of the few erotic compositions of the poet, together with the dithyramb Delirio amoroso. The fame of Morelli, through Alexej Orlow, who stayed in Livorno between 1770 and 1772, for whom she composed some triplets, and Baron Friedrich Melchior von Grimm, reached the Tsarina Catherine II, and Morelli composed an Ode in honour of the Russian Empress.[2]

Coronation[edit]

Seal of the Accademia dell'Arcadia with satyrs, Pan-pipes, and laurel wreath (1714)

At the end of 1774, accompanied by the Marquis Lorenzo Ginori and Nardini, Morelli moved to Rome. The ground for the Roman return had been prepared by the abbot Giacinto Cerutti and by Prince Luigi Gonzaga of Castiglione in agreement with the abbot Gioacchino Pizzi, custode generale of the Arcadia. In the extraordinary general meeting of the Academy on 12 January 1775, Morelli was acclaimed and she improvised the sonnet Dopo tre lustri alfin mi guida Amore in her tank. Two other sonnets by Morelli recited in the Arcadia were dedicated to the god of Love, Passeggia pure baldanzosamente e Ritorna, o Amore, a impiagarmi il petto. On 9 February of the next year, Pizzi announced that the coronation would take place in the next meeting, which took place on 16 February. For the occasion, Morelli improvised a sonnet for the coronation of Pius VI, who had just been elected to the pontificate. The chronicle of the event was handed down to the press in the Adunanza tenuta dagli Arcadi per la coronazione della celebre pastorella Corilla Olimpica (Rome 1775).[2]

Returning to Florence, she sent the epithalamium L'Ara d'amore to the Arcadia on the occasion of the acclamation of the wedding of Charles Emmanuel of Piedmont and Maria Clotilde (which was then published in Adunanza tenuta dagli Arcadi il 30 novembre 1775, Rome 1775). In the following autumn, she returned to Rome and was associated with the Roman nobility, the first step towards her coronation in the Campidoglio, an honour already reserved for another Tuscan improvisatore, Bernardino Perfetti, protected by Violante Beatrice of Bavaria, who had been crowned in 1725 under the protection of Giovanni Mario Crescimbeni.[2]

Morelli's laurel crown (1778) in the Madonna dell'Umiltà, Pistoia

It was Pizzi who promoted the poetic coronation of Morelli in the Capitol, immediately provoking some opposition and the defection of some Arcadians who left the Academy to found another, called the Forti. Having obtained the consent of the Senate from Pizzi, Papal approval arrived on 10 July 1776. On 14 July it was established that Morelli would respond by improvising on twelve themes: sacred history and revealed religion, philosophy, morality, physics, metaphysics, heroic poetry, legislation, eloquence, mythology, harmony, fine arts, and pastoral poetry. The judges were elected and the tests established (on the evenings of the 2, 9, and 19 August), to be held in the house of Prince Gonzaga. Morelli passed the examination brilliantly, the twelve examiners issued a certification, and Pizzi reported the result to the Senate. The poetess was crowned in the Capitol on 31 August, late in the evening, to try to limit the protests of the opposite party. The ceremony took place not without disputes and the controversy involved, together with Morelli, Gonzaga, Pizzi, the Roman Senate, the Arcadia, and Pius VI himself. Collections of satirical compositions and slanderous pamphlets circulated throughout Italy. Abbot Roberto Pucci, author of a satirical drama on poetic coronation, was arrested with his accomplice, tried, and sentenced to death, but then pardoned after a few months in prison.[2]

The hasty return to Florence after the coronation in the Campidoglio was not enough to stifle the scandal, and the controversies and satire soon reached Tuscany as well. Cerutti and Gonzaga, who had pushed the poetess, at first reluctant, to accept the Capitoline coronation, immediately abandoned her, leaving her alone to face criticism and ridicule. Disappointed and embittered, Morelli composed the sonnet Folle desio di ambizion fallace, while the Marquis Ginori commissioned Giovanni Zanobi Weber to produce a medal with the portrait of Corilla and an allusion to the episode (some savages, to represent the detractors of Corilla, shoot arrows which fall on themselves). Meanwhile, abbot Giovanni Cristofano Amaduzzi, the erudite compiler of the Effemeridi, sought to console Morelli from Rome with letters seasoned with common sense and affection, and the pair entertained a close correspondence until the abbot's death in 1792.[2]

Many years later, the writer Giovanni La Cecilia provided an account, highly prejudiced against Morelli, of the controversial coronation:

Leopold protected, and even loved a Maddalena Morelli, a wretched poetess, known by the name of Corilla Olimpica, whom he wanted honoured at his court and had her crowned in the Capitol in the manner of the ancient Corilla, and because he delegated to a Monsignor Maffei, Bishop of Monte Pulciano, dear to him, and to Pius VI, the task of promoting that ridiculous coronation at any cost, the Romans who welcomed the poetess with laughter and whistles, had the following satire posted against the infatuated Corillista: "Monsignor Maffei wants / That if Corilla passes with the laurel / No one shoots peels or tomatoes / You are under the penalty of bajocchi.[5]

The storm only began to subside in the following year. Following the publication of the Song for Catherine of Russia, she was invited to join the Imperial court in St. Petersburg. For a long time she was uncertain whether to accept her prestigious invitation but her climate and health convinced her to stay in Florence. The report of the coronation made by Amaduzzi (Venice 1777) was published in the Nuova raccolta di opuscoli by Angelo Calogerà, but the promised celebratory publication suffered worrying and inexplicable delays. Only in 1779, with the date of 30 June, did the Atti della solenne coronazione fatta in Campidoglio della insigne poetessa… Corilla Olimpica appear in print. In August of the same year, Zanobi Weber forged a new medal with the effigy of Corilla. The affair could be said to be closed, but her health conditions were still precarious, financial setbacks were added (she confided to Amaduzzi on 17 August 1779: "the Sicilians ate all the capital I had because I made an annuity with one of this lineage of Cain and he mocked me well") and a theft in her house deprived her of jewels and valuables. In autumn, Ippolito Pindemonte and Giuseppe Maria Pagnini went to visit her.[2]

Later life[edit]

Perhaps datable to the end of 1779, if it can be connected with the news that appeared in the gazettes of the commission of a painting with the same subject by Pompeo Batoni for the King of Portugal, is the elegy Al core di Gesù. Among Morelli's few religious compositions, it is a capitolo in Dante's terza rima, inspired by the devotion of the Sacred Heart according to the vision of Margaret Mary Alacoque, in which devotion and sensuality are skilfully mixed. The four sonnets published shortly thereafter are also of religious inspiration: Iddio, che impera a l’universo intero; Quando, alma mia, da la prigion dolente; Oimé infelice! Che più temo, o spero?; Santa Religion, dentro il mio core.[a][2]

On 11 January 1780, Morelli was invited to improvise at court for the Archduchess of Milan, Maria Beatrice d'Este, wife of Ferdinand of Austria. To commemorate the death of the painter and Arcadian artist Anton Raphael Mengs, Pizzi asked her for some verses to be included in the collection: the poetess at first shied away, then proposed some while pretending not to be the author, fearing that the new style would not be appreciated by the Academy. Finally, it was only the sonnet Morte ruotando al Vaticano intorno that was included in the collection Per l'adunanza degli Arcadi in morte del cavalier Antonio Raffaele Mengs (Rome 1780). Other celebratory sonnets were composed by Morelli for the death of Maria Teresa, who died on 29 November 1780, and the succession of Joseph II (L'astro più bello che splendesse in terra; Tolto di mano alla superba morte). In 1782, she was awarded an annual pension of one hundred sequins by Empress Catherine II, and in September she met the Duchess of Parma, Maria Amalia of Habsburg. The following year, she arranged the marriage of her friend Lorenzo Ginori with Francesca Lisci and celebrated their wedding with the sonnet Questa, che t'offro sull'april degli anni. In August 1785, she improvised for the reigns Ferdinand IV and Carolina of the Two Sicilies on a visit to Florence and was invited to the court of Naples, where she spent the winter. She returned to Florence in the summer of the following year, after having stayed again in Rome, warmly welcomed by Cardinal Giuseppe Garampi and Ambassador Andrea Memmo, finally obtaining an audience from Pope Pius VI.[2]

She also commemorated with a sonnet the death of Frederick II of Prussia, in 1786. This was followed, in 1787, by a sonnet for the name day of the sovereign Maria Luisa (Dal dolce sonno appena io mi svegliai), and another for the birth of Ginori's son. Then came two sonnets for the victory won by the Russians over the Turks in 1788 (Quella che a Mosca e a Peterburgo impera e L'auguste navi che dal Russo Impero). For the wedding of her niece Melania with the painter Antonio Meucci, which took place on 16 November 1789, she composed the epithalamium Favole sono della gente Ascrea; for the death of Abbot Pizzi, in 1790, the sonnets Cetra, che fosti già gradito dono and In qual diverso aspetto, in negro ammanto. For the visit to Pistoia of the Grand Duke Ferdinand III and Luisa Amalia of Bourbon, in 1791, she improvised the sonnet Della Patria mi guida il Genio amato. In September of the same year, Ginori died, and Amaduzzi died in the following year.[2]

Decline and death[edit]

In 1793, Morelli invited the young poetess Teresa Bandettini Landucci (Amarilli Etrusca), in whom she recognised her worthy continuator, and improvised for her the sonnet Anglico e picciol dono which she accompanied with the gift of an English wallet. In 1794, Bodoni printed the sonnet O dell'alma natura imitatrice, dedicated Alla nobilissima e valorosissima dama miss Cornelia Knight, which is perhaps to be considered her last work. Struck by apoplexy in 1797, she lived for three more years. In 1798, her husband died; he was then a colonel and governor of the Orbetello garrison. On June 15, 1799, Morelli dictated her will. As a sign of devotion, and following the example of Bernardino Perfetti, she offered her poetic crown to the Madonna dell'Umiltà.[2]

Morelli died in Florence on 8 November 1800 and was buried in the oratory of San Francesco di Paola. General Sextius Alexandre François de Miollis, commander of the French troops in Florence, decreed her solemn honours to be held at the Accademia Fiorentina.[2]

Legacy[edit]

Unlike most impromptu poets, Morelli never wanted to collect her compositions for printing. Proud of her talent but also respectful of the peculiarities and limits of her art, she was fully aware of the impossibility of preserving its value intact outside the public performance, far from that aura of enthusiasm and mutual exaltation that united the improvisatore to his listeners. Considered the best improvisatrice of her time, of a free and independent character, the first and only woman to be crowned in the Capitol and to become a court poet, she was taken as a model by generations of poetesses, and her life inspired Madame de Staël's novel Corinne, or Italy (Paris 1807).[2][6]

Notes[edit]

  1. ^ cf. Rime degli Arcadi, XIII, Rome 1780, pp. 136-139.

References[edit]

Corilla Olimpica (c. 1740)

Citations[edit]

  1. ^ Lindon 2005, n.p.
  2. ^ a b c d e f g h i j k l m n o p q r s Catucci 2012, n.p.
  3. ^ Machen, trans. 1902, n.p.
  4. ^ Burney 1771, pp. 250–251.
  5. ^ La Cecilia 1861, p. 607.
  6. ^ Goldberger 1987, p. 431.

Bibliography[edit]


Category:1727 births Category:1800 deaths Category:Italian women poets Category:18th-century Italian women writers

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Translations and imitations from the Greek Anthology[edit]

The Greek Anthology has inspired translations and imitations in numerous languages.

Latin[edit]

Latin renderings of select epigrams by Hugo Grotius were published in Bosch and Lennep's edition of the Planudean Anthology, in the Didot edition, and in Henry Wellesley's Anthologia Polyglotta.

French[edit]

Imitations in modern languages have been copious, actual translations less common. F. D. Dehèque's 1863 translation was in French prose.

German[edit]

The German language admits of the preservation of the original metre, a circumstance exploited by Johann Gottfried Herder and Christian Friedrich Wilhelm Jacobs.

English[edit]

Robert Bland, John Herman Merivale, and their associates (1806–1813), produced efforts that are often diffuse. Francis Wrangham's (1769–1842) versions, Poems (London, 1795), are more spirited; and John Sterling translated the inscriptions of Simonides. John Wilson in Blackwood's Magazine 1833–1835, collected and commented on the labours of these and other translators, including indifferent attempts of William Hay.

In 1849 Henry Wellesley, principal of New Inn Hall, Oxford, published his Anthologia Polyglotta, a collection of the translations and imitations in all languages, with the original text. In this appeared versions by Goldwin Smith and Merivale, which, with the other English renderings extant at the time, accompany the literal prose translation of the Public School Selections, executed by the Rev. George Burges for Bohn's Classical Library (1854).

In 1864 Major Robert Guthrie Macgregor published Greek Anthology, with notes critical and explanatory, an almost complete but mediocre translation of the Anthology. Idylls and Epigrams, by Richard Garnett (1869, reprinted 1892 in the Cameo series), includes about 140 translations or imitations, with some original compositions in the same style.

A small volume on the Anthology, edited and with some original translations by Lord Neaves, is one of W. Lucas Collins's series Ancient Classics for Modern Readers, The Greek Anthology (Edinburgh & London: William Blackwood & Sons, 1874)

Two critical contributions to the subject are the Rev. James Davies's essay on Epigrams in the Quarterly Review (vol. cxvii.), illustrating the distinction between Greek and Latin epigram; and the disquisition in J. A. Symonds's Studies of the Greek Poets (1873; 3rd ed., 1893).

Select bibliography[edit]

  • Robert Bland, John Herman Merivale, Translations chiefly from the Greek Anthology (London, 1806)
  • ——— Collections from the Greek Anthology, &c. (London: John Murray, 1813)
  • George Burges, The Greek Anthology, as selected for the use of Westminster, Eton, &c. (London: Henry G. Bohn, 1855)
  • Richard Garnett, Idylls and Epigrams chiefly from the Greek Anthology (London: Macmillan, 1869)
  • ——— A Chaplet from the Greek Anthology (London: T. Fisher Unwin, 1892)
  • Fydell Edmund Garrett, Rhymes and Renderings (Cambridge; Bowes & Bowes, 1887)
  • Andrew Lang, Grass of Parnassus: Rhymes Old and New (London: Longmans, Green, & Co., 1888)
  • ——— Grass of Parnassus: First and Last Rhymes (London: Longmans, Green, & Co., 1892)
  • Graham R. Tomson, ed., Selections from the Greek Anthology (London: Walter Scott, 1889)
  • H. C. Beeching, Love in Idleness: A Volume of Poems (London: Kegan Paul, Trench & Co., 1883)
  • ——— In a Garden, and Other Poems (London: John Lane; New York: Macmillan, 1895)
  • Walter Headlam, Fifty Poems of Meleager (London: Macmillan, 1890)
  • ——— A Book of Greek Verse (Cambridge University Press, 1907)
  • J. W. Mackail, Select Epigrams from the Greek Anthology (London, 1890, revised 1906)
  • L. C. Perry, From the Garden of Hellas (New York: John W. Lovell, 1891)
  • W. R. Paton, Anthologiae Graecae Erotica: The Love Epigrams or Book V of the Palatine Anthology (London, 1898)
  • Jane Minot Sidgwick, Sicilian Idylls and Other Verses Translated from the Greek (Boston: Copeland & Day, 1898)
  • W. H. D. Rouse, An Echo of Greek Song (London, 1899)
  • Evelyn Baring, Translations and Paraphrases from the Greek Anthology (London: Macmillan, 1903)
  • J. A. Pott, Greek Love Songs and Epigrams from the Anthology (London: Kegan Paul, Trench, Trubner & Co., 1911)
  • Herbert Kynaston; Edward Daniel Stone, ed., Herbert Kynaston: a short memoir with selections from his occasional writings (London: Macmillan, 1912)
  • G. B. Grundy, ed., Ancient Gems in Modern Settings; being Versions of the Greek Anthology in English Rhyme by Various Writers (Oxford: Blackwell, 1913)
  • James G. Legge, Echoes from the Greek Anthology (London: Constable & Co., 1919)
  • Alfred J. Butler, Amaranth and Asphodel: Songs from the Greek Anthology (London: Basil Blackwell & Mott, Ltd., 1922)
  • F. W. Wright, The Girdle of Aphrodite: The Complete Love Poems of the Palatine Anthology (London: G. Routledge & Sons, Ltd., 1923)
  • ——— The Poets of the Greek Anthology: A Companion Volume to The Girdle of Aphrodite (London: G. Routledge & Sons, Ltd., 1924)
  • Norman Douglas, Birds and Beasts of the Greek Anthology (Florence: Tipografia Giuntina, 1927)
  • Robert Allason Furness, Translations from the Greek Anthology (London: Jonathan Cape, Ltd., 1931)
  • J. M. Edmonds, Some Greek Poems of Love and Beauty (Cambridge University Press, 1937)
  • ——— Some Greek Poems of Love and Wine (Cambridge University Press, 1939)
  • C. M. Bowra, T. F. Higham, eds., The Oxford Book of Greek Verse in Translation (Oxford UP, 1938)
  • F. L. Lucas, A Greek Garland: A Selection from the Palatine Anthology (Oxford, 1939)
  • ——— Greek Poetry for Everyman (New York: Macmillan, 1951)
  • Dudley Fitts, Poems from the Greek Anthology (New York: New Directions, 1956)
  • Kenneth Rexroth, Poems from the Greek Anthology (Ann Arbor: University of Michigan Press, 1962)
  • Andrew Sinclair, Selections from the Greek Anthology: The Wit and Wisdom of the Sons of Hellas (New York: Macmillan, 1967)
  • Robin Skelton, Two Hundred Poems from The Greek Anthology (Seattle: University of Washington Press, 1971)
  • Peter Jay, The Greek Anthology and Other Ancient Greek Epigrams (Allen Lane, 1973; reprinted in Penguin Classics, 1981)
  • Daryl Hine, Puerilities: Erotic Epigrams of The Greek Anthology (Princeton University Press, 2001)
  • Peter Constantine, Rachel Hadas, Edmund Keeley, and Karen Van Dyck, eds., The Greek Poets: Homer to the Present (New York: W. W. Norton, 2009)

References[edit]

Inline citations added to your article will automatically display here. See en.wikipedia.org/wiki/WP:REFB for instructions on how to add citations.

Sources[edit]

  • Carne-Ross, D. S. (1976). "The Anthology Transplanted" [Review of The Greek Anthology, and Other Ancient Greek Epigrams, by P. Jay]. Arion: A Journal of Humanities and the Classics, 3(4), 507–517.
  • Coulter, Cornelia C. (1948). "The Greek Anthology" [Review of The Greek Anthology in France and in the Latin Writers of the Netherlands to the Year 1800, by J. Hutton]. The Classical Journal, 43(8), 496–498.
  • Hutton, James (1943). "Ronsard and the Greek Anthology". Studies in Philology, 40(2), 103–127.
  • Hutton, James (1946). The Greek Anthology in France and in the Latin Writers of the Netherlands to the year 1800. J. Hutton, H. Caplan, H. L. Jones, & F. Solmsen, eds. Cornell University Press.
  • Rothberg, Irving P. (1954). "The Greek Anthology in Spanish Poetry: 1500-1700". Pennsylvania State University, Department of Romance Languages.
  • Rothberg, Irving P. (1956). "Covarrubias, Gracian, and the Greek Anthology". Studies in Philology, 53(4), 540–552.
  • Sheidley, William E. (1972). "George Turbervile’s Epigrams from the Greek Anthology: A Case-Study of "Englishing"". Studies in English Literature, 1500-1900, 12(1), 71–84.
  • Vosper, Robert (1951). "The Greek Anthology in English". The Classical Journal, 47(2), 87–92.

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Praotes[edit]

Anointing of David by Samuel, behind David the haloed personification of Gentleness (Paris Psalter)

Praotes (Greek: πραότης, praόtes: 'gentleness', 'mildness') is the concept and personification of the Christian virtue of Gentleness or Meekness in late antique and medieval Byzantine theology and iconography.

History[edit]

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References[edit]

Citations[edit]


Bibliography[edit]


Category:Personifications

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Muse (inspiration)[edit]

A muse (Greek: Μοῦσα, Moûsa) in the modern sense is a person, usually a woman, who spurs another person, usually a man, to be creative by providing artistic inspiration. Muses have historically been found in the environment of artists, serving variously as friends, companions, housekeepers, and lovers. In modern criticism the term has often been extended to any cause or principle underlying an artist's work.[1]

Mythology[edit]

Main article: Muses

The more recent usage of the word muse refers back to the divine attributes of the nine Muses of Greek and Roman mythology. The Muses were nine sister-goddesses, the daughters Zeus begat upon Mnemosyne, the goddess of memory. They presided over various arts and sciences and inspired those favoured mortals who pursued excellence in their respective branches of learning.

"The Tenth Muse"[edit]

The idea that a mortal could be a source of inspiration comparable to one of the mythological Muses emerged in antiquity, and several ancient sources refer to the poetess Sappho reverentially as tenth of the female Muses.[2] The earliest surviving poem to do so is a third-century BC epigram by Dioscorides,[3][4] but poems are preserved in the Greek Anthology by Antipater of Sidon[5][6] and attributed to Plato[7][8] on the same theme.

In the Christian era, the term is recorded from the early 17th century, in Shakespeare's Sonnets (Sonnet 38), and was used in 1650 by the poet Anne Bradstreet in the title of her first collection of poems The Tenth Muse Lately Sprung Up in America.

Literary personae[edit]

Hellenistic and Roman literature[edit]

The Classical epic poets Homer, Hesiod and Virgil invoked the immortal Muse or Muses as the wellspring of their work. Beginning in the 1st-century BC, the so-called Neoteric poets deliberately turned away from the formulations of Homeric epic, including the Muse, and referred instead to supposedly real women in short, personal poems of ordinary life.

Medieval and Renaissance literature[edit]

Later poets of the Middle Ages and Renaissance began to refer to idealised women, whether real or imaginary, as the creative impetus of their work.

The Nine Living Muses of Great Britain[edit]

In 1778, the English painter Richard Samuel produced a compendium painting of the leading bluestocking women of his time which came to be known as The Nine Living Muses of Great Britain. The portraits of Elizabeth Carter, Angelica Kauffman, Anna Laetitia Barbauld, Catharine Macaulay, Elizabeth Montagu, Elizabeth Griffith, Hannah More, Elizabeth Ann Sheridan and Charlotte Lennox each represent one of the Muses, complete with the tools of her craft, in a Neoclassical version of the Temple of Apollo. The work was popular, and an engraving was made from it which established the title in subsequent prints. According to the National Portrait Gallery, 'By combining real women with the powerful symbolic figures of the Muses, Samuel's composition extols the contribution of female professionals to the 'sister arts''.[9]

Artists' muses[edit]

The word muse began, in modern times, to apply to real people: friends or mistresses of artists, usually women, but sometimes men. These muses are said to inspire by their personality, their charisma, their solicitude or by their erotic appeal.

Muses as artists[edit]

For women who wanted a creative activity, this position of muse could be the only possible path for an artistic career.

Some of these muses gained their own fame as respected artists, such as Anaïs Nin, Mathilde Wesendonck, Charlotte von Stein, Amanda Lear, Dora Maar, Alma Mahler-Werfel, Emmy Hennings, Camille Claudel, Gala Éluard Dalí, Edie Sedgwick, Brigitte Bardot, Lotti Huber, Anna Karina, Jane Birkin and Anita Pallenberg.

https://fr.wikipedia.org/wiki/Muse_(inspiration)

https://de.wikipedia.org/wiki/Muse_(Beziehung)

https://ru.wikipedia.org/wiki/%D0%9C%D1%83%D0%B7%D0%B0_(%D0%B8%D1%81%D1%82%D0%BE%D1%87%D0%BD%D0%B8%D0%BA_%D0%B2%D0%B4%D0%BE%D1%85%D0%BD%D0%BE%D0%B2%D0%B5%D0%BD%D0%B8%D1%8F)

Muse (disambiguation)

References[edit]

  1. ^ Knowles, ed. 2006, n.p.
  2. ^ Hallett 1979, p. 447.
  3. ^ AP 7.407 = T 58.
  4. ^ Gosetti-Murrayjohn 2006, pp. 28–29.
  5. ^ AP 7.14 = T 27.
  6. ^ Gosetti-Murrayjohn 2006, p. 33.
  7. ^ AP 9.506 = T 60.
  8. ^ Gosetti-Murrayjohn 2006, p. 32.
  9. ^ NPG 2009.

Sources[edit]

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Claude Guillermet de Bérigard[edit]

Claude Guillermet de Bérigard
Claudius Berigardus
Born15 August 1578
Moulins, Kingdom of France
Died23 April 1663 (aged 84)
Padua, Republic of Venice
Scientific career
FieldsAristotelianism, Geocentrism

Claude Guillermet de Bérigard (15 August 1578, Moulins – 23 April 1663, Padua), also known by the Latin form of his name Claudius Berigardus, was a French philosopher, physician and mathematician who became professor of philosophy at Pisa and Padua.[1] He was a vocal opponent of the theories of Galileo. His last name is sometimes spelled Beauregard.

Life[edit]

Origins[edit]

The son of a doctor, Pierre, he was born in Moulins, in the Bourbon area, perhaps in 1590, although Niceron suggests the date of 15 August 1578. Little is known about his early career. It seems quite probable that he graduated in artibus in Aix in 1621, but there is no shortage of doubts about the date. While Bérigard himself, in some places in his works, obscurely mentions his stay at the Sorbonne, it is not clear whether as a student or as a teacher. The date of his transfer to Italy is also uncertain, but it must not have been much earlier than 1625, when he is found at the court of Tuscany, together with his brother, Giovanni Gughelmo, who then entered into the service of Mattias de' Medici as a surgeon.[2]

Pisa[edit]

His first office at the grand-ducal court was that of secretary for the French letters of Christina of Lorraine: but this modest office, which he exercised for just over a year, was too much inferior to the quality of the Bérigard that contemporaries remembered as "expert of Greek and also a great deal of philosophy and good literature", as well as a mathematician and doctor of value. Indeed, already in October 1627 the general supervisor of the Studium of Pisa, Girolamo da Sommaia, proposed to Ferdinando II to entrust Bérigard with the extraordinary teaching of philosophy which the Grand Duke actually attributed to him on 19 November 1627, at the same time as the appointment to the ordinary chair of Scipione Chiaramonti, the eminent peripatetic philosopher and later the object of the Galilean controversy.[2]

Bérigard remained in the Studium of Pisa for twelve years, enjoying the fame of "a good philosopher and a very good humanist", as Sommaia repeatedly referred to him, specially for his Aristotelian readings, which disregarded, as his uncommon knowledge of Greek allowed him, the usual mediation of interpreters. His research in the field of ancient thought also aroused great interest in references and reminders to current philosophical problems for which he showed a keen sensitivity, from the motions of the stars to the question of sunspots, to that of the earth's rotation: all themes on which Bérigard believed, thus already disagreeing with Galileo in this, that the discussion belonged much more to philosophers than to mathematicians. But he did not exhaust his interests in philosophy and teaching: he must have had considerable knowledge of the natural sciences, as evidenced by the fact that he was entrusted, albeit for a short time, with the direction of the Giardino de' Semplici; he was also known as a doctor and was credited with producing exceptional efficacy in the treatment of scurvy; finally, in the Accademia Disunita he read some of his Latin verses which his colleagues, almost all teachers in the Studium, seemed to appreciate very much. Ultimately, however, the salient fact of Bérigard's Pisan period was his hasty stance towards the Dialogue Concerning the Two Chief World Systems.[2]

Dubitationes[edit]

In 1632, a few months after the publication of Galileo's work, Bérigard published a short writing in Florence, Dubitationes in dialogum Galilaei Galilaei lyncey, which constituted the first public manifestation of dissent from the academic world towards the novatore ("innovator") philosopher. In fact, Galileo was not wrong, in a letter dated 23 July 1634, to define the objections raised by Bérigard who, far from engaging in a firm defence of the Aristotelian and Ptolemaic tradition, limited himself to pointing out, since from the subtitle of his booklet, "Simplicii vel praevaricatio vel simplicitas, quod nullum, efficax superesle Peripateticis argumentum ad terrae immobilitatèm probandam tam fitcile concesserit". In reality, Bérigard states, the evidence adduced in the Dialogue by Salviati and Sagredo in favour of the Copernican hypothesis can easily be turned against it and used to the advantage of the Ptolemaic hypothesis, which is so badly defended by Simplicius: a whole series of questions, such as the apparent variation of sunspots, or those of the motion of projectiles and the flight of birds that the Copernican interlocutors of the dialogue raise in favour of their thesis, find in this theory a much more complicated explanation than what does not happen by holding firm to the heliocentric theory. Naturally, Bérigard does not fail to insist on the theme of the ebb and flow of the sea, easily discovering the error in the Galilean argument. But he does not go beyond this to criticise him, and his work therefore remains ambiguously marginal to the great Galilean discourse. On his own account, Galileo did not fail to perceive the lack of conviction of the French controversy and perhaps he discovered the real reasons when he opined that Bérigard had induced himself to that attack contro a sua voglia … per compiacere a persona che lo può favorire nelle sue occorrenze ("against his will … to please a person who can favour him in his times of need"); Bérigard's promotion to the ordinary teaching of philosophy in the Studium of Pisa, in September 1634, following the renunciation of Chiaramonti, seems, in effect, to validate Galilei's judgment. Therefore, probably born from an academic intrigue, probably promoted by Chiaramonti and supported by Sommaia, the attack of Bérigard was strengthened by the implicit approval of the Medici court (the Dubitationes were dedicated to Ferdinando II, which, according to custom, would not have been possible without the prior consent of the Grand Duke); moreover, Bérigard himself referred, however obscurely, to a Linceo academic as promoter of the booklet. But this had no other result than that of a weak disturbing action, no more than the foreboding of the violent controversies that would soon be ignited around the Galilean work. Galileo himself did not show that he attributed too much importance to the episode and limited himself to making some mention of it to some correspondents, including (in a lost letter) Gassendi. Peiresc also wrote scornfully about this, while Mersenne found the Dubitationes unworthy qu'on les nomme à l'égard de ce grand homme ("let them be named after this great man") and intended to write against them in defense of Galileo, a project from which he was later dissuaded by Descartes.[2]

Padua[edit]

In 1639, Bérigard accepted the offer made to him by the rectors of the Studium of Padua to move to that second chair of philosophy, replacing Fortunio Liceti. From an unpublished letter to Paganino Gaudenzi, dated 9 July 1639, a letter that the early biographers of Bérigard did not know, it seems that the departure of the French philosopher from Pisa was no stranger to facinorosae et praevaricatricis beluae nequitia ("villainous and treacherous sleight of hand"). But who was the character against whom Bérigard was attacked and in what circumstances he received damage it is not possible to establish. On the other hand, it is certain that from the transfer he drew conspicuous economic advantages, to which he was far from being insensitive, while the great prestige enjoyed at that time by the philosophical tradition of the Paduan university nulli secundam did not have to be of little consolation, as Bérigard himself liked to say. And to this tradition, illustrated by Giacomo Zabarella, Francesco Piccolomini and Liceti himself, Bérigard, who is a character still very little studied, does not seem to be inferior. The Paduan academic authorities, on their own, showed that they greatly appreciated his services, confirming his conduct on several occasions with ever new increases in money and privileges and with the warmest praises of "his value as well in the readings, as also in having sent to the press more books on the main parts of natural philosophy—with much praise and esteem for the fruit it brings to the same pupils". The affectionate colleagues of Bérigard and characters such as Vincenzo Viviani and Leopoldo de' Medici show that, even among those who most vividly preserved the memory of Galileo, the ambiguous author of the Dubitationes had no shortage of admirers. Certainly the consideration that Bérigard enjoyed among the major exponents of the Accademia del Cimento had to rest above all on his accentuation of interest in the natural sciences in the Paduan period, such as to make him define "the true representative of physics after Galileo's journey from Padua"; but this is a judgment that one would like to be able to base on a more precise knowledge of Bérigard's research activities, those that more properly had to approach him to the Florentine academics. In reality, however, we only have few and uncertain news: we only know that he devoted himself to the study of venereal diseases and in a letter from Viviani there is mention of certain experiments by Bérigard to "vitrify lead and make it as diaphanous as crystal". Therefore, essentially every judgment on Bérigard relies on his major work, to which he gave the title of Circulus Pisanus in memory, as he himself writes, of a certamen philosophicum Pisis initum ("philosophical contest entered into in Pisa"), in those para-academic disputationes, usual in Pisa as in many other universities, which were defined precisely circulares.[2]

Circulus Pisanus[edit]

The work, first published in Udine, in 1643 and reprinted with notable additions in Padua in 1661, is dedicated to various Medici principles: in the form of Aristotelian commentaries, entrusted to the dialogue between a Peripatetic Carilao and an Aristaeus behind whom, with an ambiguity that renews the reticence of the Dubitationes, the author himself hides, Bérigard re-proposes the lesson of pre-Socratic naturalism against Aristotelian physics, comparing it with the most recent results of the new science. Even if the Galilean story often discourages too explicit references, the work is an undeniable tribute to new physics, not without some moderate declaration of sympathy for the Copernican hypothesis itself, which, according to Aristeo, tollit multa incommoda in coelis ("removes many inconvenient things in heaven"): the negation of motion has no other meaning in the name of Torricelli's experiments, or the explicit acceptance of the Galilean conclusions against the incorruptibility of the heavens (and there is no lack of a clear stance by Bérigard against Chiaramonti in this regard), or praise of the telescope or the commentary of De Luna which is reduced to an exposition of the doctrines of Copernicus and Galileo. But the misfortune of Galileo is kept in mind by Bérigard, who, having learned from the dramatic example of the philosopher, is careful not to take a decisive position on the fundamental question: opinionem de motu térrae impugnare licet, sed non defendere ("It is permissible to attack an opinion on the motion of the earth, but not to defend it"), recalls Aristeo, and the eclectic recourse to pre-Socratic naturalism thus becomes clear above all as a polemical expedient, a convenient screen to re-propose without risk the demands of science against those of orthodoxy and tradition.[2]

Philosophy[edit]

Bérigard's position cannot be considered exhausted in the context of the Galilean discussion: already the Pisan friendship with Gaudenzi, whose atomistic naturalism preceded any Gassendian influence in Italy, suggests a different motivation, even if in reality, at the stage of documentation, it is not possible to establish how much Bérigard's naturalism owed to the influence of the humanist Grigione; and even more certain is his link with the traditions of Paduan naturalistic philosophy, and of Cremonini in particular; a tradition that clearly returns to the conclusions reached by Bérigard, overshadowing, albeit with all possible cautions, the theme of the relationship between religion and science, clearly negative conclusions on the possibility of human reason to cross the thresholds of natural experiences and to go back to the "first causes", to the notion of a God who creates and orders the sensible reality. Thus, as has been observed, "the work of Bérigard deeply hit" the edifice of Telesio and Galileo, resting entirely on a rational and rationally justifiable God, capable at the same time of regulating phenomena and of bringing with it the negation of every philosophy of nature. Even if it is difficult to disregard the doubt insinuated by Ragnisco, that the warning that came from the unfortunate experience was not alien to this "Pyrrhonism" and "libertinism" of Bérigard, it is certain that the links of the French philosopher with the tradition of heterodoxy, and indeed of nùscredenza, of the Paduan university, appear to be largely confirmed by this arrival of Beauregardian naturalism. And in this regard, his close relations with Jacopo Gaddi, who was a member of the Venetian Accademia degli Incogniti, and whose central place in the history of Venetian libertinism is known, are perhaps significant. It is certain that among the contemporaries the accusation of impiety ran widely and there was no lack of those who even attributed to him the authorship of the legendary De tribus impostoribus. But ambiguity was, in the hands of Bérigard, a wise weapon, so much so that the ecclesiastical authorities had no more difficulty in approving the two editions of the Circulus than Bérigard himself had in crowning his own activity as a writer of such problematic orthodoxy with a mediocre but reassuring Elegia votiva ad D. Mariam Magdaleniam, published in Padua in 1651.[2]

Death[edit]

Dubitationes in dialogum Galilaei Galilaei (1632)

In his last return to Padua, after which, according to the purpose expressed in the Elegia votiva, he would have liked to make a definitive return to Florence, Bérigard was promoted on 26 January 1661, to the first chair of philosophy, but could not fulfil either this three-year assignment, nor his old desire: his death overtook him in Padua on 23 April 1663.[2]

Works[edit]

References[edit]

Citations[edit]

  1. ^ Hallam 1884, p. 21.
  2. ^ a b c d e f g h Ghisalberti, ed. 1970.

Bibliography[edit]

External links[edit]

Category:1578 births Category:1663 deaths Category:17th-century French philosophers Category:17th-century French mathematicians

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John Dane (lawyer)[edit]

Likeness and signature.[1]

John Dane Jr. (1835 – ?) was an American lawyer.

Origins[edit]

John Dane Jr. was born in Westford, Middlesex County, Massachusetts, on September 22, 1835. His father was born in Lowell, Massachusetts, in April, 1799, who descended from Dr. John Dane, a physician and surgeon of considerable note, who with his brother, Rev. Francis Dane, emigrated from England to America in 1636, and settled at Agawam (now Ipswich), Massachusetts. Francis was the second minister of Andover, of that state, and was there ordained in 1648: he took the lead against the persecution of the alleged witches with so much vigor as to effectually terminate the proceedings waged so mercilessly against them. The Hon. Nathan Dane, LL.D., the founder of the "Dane Law School" of Harvard University, and the Hon. Joseph Dane, of Maine, were sons of Dr. John Dane.[1]

Career[edit]

John Dane Jr. resided in Orange, New Jersey, with law offices in New York City. He was counsel for a large number of extensive corporations, some of which he served continuously and successfully for upwards of twenty years, and for many years the demand for his services was far beyond what was possible for him to undertake. He was an active director in seven corporations, and president of three. For many years he was frequently appointed by corporations and others as an arbitrator to act alone for the contending parties, to take proof, consider, determine and dispose of cases and controversies involving thousands and even millions of dollars.[1]

Home[edit]

John Dane's home, Hollywood, Orange, New Jersey.[1]

He resided in the same county for more than thirty years, and was the owner of much valuable property. He lived at his summer home, Hollywood, at St. Cloud, Orange Mountain, Orange, New Jersey. He had a park of various kinds of choice deer, and had a great variety of foreign birds of elegant plumage. He had a very large and valuable library of carefully selected books, including many rare and choice editions relating to history, biography, science, religion, art, and natural history. His law library was also large, and extensive in scope, embracing nearly all of the principal American and European publications. He was exceedingly fond of his library and particularly interested in all that tended to throw light and information upon the inhabitants of the United States and their characteristics during prehistoric times.[1]

Personal life[edit]

He married Fannie Whitney, of Augusta, Maine, daughter of Abiza Whitney, of that city. His children were Bertha Louisa, wife of J. A. Whitney, of Boston, Massachusetts; Charles Francis, who was engaged in the practice of law; Frederic Willis, in the wholesale grocery business in New York City; Herbert Evelyn and Clifford Franklin. Alice Josephine, the eldest of the children, who died on February 26, 1890, was possessed of rare accomplishments as a musician, and in works of art gained considerable notoriety.[1]

https://www.wikidata.org/wiki/Q113389265

See also[edit]

References[edit]

  1. ^ a b c d e f White, ed. 1901, p. 483.

Sources[edit]

White, James Terry, ed. (1901). "Dane, John, Jr.". The National Cyclopaedia of American Biography. Vol. 2. p. 483. Public Domain This article incorporates text from this source, which is in the public domain.


Category:1835 births

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John R. McGinness[edit]

John R. McGinness () . . .

Life[edit]

https://penelope.uchicago.edu/Thayer/E/Gazetteer/Places/America/United_States/Army/USMA/Cullums_Register/2003*.htmlhttps://www.gutenberg.org/files/66207/66207-h/66207-h.htm (BRIG.-GEN. JOHN R. McGINNESS, U.S.A. (Retired.) -- portrait)

References[edit]


Category:1918 deaths

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Tabula dealbata[edit]

The tabula dealbata ("bleached table", plural: tabulae dealbatae; Greek: leykoma), and the album ("white"), are related Latin terms that designated a table whitened with varnish or lime that was used in ancient Rome for magistrates to publish their official documents, decrees, edicts or other public notices inscribed in black.

History[edit]

The tables or bulletin boards of the judicial magistrates (praetors, curule aediles, and others) were fundamental because they established the principles that they would follow in their activity as administrators of Roman justice. The Acta Diurna, a sort of daily gazette, containing an officially authorized narrative of noteworthy events at Rome, was also published in this way: the Acta were drawn up from day to day, and exposed in a public place on a whitened board.[1]

The tabula of the Pontifex Maximus were especially important during the period when this office had control over Roman law. It was displayed outside its official residence, the Regia, at the end of each year, hence the name annales, where important events that happened day by day were noted down, such as the names of consuls and elected magistrates (the so-called eponyms ), notable events, and prodigia.

Album[edit]

The related term album (Latin: albus, "white") was, in ancient Rome, a board chalked or painted white, on which decrees, edicts and other public notices were inscribed in black. The Annales Maximi of the Pontifex Maximus, the annual edicts of the praetor, the lists of Roman and municipal senators (decuriones) and jurors (album indicum) were exhibited in this manner.[2]

In medieval and modern times album denotes a book of blank pages in which verses, autographs, sketches, photographs and the like are collected. It is also applied to the official list of matriculated students in a university, and to the roll in which a bishop inscribes the names of his clergy. In law, the word is the equivalent of mailles blanches, for rent paid in silver ("white") money.[2]

https://www.wikidata.org/wiki/Q3979986

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References[edit]

  1. ^ Chisholm, ed. 1911. vol. 1. p. 157.
  2. ^ a b Chisholm, ed. 1911. vol. 1. p. 513.

Sources[edit]


Category:Roman law Category:Latin words and phrases Category:Society of ancient Rome

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Eklaktismata[edit]

The Eklaktismata (Greek: XXX) was xxx


Sources[edit]

Category:Ancient Greek dances

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Eduard Schulz-Briesen[edit]

Eduard Schulz-Briesen (1831–1891) was a German painter.

Life[edit]

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https://www.wikidata.org/wiki/Q22944202

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Category:1831 births

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Demo (hetaira)[edit]

Franz Caucig: Demetrius Poliorcetes with the Flautist Lamia and Her Friend Demo (c. 1800)

Demo (Greek: Δημώ; 3rd century BC) was an Athenian hetaira, known for her relationships with several Athenian statesmen.

Life[edit]

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https://www.wikidata.org/wiki/Q12876143

Sources[edit]


Category:3rd-century BC women

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Madonna Aracoeli[edit]


The Madonna Aracoeli (c. 6th century)

The Madonna Aracoeli (Italian for 'Our Lady of the Golden Hands') is a Byzantine icon of Mary, mother of Jesus.

Iconography[edit]

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History[edit]

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https://www.wikidata.org/wiki/Q24957269

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Category:Byzantine icons

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Life of Jesus (Renan)[edit]

Life of Jesus
Ninth edition title page
AuthorErnest Renan
Original titleVie de Jesus
CountryFrance
LanguageFrench
SeriesHistory of the Origins of Christianity
PublisherMichel Lévy Frères
Publication date
1863
Followed byThe Apostles 

Life of Jesus (French: Vie de Jésus) is an essay by Ernest Renan, published in 1863. It is the first volume of the History of the Origins of Christianity (eight volumes, published between 1863 and 1883). This European bestseller caused a scandal, particularly in France, because the philologist and historian presented Jesus as a high moral personality, rejecting his divinity and any intervention from the supernatural.

Background[edit]

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Presentation[edit]

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Reception[edit]

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https://www.wikidata.org/wiki/Q7701139

External links[edit]


Category:1863 books

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King John's Cup[edit]

King John's Cup, also known as the King's Lynn Cup is a solid silver covered cup heavily decorated with enamel.

History[edit]

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References[edit]


Sources[edit]

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Category:14th-century works

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The Strayed Reveller[edit]

The Strayed Reveller is an rhymeless poem written in irregular metre by Matthew Arnold which first appeared in print in the poet's first published collection, The Strayed Reveller, and Other Poems, in 1849.

Persons[edit]

The poem takes the form of a dialogue between a Youth, Circe, and Ulysses. The scene is laid in the portico of Circe's Palace. The time is Evening.

Reception[edit]

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Sources[edit]

Further reading[edit]

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Female crucifixion[edit]

The female crucifixion or crucified woman is a subject in art and literature.

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https://www.nma.gov.au/exhibitions/glorious-days/australian-style/the-crucified-venus

https://thegreatwound.tumblr.com/post/645377281024507904/christa-1974-by-edwina-sandys-woman-crucified

https://www.wikidata.org/wiki/Q28008086

See also[edit]

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Sources[edit]

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Category:Death in art Category:Crucifixion

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Edward Philip Coleridge[edit]

Edward Philip Coleridge (1863–1936) was an English translator of Ancient Greek authors.

https://www.wikidata.org/wiki/Q18910540

https://www.newspapers.com/search/?query=%22Edward%20Philip%20Coleridge%22&p_country=gb

https://www.newspapers.com/search/?query=%22Edward%20P.%20Coleridge%22&p_country=gb

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Edward Coleridge[edit]

Edward Coleridge (1800–1883) was an English schoolmaster and Anglican priest.

Fellow of Eton and Vicar of Mapledurham

https://www.newspapers.com/search/?query=%22Edward%20Coleridge%22&p_country=gb&dr_year=1883-1883

https://www.wikidata.org/wiki/Q75611584

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George William Young[edit]

George William Young, FRCS (died 1850) was an English general surgeon.

Life[edit]

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See also[edit]

Works[edit]

  • "Case of a Fœtus found in the Abdomen of a Boy". Medico-Chirurgical Transactions, 1. pp. 236–264. PMC 2128792. PMID 20895115.

References[edit]


Sources[edit]


Category:Fellows of the Royal College of Surgeons of England

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Alexander George Arbuthnot (British Army officer)[edit]

Alexander George Arbuthnot

CMG, DSO
Born30 November 1873
Woolwich, Kent
Died3 May 1961 (aged 87)
Kenya Colony
Allegiance United Kingdom
Branch British Army
Years of service1893–1918
RankBrigadier
Unit24th Battery, Royal Field Artillery
Battles/wars
Spouse(s)
Olive Mary Hay (née Burton)
​
​
(m. 1905)​

Brigadier Alexander George Arbuthnot, CMG, DSO (1873–1961) was a British officer in the Royal Field Artillery.

Life[edit]

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https://familypedia.fandom.com/wiki/Alexander_George_Arbuthnot_(1873-1961)

Wikipedia:Articles for deletion/Alexander George Arbuthnot (British army officer)

References[edit]

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Sources[edit]

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Category:1873 births Category:1961 deaths Category:British Army brigadiers

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The Musmee[edit]

Henry Wolf after Robert Frederick Blum: The Musmee (1891

"The Musmee" is an Orientalist poem by Edwin Arnold, first published in 1892.

Background[edit]

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Text[edit]

"The Musmee" first appeared in Potiphar's Wife (1892).

References[edit]

  • Anderson, Joseph L. (2011). Enter a Samurai: Kawakami Otojirо̄ and Japanese Theatre in the West. Vol. 1. Wheatmark. pp. 60–61, 411.
  • Arnold, Edwin (1892). Potiphar's Wife, and Other Poems. London: Longmans, Green, and Co. pp. 62–64.
  • Blacker, Carmen (2002). "Sir Edwin Arnold, 1832–1904: A Year in Japan, 1889–90". In Cortazzi, Hugh (ed.). Britain and Japan: Biographical Portraits. Vol. 4. Routledge. pp. 224–232.
  • Pagnamenta, Peter; Williams, Momoko (2007). Falling Blossoms: A True Story. United Kingdom: Arrow Books. p. 22.
  • "Fuji-yama (1892)". Emerging from Absence: An Archive of Japan in English-Language Verse. Retrieved 11 May 2022.
  • "The Musmee (1892)". Emerging from Absence: An Archive of Japan in English-Language Verse. Retrieved 11 May 2022.

The Death of Cleopatra (Cagnacci, Milan)[edit]

The Death of Cleopatra
ArtistGuido Cagnacci
Yearc. 1660–1662 (c. 1660–1662)
MediumOil on canvas
Dimensions120 cm × 158 cm (47 in × 62 in)
LocationPinacoteca di Brera, Milan
Accession2341

The Death of Cleopatra (Italian: Morte di Cleopatra), also known as the Dying Cleopatra (Cleopatra morente), is an oil painting by the Italian Baroque painter Guido Cagnacci, datable to around 1660. The painting is in the collection of the Pinacoteca di Brera in Milan. It is not to be confused with other depictions of the same subject by Cagnacci.

https://www.wikidata.org/wiki/Q17418901

References[edit]


Sources[edit]

Category:Paintings by Guido Cagnacci

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The Death of Cleopatra (Cagnacci, Vienna)[edit]

The Death of Cleopatra
ArtistGuido Cagnacci
Yearc. 1661–1662 (c. 1661–1662)
MediumOil on canvas
Dimensions153 cm × 168.5 cm (60 in × 66.3 in)
LocationKunsthistorisches Museum, Vienna

The Death of Cleopatra, also known as The Suicide of Cleopatra (German: Selbstmord der Kleopatra), is an oil painting by the Italian Baroque painter Guido Cagnacci, made about 1661 or 1662. The painting is in the collection of the Kunsthistorisches Museum in Vienna. It is not to be confused with other depictions of the same subject by Cagnacci.

Subject[edit]

Further information: Death of Cleopatra

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History[edit]

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The painting arrived in the Kunsthistorisches Museum via the collection of Leopold Wilhelm.[1]

https://www.wikidata.org/wiki/Q12899375

Analysis[edit]

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References[edit]

  1. ^ "Cleopatra's Suicide". www.khm.at. Kunsthistorisches Museum Wien. Retrieved 10 March 2023.

Sources[edit]

Category:Paintings by Guido Cagnacci

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The Humble Petition of Frances Harris[edit]

"The Humble Petition of Frances Harris" (full title: "To their Excellencies the Lords Justices of Ireland / The humble petition of Frances Harris, / Who must Starve, and Die a Maid, if it miscarries. Anno 1700"), also titled "Mrs. Frances Harris's Petition, 1699", is a satirical poem by Jonathan Swift.

Analysis[edit]

According to William Ernst Browning, "This, the most humorous example of vers de société in the English language, well illustrates the position of a parson in a family of distinction at that period."

https://www.google.com/search?q=To+their+Excellencies+the+Lords+Justices+of+Ireland+The+humble+petition+of+Frances+Harris%2C+Who+must+Starve%2C+and+Die+a+Maid%2C+if+it+miscarries.&rlz=1C1VDKB_en-GBAU952AU953&oq=To+their+Excellencies+the+Lords+Justices+of+Ireland+The+humble+petition+of+Frances+Harris%2C+Who+must+Starve%2C+and+Die+a+Maid%2C+if+it+miscarries.&aqs=chrome..69i57.516j0j4&sourceid=chrome&ie=UTF-8

References[edit]

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Judith (Riedel)[edit]

Judith
ArtistAugust Riedel
Year1840
CatalogueWAF 826
MediumOil on canvas
Dimensions131.0 cm × 96.0 cm (51.6 in × 37.8 in)
LocationNeue Pinakothek, Munich

Judith is an oil painting made in 1840 in Rome by the German artist August Riedel. It is exhibited at the Neue Pinakothek in Munich.

Source 1[1]

Source 2[2]

Source 3[3]

https://www.wikidata.org/wiki/Q21451900

References[edit]

  1. ^ Hyacinth, Holland (1889). "Riedel, August". In Liliencron, Rochus von (ed.). Allgemeine Deutsche Biographie (in German). Vol. 28. Leipzig: Duncker & Humblot. pp. 517–519.
  2. ^ "Judith (M+)". Die Pinakotheken (in German). Retrieved 4 September 2022.
  3. ^ Partsch, Susanna. "Riedel, August". In Beyer, Andreas; Savoy, Bénédicte; Tegethoff, Wolf (eds.). Allgemeines Künstlerlexikon – Internationale Künstlerdatenbank – Online (in German). Berlin, New York: K. G. Saur. Retrieved 4 September 2022 – via De Gruyter.

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Nathaniel Highmore (surgeon, fl. 1815)[edit]

Nathaniel Highmore, MRCS (fl. 1815) was an English surgeon.

Life[edit]

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Works[edit]

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Sources[edit]


Category:19th-century English non-fiction writers

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The Carpet Merchants[edit]

The Carpet Merchant
ArtistJean-Léon Gérôme
Yearc. 1887 (c. 1887)
MediumOil on canvas
Dimensions68.74 cm × 86.04 cm (27.06 in × 33.87 in)
LocationMinneapolis Institute of Art

The Carpet Merchant (French: Marchand de tapis), also called The Vendor of Rugs, is an oil painting on canvas by the French painter Jean-Léon Gérôme, made in 1887. The work is housed at the Minneapolis Institute of Art.

History[edit]

From his numerous journeys to the East, Gérôme brought back many curious memoranda of picturesque scenes, which he subsequently converted into striking canvases. According to Albert Keim, "He excelled in reproducing the caressing beauty of shimmering carpets and the rippling sheen of silken textures."[1]

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The Carpet Merchant of Cairo[edit]

The Carpet Merchant of Cairo
ArtistJean-Léon Gérôme
Yearc. 1869 (c. 1869)
MediumOil on canvas
Dimensions81 cm × 55.9 cm (32 in × 22.0 in)
LocationBrooklyn Museum

The Carpet Merchant of Cairo (French: Marchand de tapis au Caire) . . .

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https://www.wikidata.org/wiki/Q20891420

See also[edit]

References[edit]

  1. ^ Keim 1912, p. 59.

Sources[edit]

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HMS Griffon (1832)[edit]

HMS Griffon was a 10-gun Cherokee-class brig-sloop launched in 1832.

She was on harbour service from 1854, was used as a coal hulk from 1857 and was broken up in 1869. She was listed as HMS Griffin from 1858.


Alexander Bryson . . .

Sources[edit]


Category:1832 ships

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William Werlenc[edit]

William Werlenc (fl. c. 1054), also called Guillaume Guerlenc, was a Norman baron and Count of Mortain.

WORK IN PROGRESS

Life[edit]

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https://www.wikidata.org/wiki/Q3119882

https://fr.wikipedia.org/wiki/Guillaume_Guerlenc

References[edit]


Sources[edit]

  • Bates, David (2016). William the Conqueror. New Haven and London: Yale University Press. pp. 86, 142, 155–156, 524.


Category:11th-century people

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