The Battle Monument, located in Battle Monument Square on North Calvert Street between East Fayette and East Lexington Streets in Baltimore, commemorates the Battle of Baltimore with the British fleet of the Royal Navy's bombardment of Fort McHenry, the Battle of North Point, southeast of the city in Baltimore County on the Patapsco Neck peninsula, the stand-off on the eastern siege fortifications along Loudenschlager and Potter's Hills called Hampstead Hill, in what is now Patterson Park since 1827, east of town. It honors those who died during the month of September 1814 during the War of 1812; the monument lies in the middle of the street and is between the two Baltimore City Circuit Courthouses that are located on the opposite sides of North Calvert Street. It was sponsored by the City and the "Committee of Vigilance and Safety" led by Mayor Edward Johnson and military commanders: Brig. Gen. John Stricker, Maj. Gen. Samuel Smith and Lt. Col. George Armistead; the site of the former first Baltimore County and Town/City Courthouse was designated as the location for the newly planned Washington Monument.

Designed by Robert Mills, the cornerstone of the Washington Monument for Baltimore had just been laid on Independence Day, July 4, 1815. But fears that the designed shaft of the column would be too tall for the smaller open space of the old Courthouse Square, might fall over onto nearby close-in townhouses, caused a last-minute change in location; the monument site for the nation's first president was moved further north of the city into "Howard's Woods" of the "Belvindere" estate of Col. John Eager Howard; the monument, designed by Baltimore architect J. Maximilian M. Godefroy and built in 1815-25, is 39 feet tall; the base of the monument is an Egyptian Revival cenotaph. It is an unusually democratic monument for the time in that it records the names of all who died, regardless of rank; the eighteen layers of the marble base represent the eighteen states that made up the United States at the time of the war. A griffin is at each corner of the base; the column, carved as a Roman fasces, is bound with cords listing the names of soldiers who died during the battle, while the names of officers who died are at the top.

The monument is topped by an 8 feet tall 2,750 pound Carrara marble statue by Antonio Capellano of a female figure representing the City of Baltimore that wears a crown of victory and holds a laurel wreath in one hand and a ship's rudder in the other. It was hoisted to the top of the column during the middle of the period of construction on the eighth anniversary ceremonies, Defenders Day, September 12, 1822. Colloquially called Lady Baltimore, the statue was relocated to the Maryland Historical Society on October 5, 2013 in order to preserve it from further damage caused by time and nature, it was replaced by a concrete replica. The monument is first public war memorial in the United States; the monument is depicted on the seal of the City of Baltimore, adopted in 1827 and the city's flag adopted in the early 20th century. The monument is erroneously depicted as being in Washington, D. C. in the film Live Free or Die Hard starring Bruce Willis, which had numerous scenes filmed in downtown Baltimore.

The Battle Monument was placed on the National Register of Historic Places on June 4, 1973. It is contained within the Business and Government Historic District and is within the Baltimore National Heritage Area. Egyptian revival List of public art in Baltimore Washington Monument Battle Monument, including photo in 1985, at Maryland Historical Trust website Historic American Buildings Survey No. MD-1126, "Monument Square, North Calvert Street between Fayette & Lexington Streets, Independent City, MD", 12 photos, 3 color transparencies, 29 data pages, 2 photo caption pages HABS No. MD-185, "Battle Monument, Calvert Street, Independent City, MD", 5 photos, 12 data pages Battle Monument at Explore Baltimore Heritage Battle Monument: On Monument City Incredible 1846 Photo of Battle Monument - Ghosts of Baltimore blog

Juan de Argüelles was a Roman Catholic prelate who served as the Bishop of Arequipa and the Bishop of Panamá. Juan de Argüelles was born in Lima and ordained a priest in the Order of Saint Augustine. On May 18, 1699, he was appointed by the King of Spain and confirmed by Pope Innocent XII as Bishop of Panamá. In 1701, he was consecrated bishop by Bishop of Trujillo. On March 21, 1711, he was appointed by the King of Spain and confirmed by Pope Clement XI as Bishop of Arequipa, he served as Bishop of Arequipa until his death on January 23, 1712. While bishop, he was the principal Consecrator of Diego Morcillo Rubio de Suñón de Robledo, Bishop of Nicaragua. Catholic Church in Peru Cheney, David M. "Archdiocese of Panamá". Catholic-Hierarchy.org. Retrieved March 25, 2018. Chow, Gabriel. "Metropolitan Archdiocese of Panamá". GCatholic.org. Retrieved March 25, 2018. Cheney, David M. "Archdiocese of Arequipa". Catholic-Hierarchy.org. Retrieved June 16, 2018. Chow, Gabriel. "Metropolitan Archdiocese of Arequipa".

GCatholic.org. Retrieved June 16, 2018

Ange-Étienne-Xavier Poisson de La Chabeaussière was an 18th–19th-century French writer and playwright. Like Nicolas Dalayrac, of whom he was an episodic librettist, La Chabeaussière served among the bodyguards of "Monsieur", he wrote several plays. The Catéchisme républicain philosophique et moral which he wrote, was chosen after a contest held 9 pluviôse an II, as legal official catechism for schools during the French Directory. Catéchisme républicain, philosophique et moral, an II de la République. L'Éclipse totale, opéra comique in one act and in verse, music by Nicolas Dalayrac, created 7 March 1782 by the troupe of Comédie Italienne at Hôtel de Bourgogne, Paris. Le Corsaire, comedy in three acts and in verse, mingled with ariettes, music by Nicolas Dalayrac, created 7 March 1783, at Cour of Versailles given 17 March 1783 at Hôtel de Bourgogne. Azémia ou le Nouveau Robinson, comedy in three acts and in verse mingled with ariettes, music by Micolas Dlayrac, created 17 October 1786 at Cour of Fontainebleau.

Became Azémia ou les Sauvages once set in prose, given 3 May 1787 at Opéra-Comique. Le Corsaire algérien ou le Combat naval, comedy in one act and in prose, music by Nicolas Dalayrac, created 13 messidor an I, at Opéra-Comique. Gulistan ou le Hulla de Samarcande, comedy in three acts and in prose mingled with ariettes, in collaboration with Charles-Guillaume Étienne, music by Nicolas Dalayrac, created 8 vendémiaire an XIV at Opéra-Comique. Lamentine ou les Tapouis, tragi-comic play in two acts and in verse, in collaboration with MM. Dalayrac, T. A. and M. created 12 August 1779 at Théâtre-Italien. Les Maris corrigés, comedy in three acts and in verse, created 7 August 1781 at Théâtre-Italien. Couplets pour la fête de Madame la Comtesse de M. chantés par Mademoiselle sa Fille, lyrics by M.de la Chabeaussière, music by M. Dalayrac, 1784 Chant martial for victory party, music by François-Joseph Gossec, premiered 20 prairial an IV. Romance du Chevrier, lyrics from Célestine, short story by Jean-Pierre Claris de Florian, with a tune by Jean Paul Égide Martini, publishing of a guitar accompaniment in 1785.

De La Chabeaussière was portrayed by Joseph Ducreux, 1795 Salon, #.234. Robert Lefèvre, 1804 Salon, #.391. Jacques-Augustin-Catherine Pajou 1819 Salon, #.806. In 1943, it was acquired in public sale by the National Museum of Trianon, he appeared on a print Une Soirée chez la princesse Constance de Salm among 38 other literary and artistic personalities of the Salon od Princesse de Salm. Notes Ange-Étienne-Xavier Poisson de La Chabeaussière on Data.bnf.fr