1.
Albert Memorial
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The Albert Memorial is situated in Kensington Gardens, London, directly to the north of the Royal Albert Hall. It was commissioned by Queen Victoria in memory of her beloved husband, the memorial was designed by Sir George Gilbert Scott in the Gothic Revival style. The memorial is 176 feet tall, took ten years to complete. The cost was met by public subscription, the memorial has been Grade I listed since 1970. Queen Victoria, however, soon made it clear that she desired a memorial in the sense of the word. The initiative was taken by the Lord Mayor of London, William Cubitt, the control and future course of the project, though, moved away from Mansion House, and ended up being controlled by people close to the Queen, rather than the Mayor. Those who determined the direction from that point on were the Queens secretary, General Charles Grey. Later, following the deaths of Grey and Phipps, their roles were taken on by Sir Henry Ponsonby, eventually, a four-man steering committee was established, led by Sir Charles Lock Eastlake. Eastlake had overall control for the project until his death in 1865, an initial proposal for an obelisk memorial failed, and this was followed in May 1862 by the appointment of a seven-strong committee of architects. A range of designs were submitted and examined, two of the designs were passed to the Queen in February 1863 for a final decision to be made. Two months later, after lengthy deliberations and negotiations with the government over the costs of the memorial, the popularity of the Prince Consort led to the creation of several Albert Memorials around the United Kingdom. The Kensington memorial was not the earliest, the first to be erected was Thomas Worthingtons Albert Memorial in Albert Square, Manchester, both memorials present the figure of Prince Albert enclosed within a Gothic ciborium, and the similarities of design have been remarked on. Worthingtons design was published in The Builder on 27 September 1862, etc. this was an idea so new as to provoke much opposition. The commission to make the figure of Prince Albert for the memorial was initially given to Baron Carlo Marochetti. However, his first version was rejected by the architect of the monument, Sir George Gilbert Scott, in May 1868, John Henry Foley, sculptor of the monuments Asia group was commissioned to make the portrait, and his sketch model approved in December of that year. A full-sized model was placed on the monument in 1870, the final statue was cast in bronze by Henry Prince and Company, of Southwark, Foley died in August 1874 before casting was complete. The gilt bronze statue was ceremonially seated in 1875, three years after the memorial opened, in this connection his statue holds a catalogue of the Great Exhibition, and is robed as a Knight of the Garter. The central part of the memorial is surrounded by the elaborate sculptural Frieze of Parnassus, which depicts 169 individual composers, architects, poets, painters, and sculptors
2.
Frieze
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In architecture the frieze /ˈfriːz/ is the wide central section part of an entablature and may be plain in the Ionic or Doric order, or decorated with bas-reliefs. Even when neither columns nor pilasters are expressed, on a wall it lies upon the architrave and is capped by the moldings of the cornice. A frieze can be found on many Greek and Roman buildings, the Parthenon Frieze being the most famous and this style is typical for the Persians. In interiors, the frieze of a room is the section of wall above the picture rail, by extension, a frieze is a long stretch of painted, sculpted or even calligraphic decoration in such a position, normally above eye-level. Frieze decorations may depict scenes in a sequence of discrete panels, the material of which the frieze is made of may be plasterwork, carved wood or other decorative medium. In an example of a frieze on the façade of a building. A pulvinated frieze is convex in section, such friezes were features of 17th-century Northern Mannerism, especially in subsidiary friezes, and much employed in interior architecture and in furniture. The concept of a frieze has been generalized in the construction of frieze patterns. Media related to Friezes at Wikimedia Commons Frieze
3.
Albert, Prince Consort
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Prince Albert of Saxe-Coburg and Gotha was the husband of Queen Victoria. He was born in the Saxon duchy of Saxe-Coburg-Saalfeld to a family connected to many of Europes ruling monarchs, at the age of 20, he married his first cousin, Queen Victoria, they had nine children. He was heavily involved with the organisation of the Great Exhibition of 1851, the Queen came to depend more and more on his support and guidance. Albert died at the young age of 42, plunging the Queen into deep mourning for the rest of her life. Upon Queen Victorias death in 1901, their eldest son succeeded as Edward VII, Albert was born at Schloss Rosenau, near Coburg, Germany, the second son of Ernest III, Duke of Saxe-Coburg-Saalfeld, and his first wife, Louise of Saxe-Gotha-Altenburg. Alberts future wife, Victoria, was earlier in the same year with the assistance of the same midwife. Albert was baptised into the Lutheran Evangelical Church on 19 September 1819 in the Marble Hall at Schloss Rosenau with water taken from the local river, in 1825, Alberts great-uncle, Frederick IV, Duke of Saxe-Gotha-Altenburg, died. His death led to a realignment of Saxon duchies the following year and Alberts father became the first reigning duke of Saxe-Coburg, Albert and his elder brother, Ernest, spent their youth in a close companionship marred by their parents turbulent marriage and eventual separation and divorce. After their mother was exiled from court in 1824, she married her lover, Alexander von Hanstein, Count of Polzig and she presumably never saw her children again, and died of cancer at the age of 30 in 1831. The brothers were educated privately at home by Christoph Florschütz and later studied in Brussels, like many other German princes, Albert attended the University of Bonn, where he studied law, political economics, philosophy and the history of art. He played music and excelled at sport, especially fencing and riding and his tutors at Bonn included the philosopher Fichte and the poet Schlegel. By 1836, the idea of marriage between Albert and his cousin, Victoria, had arisen in the mind of their ambitious uncle Leopold, at this time, Victoria was the heiress presumptive to the British throne. Her father, Edward Augustus, Duke of Kent, the son of King George III, had died when she was a baby. Her mother the Duchess of Kent, was the sister of both Alberts father—the Duke of Saxe-Coburg and Gotha—and King Leopold. Leopold arranged for his sister, Victorias mother, to invite the Duke of Saxe-Coburg and Gotha, William IV, however, disapproved of any match with the Coburgs, and instead favoured the suit of Prince Alexander, second son of the Prince of Orange. Victoria was well aware of the matrimonial plans and critically appraised a parade of eligible princes. Alexander, on the hand, she described as very plain. Victoria wrote to her uncle Leopold to thank him for the prospect of great happiness you have contributed to give me and he possesses every quality that could be desired to render me perfectly happy
4.
Queen Victoria
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Victoria was Queen of the United Kingdom of Great Britain and Ireland from 20 June 1837 until her death. From 1 May 1876, she adopted the title of Empress of India. Victoria was the daughter of Prince Edward, Duke of Kent and Strathearn, both the Duke of Kent and King George III died in 1820, and Victoria was raised under close supervision by her German-born mother Princess Victoria of Saxe-Coburg-Saalfeld. She inherited the throne aged 18, after her fathers three brothers had all died, leaving no surviving legitimate children. The United Kingdom was already a constitutional monarchy, in which the sovereign held relatively little direct political power. Privately, Victoria attempted to influence government policy and ministerial appointments, publicly, Victoria married her first cousin, Prince Albert of Saxe-Coburg and Gotha, in 1840. Their nine children married into royal and noble families across the continent, tying them together, after Alberts death in 1861, Victoria plunged into deep mourning and avoided public appearances. As a result of her seclusion, republicanism temporarily gained strength and her Golden and Diamond Jubilees were times of public celebration. Her reign of 63 years and seven months is known as the Victorian era and it was a period of industrial, cultural, political, scientific, and military change within the United Kingdom, and was marked by a great expansion of the British Empire. She was the last British monarch of the House of Hanover and her son and successor, Edward VII, belonged to the House of Saxe-Coburg and Gotha, the line of his father. Victorias father was Prince Edward, Duke of Kent and Strathearn, until 1817, Edwards niece, Princess Charlotte of Wales, was the only legitimate grandchild of George III. Her death in 1817 precipitated a crisis that brought pressure on the Duke of Kent. In 1818 he married Princess Victoria of Saxe-Coburg-Saalfeld, a widowed German princess with two children—Carl and Feodora —by her first marriage to the Prince of Leiningen and her brother Leopold was Princess Charlottes widower. The Duke and Duchess of Kents only child, Victoria, was born at 4.15 a. m. on 24 May 1819 at Kensington Palace in London. Victoria was christened privately by the Archbishop of Canterbury, Charles Manners-Sutton, on 24 June 1819 in the Cupola Room at Kensington Palace and she was baptised Alexandrina, after one of her godparents, Emperor Alexander I of Russia, and Victoria, after her mother. Additional names proposed by her parents—Georgina, Charlotte, and Augusta—were dropped on the instructions of the Dukes eldest brother, George, the Duke of Clarence and the Duke of Kent married on the same day in 1818, but both of Clarences daughters died as infants. Victorias father died in January 1820, when Victoria was less than a year old, a week later her grandfather died and was succeeded by his eldest son, George IV. The Duke of York died in 1827, when George IV died in 1830, he was succeeded by his next surviving brother, William IV, and Victoria became heir presumptive
5.
Mount Parnassus
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Mount Parnassus is a mountain of limestone in central Greece that towers above Delphi, north of the Gulf of Corinth, and offers scenic views of the surrounding olive groves and countryside. According to Greek mythology, this mountain was sacred to Dionysus and the Dionysian mysteries, it was sacred to Apollo and the Corycian nymphs. The mountain was also favored by the Dorians, there is a theory that Parna- derives from the same root as that which appears in the Luwian word for House. Parnassus is one of the largest mountainous regions of Mainland Greece and it spreads over three municipalities, namely of Boeotia, Phthiotis and Phocis, where lies its largest part. Its altitude is 2,547 meters and its highest peak is Liakouras, to the Northeast it is connected to Giona and to the south with Kirphe. Its name is due to the hero of the Greek mythology, son of Cleopompus and Cleodora. Etymological analysis, however, shows an origin of the name. The mountain is delimited to the east by the valley of the Boeotian Kephissus, the geological particularity of Parnassus is its rich deposits of bauxite, which has led to their systematic mining since the end of the 1930s, resulting in ecological damage to part of the mountain. Mount Parnassus is named after Parnassos, the son of the nymph Kleodora, a city, of which Parnassos was leader, was flooded by torrential rains. The citizens ran from the flood, following wolves howling, up the mountain slope, there the survivors built another city, and called it Lykoreia, which in Greek means the howling of the wolves. While Orpheus was living with his mother and his eight beautiful aunts on Parnassus, Apollo became fond of Orpheus and gave him a little golden lyre, and taught him to play it. Orpheuss mother taught him to make verses for singing, as the Oracle of Delphi was sacred to the god Apollo, so did the mountain itself become associated with Apollo. As the home of the Muses, Parnassus became known as the home of poetry, music, Parnassus was also the site of several unrelated minor events in Greek mythology. In some versions of the Greek flood myth, the ark of Deucalion comes to rest on the slopes of Parnassus and this is the version of the myth recounted in Ovids Metamorphoses. Orestes spent his time in hiding on Mount Parnassus, Parnassus was sacred to the god Dionysus. The Corycian Cave, located on the slopes of Parnassus, was sacred to Pan, in Book 19 of The Odyssey, Odysseus recounts a story of how he was gored in the thigh during a boar hunt on Mount Parnassus in his youth. Parnassus was also the home of Pegasus, the horse of Bellerophon. This relation of the mountain to the Muses offered an instigation to its more recent mystification, the periodical Modern Parnassus issued for the first time by Catul Mendes and Xavier Ricard contained direct references to Mt. Parnassus and its mythological feature as habitation of the Muses
6.
Muses
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The Muses are the inspirational goddesses of literature, science, and the arts in Greek mythology. They were considered the source of the knowledge embodied in the poetry, lyric songs and they were later adopted by the Romans as a part of their pantheon. In current English usage, muse can refer in general to a person who inspires an artist, writer, the earliest known records of the Nine Muses are from Boeotia, the homeland of Hesiod. Some ancient authorities thought that the Nine Muses were of Thracian origin, there, a tradition persisted that the Muses had once been three in number. They were again called Melete or Practice, Mneme or Memory, three ancient Muses were also reported in Plutarchs Quaestiones Convivales. According to Pausanias in the second century AD, there were three original Muses, worshiped on Mount Helicon in Boeotia, Aoidḗ, Melétē, and Mnḗmē. Together, these three form the picture of the preconditions of poetic art in cult practice. In Delphi three Muses were worshiped as well, but with other names, Nḗtē, Mésē, and Hýpatē, alternatively they later were called Kēphisṓ, Apollōnís, and Borysthenís, which names characterize them as daughters of Apollo. In later tradition, a set of four Muses were recognized, Thelxinóē, Aoidḗ Archē, one of the people frequently associated with the Muses was Pierus. By some he was called the father of a total of seven Muses, called Neilṓ, Tritṓnē, Asōpṓ, Heptápora, Achelōís, Tipoplṓ, and Rhodía. According to Hesiods Theogony, they were daughters of Zeus, the second king of the gods. For Alcman and Mimnermus, they were even more primordial, springing from the deities, Uranus. Sometimes the Muses are referred to as water nymphs, associated with the springs of Helicon and it was said that the winged horse Pegasus touched his hooves to the ground on Helicon, causing four sacred springs to burst forth, from which the muses were born. Athena later tamed the horse and presented him to the muses, classical writers set Apollo as their leader, Apollon Mousagetēs. In one myth, the Muses judged a contest between Apollo and Marsyas and they also gathered the pieces of the dead body of Orpheus, son of Calliope, and buried them. In a later myth, Thamyris challenged them to a singing contest and they won and punished Thamyris by blinding him and robbing him of his singing ability. He thus challenged the Muses to a match, resulting in his daughters, Pausanias records a tradition of two generations of Muses, the first are the daughters of Uranus and Gaia, the second of Zeus and Mnemosyne. Another, rarer genealogy is that they are daughters of Harmonia, some Greek writers give the names of the nine Muses as Kallichore, Helike, Eunike, Thelxinoë, Terpsichore, Euterpe, Eukelade, Dia, and Enope
7.
Relief
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Relief is a sculptural technique where the sculpted elements remain attached to a solid background of the same material. The term relief is from the Latin verb relevo, to raise, to create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane. What is actually performed when a relief is cut in from a surface of stone or wood is a lowering of the field. The technique involves considerable chiselling away of the background, which is a time-consuming exercise. In other materials such as metal, clay, plaster stucco, ceramics or papier-mâché the form can be just added to or raised up from the background, and monumental bronze reliefs are made by casting. There are different degrees of relief depending on the degree of projection of the form from the field. There is also sunk relief, which was restricted to Ancient Egypt. However the distinction between high relief and low relief is the clearest and most important, and these two are generally the only used to discuss most work. Hyphens may or may not be used in all these terms, works in the technique are described as in relief, and, especially in monumental sculpture, the work itself is a relief. Reliefs are common throughout the world on the walls of buildings and a variety of settings. Relief is more suitable for depicting complicated subjects with figures and very active poses, such as battles. Most ancient architectural reliefs were painted, which helped to define forms in low relief. Rock reliefs are carved into solid rock in the open air. This type is found in cultures, in particular those of the Ancient Near East and Buddhist countries. A stele is a standing stone, many of these carry reliefs. The distinction between high and low relief is somewhat subjective, and the two are often combined in a single work. In particular, most later high reliefs contain sections in low relief, a low relief or bas-relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. Other versions distort depth much less and it is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required
8.
George Gilbert Scott
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Over 800 buildings were designed or altered by him. Born in Gawcott, Buckingham, Buckinghamshire, Scott was the son of a cleric and he studied architecture as a pupil of James Edmeston and, from 1832 to 1834, worked as an assistant to Henry Roberts. He also worked as an assistant for his friend, Sampson Kempthorne, who specialised in the design of workhouses, Scotts first work was built in 1833. It was a vicarage for his father, a clergyman, in the village of Wappenham and it replaced the previous vicarage occupied by other relatives of Scott. Scott went on to several other buildings in the village. In about 1835, Scott took on William Bonython Moffatt as his assistant, over ten years or so, Scott and Moffatt designed more than forty workhouses, during the boom in building such institutions brought about by the Poor Law of 1834. In 1837 they built the Parish Church of St John in Wall, at Reading, they built the prison in a picturesque, castellated style. Scotts first church, St Nicholas, was built at Lincoln, with Moffat he built the Neo-Norman church of St Peter at Norbiton, Surrey. Meanwhile, he was inspired by Augustus Pugin to participate in the Gothic revival, while still in partnership with Moffat. He designed the Martyrs Memorial on St Giles, Oxford, and St Giles Church, Camberwell and it did, however, like many churches of the time, incorporate wooden galleries, not used in medieval churches and highly disapproved of by the high church ecclesiological movement. In 1844 he received the commission to rebuild the Nikolaikirche in Hamburg, Scotts entry had been the only design in the Gothic style. In 1854 he remodelled the Camden Chapel in Camberwell, a project in which the critic John Ruskin took a close interest and he added an apse, in a Byzantine style, integrating it to the existing plain structure by substituting a waggon roof for the existing flat ceiling. Scott was appointed architect to Westminster Abbey in 1849, in 1853 he built a Gothic terraced block adjoining the abbey in Broad Sanctuary. Between 1864 and 1876, the Albert Memorial, designed by Scott, was constructed in Hyde Park and it was a commission on behalf of Queen Victoria in memory of her husband, Prince Albert. Scott advocated the use of Gothic architecture for secular buildings, rejecting what he called the absurd supposition that Gothic architecture is exclusively and intrinsically ecclesiastical and he was the winner of a competition to design new buildings in Whitehall to house the Foreign Office and War Office. Before work began, however, the administration which had approved his plans went out of office, palmerston, the new Prime Minister, objected to Scotts use of the Gothic, and the architect, after some resistance drew up new plans in a more acceptable style. Scott was awarded the RIBAs Royal Gold Medal in 1859 and he was appointed an Honorary Liveryman of the Turners Company and in 1872, he was knighted. He died in 1878 and is buried in Westminster Abbey, a London County Council blue plaque marks Scotts residence at the Admirals House on Admirals Walk in Hampstead
9.
Paul Delaroche
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Paul Delaroche was a French painter who achieved his greater successes painting history. He became famous in Europe for his scenes that often portrayed subjects from English. Delaroche aimed to depict his subjects and history with pragmatic realism, Delaroche was a leading pupil of Antoine-Jean Gros and later mentored a number of notable artists like Thomas Couture, Jean-Léon Gérôme, and Francisque Millet. Delaroche was born into a generation that saw the conflicts between Romanticism and Davidian Classicism. Davidian Classicism was widely accepted and enjoyed by society so as a developing artist at the time of the introduction of Romanticism in Paris, later in the 1830s, Delaroche exhibited the first of his major religious works. His change of subject and “the painting’s austere manner” were ill-received by critics and after 1837, at the time of his death in 1856, he was painting a series of four scenes from the Life of the Virgin. Only one work from this series was completed, the Virgin Contemplating the Crown of Thorns and he was born, worked, and died in Paris. His studio was in the rue Mazarin and his subjects were painted with a firm, solid, smooth surface, which gave an appearance of the highest finish. This texture was the manner of the day and was found in the works of Vernet, Ary Scheffer, Louis Léopold Robert. Among his students were British landscape artist Henry Mark Anthony, British history painters Edward Armitage and Charles Lucy, the first Delaroche picture exhibited was the large Jehosheba saving Joash. This exhibition led to his acquaintance with Théodore Géricault and Eugène Delacroix and he visited Italy in 1838 and 1843, when his father-in-law, Horace Vernet, was director of the French Academy in Rome. In 1845, he was elected into the National Academy of Design, New York, paul Delaroche was born into a family of artists, dealers, collectors, and art administrators. His father, Gregoire-Hippolyte Delaroche, was a prominent art dealer in Paris, paul Delaroche was the second of two sons and was introduced to fine art at a young age. At age nineteen, Delaroche was afforded by his father the opportunity to study at LÉcole des Beaux-Arts under the instruction of Louis Étienne Watelet. Delaroche was influenced by his father to focus on landscapes while he was at L’École because his brother, Jules-Hippolyte Delaroche, after two years at L’École, Delaroche voiced his disinterest in landscapes and acted on his overall disagreement to the French academic system. He left LÉcole des Beaux-Art in at the end of 1817, in the year 1818, Delaroche entered the studio of Antoine-Jean Gros where he could pursue his greater interest of history painting. Delaroche’s debuted at the Salon in 1822 where he exhibited Christ Descended from the Cross, the latter was a product of Gros’s influence and was praised by Géricault who supported the beginning of Romanticism. His painting, Joan of Arc in Prison, which was exhibited in the Salon of 1824, Delaroche studied the recent tradition of English history painting at the time, which he incorporated into his own productions
10.
Compass
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A compass is an instrument used for navigation and orientation that shows direction relative to the geographic cardinal directions, or points. Usually, a called a compass rose shows the directions north, south, east. When the compass is used, the rose can be aligned with the geographic directions, so, for example. Frequently, in addition to the rose or sometimes instead of it, North corresponds to zero degrees, and the angles increase clockwise, so east is 90 degrees, south is 180, and west is 270. These numbers allow the compass to show azimuths or bearings, which are stated in this notation. The magnetic compass was first invented as a device for divination as early as the Chinese Han Dynasty, the first usage of a compass recorded in Western Europe and the Islamic world occurred around the early 13th century. The magnetic compass is the most familiar compass type and it functions as a pointer to magnetic north, the local magnetic meridian, because the magnetized needle at its heart aligns itself with the horizontal component of the Earths magnetic field. The needle is mounted on a pivot point, in better compasses a jewel bearing. When the compass is level, the needle turns until, after a few seconds to allow oscillations to die out. In navigation, directions on maps are usually expressed with reference to geographical or true north, the direction toward the Geographical North Pole, the rotation axis of the Earth. Depending on where the compass is located on the surface of the Earth the angle between north and magnetic north, called magnetic declination can vary widely with geographic location. The local magnetic declination is given on most maps, to allow the map to be oriented with a parallel to true north. The location of the Earths magnetic poles slowly change with time, the effect of this means a map with the latest declination information should be used. Some magnetic compasses include means to compensate for the magnetic declination. The first compasses in ancient Han dynasty China were made of lodestone, the compass was later used for navigation during the Song Dynasty of the 11th century. Later compasses were made of iron needles, magnetized by striking them with a lodestone, dry compasses began to appear around 1300 in Medieval Europe and the Islamic world. This was supplanted in the early 20th century by the magnetic compass. Modern compasses usually use a needle or dial inside a capsule completely filled with a liquid
11.
Henry Hugh Armstead
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Henry Hugh Armstead RA was an English sculptor and illustrator, influenced by the Pre-Raphaelites. Armstead was born in Bloomsbury, central London, the son of John Armstead and he trained first under his father, then at the Government School of Design at Somerset House and afterwards at private art schools. He also studied with Edward Hodges Baily and he both made the clay models for the objects, and chased the cast silver. In the late 1850s Armstead was commissioned to make a statue of Aristotle in Caen stone for the Museum of Natural History in Oxford, after this he increasingly concentrated on sculpture rather than metalwork. He subsequently executed a number of public statues, funerary works. At the Palace of Westminster he carved eighteen oak panels in the Queenss Robing Room illustrating the legend of King Arthur beneath a series of murals by William Dyce. When it came to the sculpture on the monument, he was chosen to make half of the Frieze of Parnassus. Armstead carved the poets and musicians and artists on the side of the monument. The other two sides were executed by John Birnie Philip, Armstead took great care over the details of the subjects, asking surviving friends of Goethe, Beethoven and Mendelsohn for advice, and working from Webers death-mask. The sculpture was carved in situ, out of already installed in the podium of the monument. The relief was completed, and the temporary sheds removed. Armstead also made some of the bronze statues symbolising the sciences on the levels of the memorial. He was elected an Associate of the Royal Academy in 1875, Armstead died at his home 52 Circus Road, St Johns Wood in north London on 4 December 1905. Attribution This article incorporates text from a now in the public domain, Chisholm, Hugh, ed. Armstead. British Pre-Raphaelite Illustrators p.57 ff, H H Armstead online Designs by Armstead Biographical sketch for Henry Hugh Armstead provided by Victorian Web Henry Hugh Armstead at Find a Grave
12.
John Birnie Philip
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John Birnie Philip was a nineteenth-century English sculptor. Much of his work was carried out for the architect Sir George Gilbert Scott and he was born in London, the son of William and Elizabeth Philip. He studied at the Government School of Design at Somerset House in London under John Rogers Herbert and he went on to work in Pugins wood carving workshop at the Palace of Westminster before setting up his own studio. Much of his work was carried out for the Gothic Revival architect Sir George Gilbert Scott, at St Michael, Cornhill, in the City of London, he carved the decorations for the porch built by Scott as part of his Gothic embellishment of Wrens church. They included an elaborate tympanum sculpture depicting St Michael disputing with Satan and he did further carvings for the interior of the building. As part of Scotts restoration of St Marys chapel at Sudeley Castle, Philip made a font and reredos, the effigy was shown – unfinished – at the Royal Academy in 1859. In 1863–64 Scott commissioned him, along with Henry Hugh Armstead, Philip carved the images of architects on the west side of the monument, and those of the sculptors on the north. At the time of the commission, Philip and Armstead were little known compared to the sculptors working on the memorial. His last work was the statue of Edward Akroyd, M. P. erected at Halifax, the work, in bronze, had been designed and partially modelled by Philip at the time of his death, and was completed by his assistant Ceccardo Egidio Fucigna. Much earlier, Philip had been responsible for the carving in Scotts church of All Souls, Haley Hill, Halifax. His apprentices included Thomas Stirling Lee and he married Frances Black in 1853. They had ten children, including a daughter, Beatrice, who married James McNeill Whistler in 1888 and their daughter Ethel married the writer Charles Whibley. Birnies youngest daughter Rosalind Birnie Philip acted as Whistlers companion, secretary and house-keeper after Beatrices death, from December 1900 to February 1901 Birnies son Ronald accompanied Whistler on a trip to the Morocco, Algiers and Corsica. Beatrice, Ronald, Ethel and Rosalind all modelled for him at various times and his eldest daughter, Constance, married the artist Cecil Gordon Lawson. He died of bronchitis at his home, Merton Villa, Kings Road, Chelsea on 2 March 1875, and was buried in Brompton Cemetery
13.
In situ
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In situ is a Latin phrase that translates literally to on site or in position. It means locally, on site, on the premises or in place to describe an event where it takes place, in the aerospace industry, equipment on-board aircraft must be tested in situ, or in place, to confirm everything functions properly as a system. Individually, each piece may work but interference from nearby equipment may create unanticipated problems, special test equipment is available for this in situ testing. In archaeology, in situ refers to an artifact that has not been moved from its place of deposition. In other words, it is stationary, meaning still, an artifact being in situ is critical to the interpretation of that artifact and, consequently, of the culture which formed it. Once an artifacts find-site has been recorded, the artifact can then be moved for conservation, further interpretation, an artifact that is not discovered in situ is considered out of context and as not providing an accurate picture of the associated culture. However, the out of context artifact can provide scientists with an example of types, when excavating a burial site or surface deposit in situ refers to cataloging, recording, mapping, photographing human remains in the position they are discovered. The label in situ indicates only that the object has not been newly moved. Thus, an archaeological in situ find may be an object that was looted from another place, an item of booty of a past war. Consequently, the in situ find site may not reveal its provenance. It is also possible for archaeological layers to be reworked on purpose or by accident, for example, in a Tell mound, where layers are not typically uniform or horizontal, or in land cleared or tilled for farming. The term in situ is used to describe ancient sculpture that was carved in place such as the Sphinx or Petra. This distinguishes it from statues that were carved and moved like the Colossi of Memnon, which was moved in ancient times. In art, in situ refers to a work of art made specifically for a host site, for a more detailed account see, Site-specific art. The term can refer to a work of art created at the site where it is to be displayed, rather than one created in the artists studio. In architectural sculpture the term is employed to describe sculpture that is carved on a building, frequently from scaffolds. A fraction of the star clusters in our galaxy, as well as those in other massive galaxies. The rest might have been accreted from now defunct dwarf galaxies, in biology and biomedical engineering, in situ means to examine the phenomenon exactly in place where it occurs
14.
Walhalla memorial
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The hall is a neo-classical building above the Danube River, east of Regensburg in Bavaria. The Walhalla is named for the Valhalla of Norse mythology and it was conceived in 1807 by Crown Prince Ludwig in order to support the then-gathering momentum for the unification of the many German states. Following his accession to the throne of Bavaria, construction took place between 1830 and 1842 under the supervision of the architect Leo von Klenze. The memorial displays some 65 plaques and 130 busts covering 2,000 years of history, beginning with Arminius, by 1806 Napoleons First French Empire had annexed German lands along the Rhine River and the North Sea. Central German states formed the Confederation of the Rhine, which sided with Napoleon, francis II, Holy Roman Emperor, then formally dissolved the Holy Roman Empire of the German Nation and instead styled himself Emperor of Austria. The War of the Fourth Coalition pitted German forces on both sides against each other, and Napoleon again prevailed. In 1807, 20-year-old Crown Prince Ludwig of the Kingdom of Bavaria, had the idea of reminding all Germans of their common heritage – of the great figures and he commissioned several sculptors to create busts of famous individuals of his choice. Johann Gottfried Schadows bust of Nicolaus Copernicus became one of the first completed, further suggestions for individuals to be honored were solicited in 1808 from Swiss historian Johannes von Müller. By the time of Crown Prince Ludwigs coronation as King Ludwig I of Bavaria in 1825,60 busts had been completed, in 1826 Ludwig commissioned the construction of a memorial above the Danube River, near Regensburg, modeled after the Parthenon in Athens. The southern pediment frieze features the 1815 creation of the German Confederation, according to Pictorial Travels Continentally Described, the construction of the building cost £666,666. At Walhallas inauguration on October 18,1842, there were 96 busts, beginning in 1933, when Kraft durch Freude and other National Socialist organizations promoted trips to Walhalla, visitor numbers increased exponentially. In 1937, when Hitler unveiled a Bruckner bust,131,520 were counted, in April 1945, General George Smith Patton, Jr. stood there, as men of his 3rd Army were crossing the Danube River. As successor to the King, the government of Bavaria decides on additions, anyone may propose a name, but candidates must have died at least 20 years before becoming eligible. Only 31 busts have been added since its opening, on a basis, for a total of 191. In Munich, King Ludwig I established an additional Hall of Fame for Bavarians in 1853 – the Ruhmeshalle München, nine of the Bavarian enshrinees have since become Walhalla enshrinees. Thus, their busts in the Ruhmeshalle, which were destroyed in 1944 during World War II, have not been recreated, instead, a plaque with their names tells of their transfer to Walhalla. King Ludwig I himself, who commissioned the Befreiungshalle and other monuments, was also enshrined both at Walhalla and in the Ruhmeshalle, plaques were made for people of which no portraits or descriptions were available to model sculptures after. The timeline spans from Arminius a. k. a, hermann der Cherusker to watchmaker Peter Henlein, who died in 1542
15.
Bavaria
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Bavaria is a free state and one of 16 federal states of Germany. Located in the German southeast with an area of 70,548 square kilometres and its territory comprises roughly a fifth of the total land area of Germany, and, with 12.9 million inhabitants, it is Germanys second most populous state. Munich, Bavarias capital and largest city, is the third largest city in Germany, the Duchy of Bavaria dates back to the year 555. In the 17th century CE, the Duke of Bavaria became a Prince-elector of the Holy Roman Empire, the Kingdom of Bavaria existed from 1806 to 1918, when Bavaria became a republic. In 1946, the Free State of Bavaria re-organised itself on democratic lines after the Second World War, Bavaria has a unique culture, largely because of the states Catholic majority and conservative traditions. Bavarians have traditionally been proud of their culture, which includes such as Oktoberfest. The state also has the second largest economy among the German states by GDP figures, modern Bavaria also includes parts of the historical regions of Franconia, Upper Palatinate and Swabia. The Bavarians emerged in a north of the Alps, previously inhabited by Celts. The Bavarians spoke Old High German but, unlike other Germanic groups, rather, they seem to have coalesced out of other groups left behind by Roman withdrawal late in the 5th century. These peoples may have included the Celtic Boii, some remaining Romans, Marcomanni, Allemanni, Quadi, Thuringians, Goths, Scirians, Rugians, the name Bavarian means Men of Baia which may indicate Bohemia, the homeland of the Celtic Boii and later of the Marcomanni. They first appear in written sources circa 520, a 17th century Jewish chronicler David Solomon Ganz, citing Cyriacus Spangenberg, claimed that the diocese was named after an ancient Bohemian king, Boiia, in the 14th century BCE. From about 554 to 788, the house of Agilolfing ruled the Duchy of Bavaria and their daughter, Theodelinde, became Queen of the Lombards in northern Italy and Garibald was forced to flee to her when he fell out with his Frankish overlords. Garibalds successor, Tassilo I, tried unsuccessfully to hold the frontier against the expansion of Slavs. Tassilos son Garibald II seems to have achieved a balance of power between 610 and 616, after Garibald II little is known of the Bavarians until Duke Theodo I, whose reign may have begun as early as 680. From 696 onwards he invited churchmen from the west to organize churches and his son, Theudebert, led a decisive Bavarian campaign to intervene in a succession dispute in the Lombard Kingdom in 714, and married his sister Guntrud to the Lombard King Liutprand. At Theodos death the duchy was divided among his sons, at Hugberts death the duchy passed to a distant relative named Odilo, from neighbouring Alemannia. He was defeated near Augsburg in 743 but continued to rule until his death in 748, saint Boniface completed the peoples conversion to Christianity in the early 8th century. Bavaria was in ways affected by the Protestant Reformation in the 16th century
16.
Paris
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Paris is the capital and most populous city of France. It has an area of 105 square kilometres and a population of 2,229,621 in 2013 within its administrative limits, the agglomeration has grown well beyond the citys administrative limits. By the 17th century, Paris was one of Europes major centres of finance, commerce, fashion, science, and the arts, and it retains that position still today. The aire urbaine de Paris, a measure of area, spans most of the Île-de-France region and has a population of 12,405,426. It is therefore the second largest metropolitan area in the European Union after London, the Metropole of Grand Paris was created in 2016, combining the commune and its nearest suburbs into a single area for economic and environmental co-operation. Grand Paris covers 814 square kilometres and has a population of 7 million persons, the Paris Region had a GDP of €624 billion in 2012, accounting for 30.0 percent of the GDP of France and ranking it as one of the wealthiest regions in Europe. The city is also a rail, highway, and air-transport hub served by two international airports, Paris-Charles de Gaulle and Paris-Orly. Opened in 1900, the subway system, the Paris Métro. It is the second busiest metro system in Europe after Moscow Metro, notably, Paris Gare du Nord is the busiest railway station in the world outside of Japan, with 262 millions passengers in 2015. In 2015, Paris received 22.2 million visitors, making it one of the top tourist destinations. The association football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris, the 80, 000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros, Paris hosted the 1900 and 1924 Summer Olympics and is bidding to host the 2024 Summer Olympics. The name Paris is derived from its inhabitants, the Celtic Parisii tribe. Thus, though written the same, the name is not related to the Paris of Greek mythology. In the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps, since the late 19th century, Paris has also been known as Panam in French slang. Inhabitants are known in English as Parisians and in French as Parisiens and they are also pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the areas major north-south trade routes crossed the Seine on the île de la Cité, this place of land and water trade routes gradually became a town
17.
Victoria and Albert Museum
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The Victoria and Albert Museum, London, is the worlds largest museum of decorative arts and design, housing a permanent collection of over 4.5 million objects. It was founded in 1852 and named after Queen Victoria and Prince Albert and these include the Natural History Museum, the Science Museum and the Royal Albert Hall. The museum is a public body sponsored by the Department for Culture, Media. Like other national British museums, entrance to the museum has been free since 2001, the V&A covers 12.5 acres and 145 galleries. Its collection spans 5,000 years of art, from ancient times to the present day, from the cultures of Europe, North America, Asia and North Africa. The museum owns the worlds largest collection of sculpture, with the holdings of Italian Renaissance items being the largest outside Italy. The departments of Asia include art from South Asia, China, Japan, Korea, the East Asian collections are among the best in Europe, with particular strengths in ceramics and metalwork, while the Islamic collection is amongst the largest in the Western world. Overall, it is one of the largest museums in the world, New 17th- and 18th-century European galleries were opened on 9 December 2015. These restored the original Aston Webb interiors and host the European collections 1600–1815, at this stage the collections covered both applied art and science. Several of the exhibits from the Exhibition were purchased to form the nucleus of the collection, by February 1854 discussions were underway to transfer the museum to the current site and it was renamed South Kensington Museum. In 1855 the German architect Gottfried Semper, at the request of Cole, produced a design for the museum, but it was rejected by the Board of Trade as too expensive. The site was occupied by Brompton Park House, this was extended including the first refreshment rooms opened in 1857, the official opening by Queen Victoria was on 22 June 1857. In the following year, late night openings were introduced, made possible by the use of gas lighting, in these early years the practical use of the collection was very much emphasised as opposed to that of High Art at the National Gallery and scholarship at the British Museum. George Wallis, the first Keeper of Fine Art Collection, passionately promoted the idea of art education through the museum collections. From the 1860s to the 1880s the scientific collections had been moved from the museum site to various improvised galleries to the west of Exhibition Road. In 1893 the Science Museum had effectively come into existence when a director was appointed. The laying of the stone of the Aston Webb building on 17 May 1899 was the last official public appearance by Queen Victoria. It was during this ceremony that the change of name from the South Kensington Museum to the Victoria, the exhibition which the museum organised to celebrate the centennial of the 1899 renaming, A Grand Design, first toured in North America from 1997, returning to London in 1999
18.
Albertopolis
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Albertopolis is the nickname given to the area centred on Exhibition Road in London, England, named after Prince Albert, spouse of Queen Victoria. It contains a number of educational and cultural sites. It is in South Kensington, split between the Royal Borough of Kensington and Chelsea and the City of Westminster, and the area bordered by Cromwell Road to the south, Royal School of Naval Architecture, from 1864 to 1873. Royal School of Needlework, from 1903 to 1987, Imperial Institute, later Commonwealth Institute, from 1893 to 1962. This is commemorated in the name of the principal north-south street laid out on their estate, after his death the term fell into disuse, and the area was more widely referred to as South Kensington. Among the buildings threatened was the Imperial Institute, designed by T. E. Collcutt, there is a central axis between the Albert Memorial in Kensington Gardens to the north and the central portal of the south façade of the Natural History Museum. The closest tube station is South Kensington, linked to the museums by a tunnel beneath Exhibition Road constructed in 1885. Originally published by the Athlone Press for the Greater London Council,1975, available online as part of British History Online. Walking tour of Albertopolis Podcast, PDF and map
19.
Mosaic
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A mosaic is a piece of art or image made from the assemblage of small pieces of colored glass, stone, or other materials. It is often used in art or as interior decoration. Most mosaics are made of small, flat, roughly square, pieces of stone or glass of different colors, some, especially floor mosaics, are made of small rounded pieces of stone, and called pebble mosaics. Others are made of other materials, mosaics have a long history, starting in Mesopotamia in the 3rd millennium BC. Pebble mosaics were made in Tiryns in Mycenean Greece, mosaics with patterns and pictures became widespread in classical times, Early Christian basilicas from the 4th century onwards were decorated with wall and ceiling mosaics. Mosaic fell out of fashion in the Renaissance, though artists like Raphael continued to practise the old technique, Roman and Byzantine influence led Jews to decorate 5th and 6th century synagogues in the Middle East with floor mosaics. Mosaic was widely used on buildings and palaces in early Islamic art, including Islams first great religious building, the Dome of the Rock in Jerusalem. Mosaic went out of fashion in the Islamic world after the 8th century, modern mosaics are made by professional artists, street artists, and as a popular craft. Many materials other than stone and ceramic tesserae may be employed, including shells, glass. The earliest known examples of made of different materials were found at a temple building in Abra, Mesopotamia. They consist of pieces of colored stones, shells and ivory, excavations at Susa and Chogha Zanbil show evidence of the first glazed tiles, dating from around 1500 BC. However, mosaic patterns were not used until the times of Sassanid Empire, mythological subjects, or scenes of hunting or other pursuits of the wealthy, were popular as the centrepieces of a larger geometric design, with strongly emphasized borders. Pliny the Elder mentions the artist Sosus of Pergamon by name, describing his mosaics of the left on a floor after a feast. Both of these themes were widely copied, most recorded names of Roman mosaic workers are Greek, suggesting they dominated high quality work across the empire, no doubt most ordinary craftsmen were slaves. Splendid mosaic floors are found in Roman villas across North Africa, in such as Carthage. The tiny tesserae allowed very fine detail, and an approach to the illusionism of painting, often small panels called emblemata were inserted into walls or as the highlights of larger floor-mosaics in coarser work. The normal technique was opus tessellatum, using larger tesserae, which was laid on site, there was a distinct native Italian style using black on a white background, which was no doubt cheaper than fully coloured work. In Rome, Nero and his architects used mosaics to cover surfaces of walls and ceilings in the Domus Aurea, built 64 AD
20.
Royal Albert Hall
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The Royal Albert Hall is a concert hall on the northern edge of South Kensington, London, which holds the Proms concerts annually each summer since 1941. It has a capacity of up to 5,272 seats, the Hall is a registered charity held in trust for the nation and receives no public or government funding. A further 400 events are each year in the non-auditorium spaces. In 1851, the Great Exhibition was held in Hyde Park, the Exhibitions Royal Commission bought Gore House and its grounds on the advice of the Prince. Progress on the scheme was slow and in 1861 Prince Albert died, however, a memorial was proposed for Hyde Park, with a Great Hall opposite. The proposal was approved and the site was purchased with some of the profits from the Exhibition, the Hall was designed by civil engineers Captain Francis Fowke and Major-General Henry Y. D. Scott of the Royal Engineers and built by Lucas Brothers. The designers were heavily influenced by ancient amphitheatres, but had also exposed to the ideas of Gottfried Semper while he was working at the South Kensington Museum. The recently opened Cirque dHiver in Paris was seen in the press as the design to outdo. The Hall was constructed mainly of Fareham Red brick, with terra cotta block decoration made by Gibbs, the dome on top was made of wrought iron and glazed. There was an assembly made of the iron framework of the dome in Manchester, then it was taken apart again and transported to London via horse. When the time came for the structure to be removed from the dome after reassembly in situ. It did drop – but only by five-sixteenths of an inch, the Hall was scheduled to be completed by Christmas Day 1870 and the Queen visited a few weeks beforehand to inspect. The official opening ceremony of the Hall was on 29 March 1871, a welcoming speech was given by Edward, the Prince of Wales, Queen Victoria was too overcome to speak. At some point, the Queen remarked that the Hall reminded her of the British constitution, a concert followed, when the Halls acoustic problems became immediately apparent. Engineers first attempted to solve the strong echo by suspending a canvas awning below the dome, in July 1871, French organist Camille Saint-Saëns performed Church Scene from the Faust by Charles Gounod, The Orchestra described his performance as an exceptional and distinguished performer. Initially lit by gas, the Hall contained a system where its thousands of gas jets were lit within ten seconds. Though it was demonstrated as early as 1873 in the Hall, full electric lighting was not installed until 1888, during an early trial when a partial installation was made, one disgruntled patron wrote to The Times declaring it to be a very ghastly and unpleasant innovation. In May 1877, Richard Wagner himself conducted the first half of each of the eight concerts which made up the Grand Wagner Festival
21.
The Parnassus
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The Parnassus is a fresco painting by the Italian High Renaissance artist Raphael in the Raphael Rooms, in the Palace of the Vatican in Rome, painted at the commission of Pope Julius II. It was probably the second wall of the Stanza della segnatura to be painted, in about 1511, after La disputa and before The School of Athens, which occupy other walls of the room. The whole room shows the four areas of knowledge, philosophy, religion, poetry and law. The fresco shows the mythological Mount Parnassus where Apollo dwells, he is in the playing a instrument, surrounded by the nine muses, nine poets from antiquity. Apollo, along with Calliope, the muse of epic poetry, Raphael used the face of Laocoön from the classical sculpture Laocoön and His Sons, excavated in 1506 and also in the Vatican for his Homer, expressing blindness rather than pain. Two of the figures in the fresco have been said to be reminiscent of Michaelangelos Creation of Adam, Euterpe and Sappho. The window below the fresco Parnassus frames the view of Mons Vaticanus, humanists, such as Biondo, Vegio, and Albertini, refer to the ancient-sun god of the Vatican
22.
Raphael
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Raffaello Sanzio da Urbino, known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running a large workshop and, despite his death at 37. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, the best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings and he was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region and his poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Under them, the court continued as a centre for literary culture, growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a humanistic education however, it is unclear how easily he read Latin. His mother Màgia died in 1491 when Raphael was eight, followed on August 1,1494 by his father, Raphael was thus orphaned at eleven, his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master and he had already shown talent, according to Vasari, who says that Raphael had been a great help to his father. A self-portrait drawing from his teenage years shows his precocity and his fathers workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter, and Luca Signorelli, according to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice despite the tears of his mother. The evidence of an apprenticeship comes only from Vasari and another source, an alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters, the Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a master, that is to say fully trained and his first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was named in the commission
23.
The School of Athens
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The School of Athens is one of the most famous frescoes by the Italian Renaissance artist Raphael. It was painted between 1509 and 1511 as a part of Raphaels commission to decorate the rooms now known as the Stanze di Raffaello, the picture has long been seen as Raphaels masterpiece and the perfect embodiment of the classical spirit of the Renaissance. The School of Athens is one of a group of four main frescoes on the walls of the Stanza that depict distinct branches of knowledge, accordingly, the figures on the walls below exemplify Philosophy, Poetry, Theology, and Law. The traditional title is not Raphaels, indeed, Plato and Aristotle appear to be the central figures in the scene. However, all the philosophers depicted sought knowledge of first causes, many lived before Plato and Aristotle, and hardly a third were Athenians. The architecture contains Roman elements, but the general semi-circular setting having Plato, compounding the problem, Raphael had to invent a system of iconography to allude to various figures for whom there were no traditional visual types. For example, while the Socrates figure is immediately recognizable from Classical busts, aside from the identities of the figures depicted, many aspects of the fresco have been variously interpreted, but few such interpretations are unanimously accepted among scholars. The popular idea that the gestures of Plato and Aristotle are kinds of pointing is very likely. Aristotle, with his four-elements theory, held that all change on Earth was owing to motions of the heavens, in the painting Aristotle carries his Ethics, which he denied could be reduced to a mathematical science. Finally, according to Vasari, the scene includes Raphael himself, however, as Heinrich Wölfflin observed, it is quite wrong to attempt interpretations of the School of Athens as an esoteric treatise. The all-important thing was the motive which expressed a physical or spiritual state. An interpretation of the fresco relating to hidden symmetries of the figures, the identities of some of the philosophers in the picture, such as Plato or Aristotle, are certain. Beyond that, identifications of Raphaels figures have always been hypothetical, to complicate matters, beginning from Vasaris efforts, some have received multiple identifications, not only as ancients but also as figures contemporary with Raphael. Vasari mentions portraits of the young Federico II Gonzaga, Duke of Mantua, leaning over Bramante with his hands raised near the bottom right and he was writing over 40 years after the painting, and never knew Raphael, but no doubt reflects what was believed in his time. Many other popular identifications of portraits are very dubious, luitpold Dussler counts among those who can be identified with some certainty, Plato, Aristotle, Socrates, Pythagoras, Euclid, Ptolemy, Zoroaster, Raphael, Sodoma and Diogenes. Other identifications he holds to be more or less speculative, both figures hold modern, bound copies of their books in their left hands, while gesturing with their right. Plato holds Timaeus, Aristotle his Nicomachean Ethics, Plato is depicted as old, grey, wise-looking, and bare-foot. By contrast Aristotle, slightly ahead of him, is in manhood, handsome, well-shod and dressed with gold
24.
Vatican Museums
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The Vatican Museums are the museums of the Vatican City and are located within the citys boundaries. The museums contain roughly 70,000 works, of which 20,000 are on display, and currently employ 640 people who work in 40 different administrative, scholarly, Pope Julius II founded the museums in the early 16th century. The Sistine Chapel, with its ceiling decorated by Michelangelo and the Stanze di Raffaello decorated by Raphael, are on the route through the Vatican Museums. In 2013, they were visited by 6 million people, which combined makes it the 6th most visited art museum in the world, there are 54 galleries, or sale, in total, with the Sistine Chapel, notably, being the very last sala within the Museum. It is one of the largest museums in the world, in 2017, the Museums official website and social media presence was completely redone, in accord with current standards and appearances for modern websites. Pope Julius II sent Giuliano da Sangallo and Michelangelo Buonarroti, who were working at the Vatican, on their recommendation, the pope immediately purchased the sculpture from the vineyard owner. The pope put the sculpture of Laocoön and his sons on public display at the Vatican exactly one month after its discovery, the Museum Christianum was founded by Benedict XIV, and some of the Vatican collections formed the Lateran Museum, which Pius IX founded by decree in 1854. The Museums celebrated their 500th anniversary in October 2006 by permanently opening the excavations of a Vatican Hill necropolis to the public, on 1 January 2017 Barbara Jatta became the Director of the Vatican Museums, replacing Antonio Paolucci who had been director since 2007. The art gallery was housed in the Borgia Apartment until Pope Pius XI ordered construction of a proper building, the new building, designed by Luca Beltrami, was inaugurated on 27 October 1932. The museum has paintings including, Giottos Stefaneschi Triptych Olivuccio di Ciccarello, Opere di Misericordia Raphaels Madonna of Foligno, Oddi Altarpiece, the group of museums includes several sculpture museums surrounding the Cortile del Belvedere. The museum takes its name from two popes, Clement XIV and Pius VI, the pope who brought the museum to completion, Clement XIV came up with the idea of creating a new museum in Innocent VIIIs Belvedere palace and started the refurbishment work. Pope Clement XIV founded the Pio-Clementino museum in 1771, and originally it contained the Renaissance, the museum and collection were enlarged by Clements successor Pius VI. Today, the museum works of Greek and Roman sculpture. Some notable galleries are, Greek Cross Gallery, with the porphyri sarcophagi of Constance and Saint Helen, daughter and mother of Constantine the Great. Sala Rotonda, shaped like a miniature Pantheon, the room has impressive ancient mosaics on the floors, Gallery of the Statues, as its name implies, holds various important statues, including Sleeping Ariadne and the bust of Menander. It also contains the Barberini Candelabra, Gallery of the Busts, Many ancient busts are displayed. Cabinet of the Masks, The name comes from the mosaic on the floor of the gallery, found in Villa Adriana, along the walls, several famous statues are shown including the Three Graces. One wove the thread of life, second nurtured it, third cut it. The center piece is Belvedere Torso, revered by Michelangelo and other Renaissance men, sala degli Animali, So named because of the many ancient statues of animals
25.
Raphael Rooms
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The four Raphael Rooms form a suite of reception rooms in the palace, the public part of the papal apartments in the Palace of the Vatican. They are famous for their frescoes, painted by Raphael and his workshop, together with Michelangelos ceiling frescoes in the Sistine Chapel, they are the grand fresco sequences that mark the High Renaissance in Rome. The Stanze, as they are called, were originally intended as a suite of apartments for Pope Julius II. He commissioned Raphael, then a young artist from Urbino. It was possibly Julius intent to outshine the apartments of his predecessor Pope Alexander VI and they are on the third floor, overlooking the south side of the Belvedere Courtyard. After the death of Julius in 1513, with two rooms frescoed, Pope Leo X continued the program, following Raphaels death in 1520, his assistants Gianfrancesco Penni, Giulio Romano and Raffaellino del Colle finished the project with the frescoes in the Sala di Costantino. The scheme of the works is as follows, The largest of the rooms is the Sala di Costantino. Its paintings were not begun until Pope Julius and, indeed Raphael himself, had died, the room is dedicated to the victory of Christianity over paganism. Its frescoes represent this struggle from the life of the Roman Emperor Constantine, because they are not by the master himself, the frescos are less famous than works in the neighboring rooms. Continuing a long tradition of flattery, Raphaels assistants gave the features of the current pontiff, Clement VII, the fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek Εν τούτω νίκα written next to it, the Battle of Milvian Bridge shows the battle that took place on October 28,312, following Constantines vision. The next room, going from East to West, is the Stanza di Eliodoro, painted between 1511 and 1514, it takes its name from one of the paintings. The theme of this private chamber – probably an audience room – was the protection granted by Christ to the Church. The four paintings are, The Expulsion of Heliodorus from the Temple, The Mass at Bolsena, The Meeting of Pope Leo I and Attila, Raphaels style changed here from the Stanza della Segnatura. Instead of the images of the Popes library, he had dramatic narratives to portray. The composition is more dramatic than Raphaels earlier frescoes in the Stanza della Segnatura. Although the focal point is the figure of the priest at prayer, Heliodorus. At the left Julius II, carried by the Swiss Guard in a chair and his inclusion here refers to his battles to prevent secular leaders from usurping papal territories
26.
Daniel Auber
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Daniel François Esprit Auber was a French composer. The son of a Paris print-seller, Auber was born in Caen in Normandy, though his father expected him to continue in the print-selling business, he also allowed his son to learn how to play several musical instruments. His first teacher was the Tirolean composer, Josef Alois Ladurner, at the age of 20 Auber was sent to London for business training, but he was obliged to leave England in 1804 when the Treaty of Amiens was breached. Auber had already attempted musical composition, and at this period produced several concertos pour basse, modelled after the violoncellist Lamare, in whose name they were published. The praise given to his concerto for the violin, which was played at the Paris Conservatoire by Mazas, encouraged him to undertake a resetting of an old comic opera and he also began to study with the renowned Luigi Cherubini. In 1813 the unfavourable reception of his one-act debut opera Le Séjour militaire put an end for some years to his attempts as composer, but his failure in business, and the death of his father in 1819, compelled him once more to turn to music. He produced another opera, Le Testament et les billets-doux, which was no better received than the former, but he persevered, and the next year was rewarded by the complete success of La Bergère châtelaine, an opera in three acts. This was the first in a series of brilliant successes. In 1822 began his association with librettist Eugène Scribe. Their first opera, Leicester, shows evidence of the influence of Gioachino Rossini in its musical style, Auber soon developed his own voice, however, light, vivacious, graceful, and melodious—characteristically French. Le maçon was his first major triumph, staying in the repertory until the 20th century, an ensemble from the latter found its way into Herolds ballet La Somnambule as an air parlante. Auber achieved another triumph in La muette de Portici, also known as Masaniello after its hero. Produced in Paris in 1828, it became a European favourite, and the foundation work of a new genre, grand opera. La Muette broke ground also in its use of a ballerina in a leading role, official and other dignities testified to the public appreciation of Aubers works. In 1829 he was elected a member of the Institut de France, Fra Diavolo, which premiered on 28 January 1830, was his most successful opera. That same year,1830, he was named director of the court concerts, next year, on 20 June 1831, he had another big success, with Le Philtre, starring Adolphe Nourrit. The libretto was translated into Italian and set by Donizetti as Lelisir damore, two years later, on 27 February 1833, Gustave III, his second grand opera, also triumphed and stayed in the repertory for years. The libretto was to be used more, first by Saverio Mercadante for Il reggente, with the action transferred to Scotland
27.
Jean-Philippe Rameau
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Jean-Philippe Rameau was one of the most important French composers and music theorists of the Baroque era. He replaced Jean-Baptiste Lully as the dominant composer of French opera and is considered the leading French composer for the harpsichord of his time. He was almost 50 before he embarked on the career on which his reputation chiefly rests today. His debut, Hippolyte et Aricie, caused a stir and was fiercely attacked by the supporters of Lullys style of music for its revolutionary use of harmony. Rameaus music had gone out of fashion by the end of the 18th century, today, he enjoys renewed appreciation with performances and recordings of his music ever more frequent. The details of Rameaus life are obscure, especially concerning his first forty years. He was a man, and even his wife knew nothing of his early life. Rameaus early years are particularly obscure and he was born on 25 September 1683 in Dijon, and baptised the same day. His father, Jean, worked as an organist in churches around Dijon. The couple had children, of whom Jean-Philippe was the seventh. Rameau was taught music before he could read or write and he was educated at the Jesuit college at Godrans, but he was not a good pupil and disrupted classes with his singing, later claiming that his passion for opera had begun at the age of twelve. Initially intended for the law, Rameau decided he wanted to be a musician, and his father sent him to Italy, on his return, he worked as a violinist in travelling companies and then as an organist in provincial cathedrals before moving to Paris for the first time. Here, in 1706, he published his earliest known compositions, the works that make up his first book of Pièces de clavecin. In 1709, he moved back to Dijon to take over his fathers job as organist in the main church, the contract was for six years, but Rameau left before then and took up similar posts in Lyon and Clermont. During this period, he composed motets for church performance as well as secular cantatas, in 1722, he returned to Paris for good, and here he published his most important work of music theory, Traité de lharmonie. This soon won him a reputation, and it was followed in 1726 by his Nouveau système de musique théorique. In 1724 and 1729, he published two more collections of harpsichord pieces. Rameau took his first tentative steps into composing music when the writer Alexis Piron asked him to provide songs for his popular comic plays written for the Paris Fairs
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Jean-Baptiste Lully
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Jean-Baptiste Lully was an Italian-born French composer, instrumentalist, and dancer who spent most of his life working in the court of Louis XIV of France. He is considered a master of the French baroque style, Lully disavowed any Italian influence in French music of the period. He became a French subject in 1661, Lully was born on November 28,1632 in Florence, Grand Duchy of Tuscany, to a family of millers. His general education and his training during his youth in Florence remain uncertain. He used to say that a Franciscan friar gave him his first music lessons and he also learned to play the violin. Guise took the boy to Paris, where the fourteen-year-old entered Mademoiselles service and he probably honed his musical skills by working with Mademoiselles household musicians and with composers Nicolas Métru, François Roberday and Nicolas Gigault. The teenagers talents as a guitarist, violinist, and dancer quickly won him the nicknames Baptiste, when Mademoiselle was exiled to the provinces in 1652 after the rebellion known as the Fronde, Lully begged his leave. Because he did not want to live in the country, by February 1653 Lully had attracted the attention of young Louis XIV, dancing with him in the Ballet royal de la nuit. By March 16,1653, Lully had been made royal composer for instrumental music and his vocal and instrumental music for court ballets gradually made him indispensable. In 1660 and 1662 he collaborated on performances of Francesco Cavallis Xerse. When Louis XIV took over the reins of government in 1661, in December 1661 the Florentine was granted letters of naturalization. The latter assertion was an untruth, from 1661 on, the trios and dances he wrote for the court were promptly published. When he became surintendant de la de la chambre du roi in 1661. He relied mainly on the Little Violins for court ballets and their collaboration began in earnest in 1664 with Le Mariage forcé. In 1672 Lully broke with Molière, who turned to Marc-Antoine Charpentier, having acquired Pierre Perrins opera privilege, Lully became the director of the Académie Royale de Musique, that is, the royal opera, which performed in the Palais-Royal. Between 1673 and 1687 he produced a new opera almost yearly and fiercely protected his monopoly over that new genre, after Queen Marie-Thérèses death in 1683 and the kings secret marriage to Mme de Maintenon, devotion came to the fore at court. The kings enthusiasm for opera dissipated, he was revolted by Lullys dissolute life, in 1686, to show his displeasure, Louis XIV made a point of not inviting Lully to perform Armide at Versailles. Lully died from gangrene, having struck his foot with his conducting staff during a performance of his Te Deum to celebrate Louis XIVs recovery from surgery
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Josquin des Prez
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Josquin des Prez, often referred to simply as Josquin, was a French composer of the Renaissance. His motet Illibata Dei virgo nutrix includes an acrostic of his name and he was the most famous European composer between Guillaume Dufay and Giovanni Pierluigi da Palestrina, and is usually considered to be the central figure of the Franco-Flemish School. Josquin is widely considered by scholars to be the first master of the high Renaissance style of polyphonic vocal music that was emerging during his lifetime. During the 16th century, Josquin gradually acquired the reputation as the greatest composer of the age, his mastery of technique and he was so admired that many anonymous compositions were attributed to him by copyists, probably to increase their sales. The lives of dozens of less revered Renaissance composers are better documented than that of Josquin, Josquin wrote both sacred and secular music, and in all of the significant vocal forms of the age, including masses, motets, chansons and frottole. During the 16th century, he was praised for both his supreme melodic gift and his use of technical devices. Heinrich Glarean wrote in 1547 that Josquin was not only a magnificent virtuoso but capable of being a mocker, little is known for certain of Josquins early life. Much is inferential and speculative, though numerous clues have emerged from his works and the writings of contemporary composers, theorists, and writers of the next several generations. Josquin was long mistaken for a man with a name, Josquin de Kessalia, born around the year 1440. More recent scholarship has shown that Josquin des Prez was born around 1450 or a few years later, around 1466, perhaps on the death of his father, Josquin was named by his uncle and aunt, Gille Lebloitte dit Desprez and Jacque Banestonne, as their heir. Their will gives Josquins actual surname as Lebloitte, according to Matthews and Merkley, des Prez was a nickname. Doubt has been cast on the accuracy of Hémerés account, however, both Jean Mouton and Loyset Compère were buried there and it is certainly possible that Josquin acquired his later connections with the French royal chapel through early experiences at Saint-Quentin. The first definite record of his employment is dated 19 April 1477 and he remained there at least until 1478. One of Josquins early motets, Misericordias Domini in aeternum cantabo, suggests a connection with Louis XI. In either 1483 or 1484, Josquin is known to have been in the service of the Sforza family in Milan and he was in Milan again in 1489, after a possible period of travel, but he left that year. From 1489 to 1495, Josquin was a member of the choir, first under Pope Innocent VIII. He may have gone there as part of an exchange with Gaspar van Weerbeke. While there, he may have been the one who carved his name into the wall of the Sistine Chapel, a JOSQUINJ was recently revealed by workers restoring the chapel
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Gioachino Rossini
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Gioachino Antonio Rossini was an Italian composer who wrote operas, as well as some sacred music, songs, chamber music and piano pieces. A precocious composer of operas, he made his debut at the age of eighteen. His best-known operas include the Italian comedies Il barbiere di Siviglia, Litaliana in Algeri and he also wrote a string of serious operas in Italian, including works such as Tancredi, Otello and Semiramide. The semi-serious opera La Gazza Ladra has one of Rossinis most celebrated overtures, after moving to Paris in 1824, he eventually started to write in French. His last opera, the epic Guillaume Tell, replete with its iconic overture, after composing thirty-nine significant operas in nineteen years Rossini retired from the theatre in 1829. Later, he was affected by physical and mental illnesses and for decades wrote relatively little apart from a setting of the Stabat Mater. A return to Paris from Italy in 1855 was followed by better health, during these, he presented salon music in the form of songs, piano pieces and small chamber ensembles that he called Sins of Old Age. He considered the last of these Sins to be the unusually scored Petite messe solennelle that he wrote in 1863, Rossini had been the most popular opera composer in history, and he was one of the most renowned public figures of his time. A rapid and prolific composer, he was quoted as joking, Give me the laundress bill, a tendency for inspired, song-like melodies is evident throughout his scores, earning him the nickname The Italian Mozart. Use of a build up of orchestral sound over a repeated phrase—commonly known as a Rossini crescendo—also prompted the nickname Signor Crescendo. Gioachino Antonio Rossini was born into a family of musicians in Pesaro and his father, Giuseppe, was a horn player and inspector of slaughterhouses. His mother, Anna, was a singer and a bakers daughter, Rossinis father was sympathetic to the French Revolution and welcomed Napoleons troops when they arrived in northern Italy. When Austria restored the old regime, Rossinis father was sent to prison in 1799, Rossinis mother took him to Bologna, making a living as leading singer at various theatres of the Romagna region. Her husband would ultimately join her in Bologna, during this time, Rossini was frequently left in the care of his aging grandmother, who had difficulty supervising the boy. He remained at Bologna in the care of a pork butcher while his father played the horn in the orchestras of the theatres at which his wife sang and these qualities made him a subject for ridicule in the eyes of the young Rossini. He was eventually taken from Prinetti and apprenticed to a blacksmith, in Angelo Tesei, he found a congenial music master, and learned to sight-read, play accompaniments on the piano and sing well enough to take solo parts in the church when he was ten years of age. Important products of this period are six sonate a quattro, or string sonatas, the original scores, dating from 1804 when the composer was twelve, were found in the Library of Congress in Washington D. C. In 1805, he appeared at the theatre of the Commune in Ferdinando Paers Camilla and he was also a capable horn player, treading in the footsteps of his father
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Claudio Monteverdi
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Claudio Giovanni Antonio Monteverdi was an Italian composer, gambist, singer, and Catholic priest. Monteverdi is considered a transitional figure between the Renaissance and the Baroque periods of music history. Monteverdi wrote one of the earliest operas, LOrfeo, which is the earliest surviving opera still regularly performed, Claudio Monteverdi was born in 1567 in Cremona, Duchy of Milan. His father was Baldassare Monteverdi, a doctor, apothecary and amateur surgeon and he was the oldest of five children. During his childhood, he was taught by MarcAntonio Ingegneri, the maestro di cappella at the Cathedral of Cremona, the Maestro’s job was to conduct important worship services in accordance with the liturgy of the Catholic Church. Monteverdi learned about music as a member of the cathedral choir and he also studied at the University of Cremona. His first music was written for publication, including some motets and sacred madrigals, in 1582 and 1583. His first five publications were, Sacrae cantiunculae,1582, Madrigali Spirituali,1583, Canzonette a tre voci,1584, and the five-part madrigals Book I,1587, and Book II,1590. He worked at the court of Vincenzo I of Gonzaga in Mantua as a vocalist and viol player, in 1602, he was working as the court conductor and Vincenzo appointed him master of music on the death of Benedetto Pallavicino. In 1599 Monteverdi married the court singer Claudia Cattaneo, who died in September 1607 and they had two sons and a daughter. Another daughter died shortly after birth, in 1610 he moved to Rome, arriving in secret, hoping to present his music to Pope Paul V. His Vespers were printed the year, but his planned meeting with the Pope never took place. In 1612 Vincenzo died and was succeeded by his eldest son Francesco, heavily in debt, due to the profligacy of his father, Francesco sacked Monteverdi and he spent a year in Mantua without any paid employment. His 1607 opera LOrfeo was dedicated to Francesco, the title page of the opera bears the dedication Al serenissimo signor D. Francesco Gonzaga, Prencipe di Mantoua, & di Monferato, &c. By 1613, he had moved to San Marco in Venice where and he quickly restored the musical standard of both the choir and the instrumentalists. The musical standard had declined due to the mismanagement of his predecessor. The managers of the basilica were relieved to have such a musician in charge. In 1632, he became a priest, Lincoronazione especially is considered a culminating point of Monteverdis work
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Giacomo Carissimi
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Giacomo Carissimi was an Italian composer and music teacher. He is one of the most celebrated masters of the early Baroque or, more accurately, Carissimi established the characteristic features of the Latin oratorio and was a prolific composer of motets and cantatas. He was highly influential in musical developments in north European countries through his pupils, carissimis exact birthdate is not known, but it was probably in 1604 or 1605 in Marino near Rome, Italy. Of his early life almost nothing is known, giacomo’s parents, Amico and Livia, were married on 14 May 1595 and had four daughters and two sons, Giacomo was the youngest. Nothing is known of his musical training. In 1628 Carissimi moved north to Assisi, as maestro di cappella at the Cathedral of San Rufino, in 1628 he obtained the same position at the church of SantApollinare belonging to the Collegium Germanicum in Rome, which he held until his death. This was despite him receiving offers to work in very prominent establishments. In 1637 he was ordained a priest and he seems to have never left Italy at all during his entire lifetime. Carissimis position in the history of church, vocal and chamber music is similar to that of Francesco Cavalli in the history of opera. Carissimi is also noted as one of the first composers of oratorios, with Jephte as probably his best known work and these works and others are important for establishing the form of oratorio unaccompanied by dramatic action, which maintained its hold for 200 years. The name comes from their presentation at the Oratory of Santissimo Crocifisso in Rome and he may also be credited for having given greater variety and interest to the instrumental accompaniments of vocal compositions. The British Museum also possesses numerous works by Carissimi, most of his oratorios are in the Bibliothèque Nationale at Paris. Carissimi was active at the time when music was about to usurp the dominance of sacred music in Italy. The change was decisive and permanent, in addition, Carissimi was important as a teacher, and his influence spread far into Germany and France. Much of the style of Marc-Antoine Charpentier, for instance, was influenced by Carissimi. Toro within the 1632 series of books edited by Eric Flint
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Giovanni Pierluigi da Palestrina
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Giovanni Pierluigi da Palestrina was an Italian Renaissance composer of sacred music and the best-known 16th-century representative of the Roman School of musical composition. He had a influence on the development of church music. Palestrina was born in the town of Palestrina, near Rome, documents suggest that he first visited Rome in 1537, when he is listed as a chorister at the Santa Maria Maggiore basilica. He studied with Robin Mallapert and Firmin Lebel and he spent most of his career in the city. Italy itself had yet to produce anyone of comparable fame or skill in polyphony, from 1544 to 1551, Palestrina was the organist of the Cathedral of St. Agapito, the principal church of his native city. This book of Masses was the first by a composer, since in the Italian states of Palestrinas day, most composers of sacred music were from the Low Countries, France, Portugal. In fact the book was modeled on one by Cristóbal de Morales, during the next decade, Palestrina held positions similar to his Julian Chapel appointment at other chapels and churches in Rome, notably St John Lateran, and St Mary Major. In 1571 he returned to the Julian Chapel and remained at St Peters for the rest of his life, the decade of the 1570s was difficult for him personally, he lost his brother, two of his sons, and his wife in three separate outbreaks of the plague. He seems to have considered becoming a priest at this time, but instead he remarried and this finally gave him financial independence and he was able to compose prolifically until his death. He died in Rome of pleurisy in 1594, as was usual, Palestrina was buried on the same day he died, in a plain coffin with a lead plate on which was inscribed Libera me Domine. A five-part psalm for three choirs was sung at the funeral, Palestrinas funeral was held at St. Peters, and he was buried beneath the floor of the basilica. His tomb was covered by new construction and attempts to locate the site have been unsuccessful. Palestrina left hundreds of compositions, including 105 masses,68 offertories, at least 140 madrigals, in addition, there are at least 72 hymns,35 magnificats,11 litanies, and four or five sets of lamentations. The Gloria melody from a Palestrina magnificat is widely used today in the hymn tune. He published just two collections of madrigals with profane texts, one in 1555 and another in 1586, the other two collections were spiritual madrigals, a genre beloved by the proponents of the Counter-Reformation. Palestrinas masses show how his style developed over time. His Missa sine nomine seems to have been attractive to Johann Sebastian Bach. Most of Palestrinas masses appeared in thirteen volumes printed between 1554 and 1601, the last seven published after his death, one of his most important works, the Missa Papae Marcelli, has been historically associated with erroneous information involving the Council of Trent
34.
Guido of Arezzo
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Guido of Arezzo was an Italian music theorist of the Medieval era. He is regarded as the inventor of musical notation that replaced neumatic notation, his text. Guido was a monk of the Benedictine order from the Italian city-state of Arezzo, recent research has dated his Micrologus to 1025 or 1026, since Guido stated in a letter that he was thirty-four when he wrote it, his birthdate is presumed to be around 991 or 992. His early career was spent at the monastery of Pomposa, on the Adriatic coast near Ferrara, while there, he noted the difficulty that singers had in remembering Gregorian chants. He came up with a method for teaching the singers to learn chants in a short time, while at Arezzo, he developed new techniques for teaching, such as staff notation and the use of the ut–re–mi–fa–so–la mnemonic. A seventh note, Si was added shortly after to complete the diatonic scale, in Anglophone countries, Si was changed to Ti by Sarah Glover in the nineteenth century so that every syllable might begin with a different letter. Ti is used in tonic sol-fa and in the song Do-Re-Mi, the Micrologus, written at the cathedral at Arezzo and dedicated to Tedald, contains Guidos teaching method as it had developed by that time. Soon it had attracted the attention of Pope John XIX, who invited Guido to Rome, most likely he went there in 1028, but he soon returned to Arezzo, due to his poor health. It was then that he announced in a letter to Michael of Pomposa his discovery of the ut–re–mi musical mnemonic, little is known of him after this time. Guido is credited with the invention of the Guidonian hand, a widely used mnemonic system where note names are mapped to parts of the human hand. However, only a form of the Guidonian hand is actually described by Guido, and the fully elaborated system of natural, hard. In the 12th century, a development in teaching and learning music in an efficient manner had arisen. Guido of Arezzos alleged development of the Guidonian hand, more than a years after his death. Using specific joints of the hand and fingertips transformed the way one would learn, not only did the Guidonian hand become a standard use in preparing music in the 12th century, its popularity grew more widespread well into the 17th and 18th century. The knowledge and use of the Guidonian hand would allow a musician to simply transpose, identify intervals, and aid in use of notation, musicians were able to sing and memorize longer sections of music and counterpoint during performances and the amount of time spent diminished dramatically. The computer music notation system GUIDO music notation is named after him, the International Guido dArezzo Polyphonic Contest is named after him. Francisco Valls controversial Missa Scala Aretina took its name from Guido Aretinus scale, gamut Monochord Soggetto cavato Solmization solfege Richard Hallowell Hoppin, Medieval Music. New York, W. W. Norton & Company,1978, stuart Lyons, Music in the Odes of Horace
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Ambrose
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Aurelius Ambrosius, better known in English as Saint Ambrose, was a bishop of Milan who became one of the most influential ecclesiastical figures of the 4th century. He was the Roman governor of Liguria and Emilia, headquartered in Milan, Ambrose was a staunch opponent of Arianism, and has been accused of fostering persecutions of Arians, Jews, and pagans. Ambrose was one of the four original Doctors of the Church and he is notable for his influence on Augustine of Hippo. Ambrose was born into a Roman Christian family about 340 and was raised in Gallia Belgica and his mother was a woman of intellect and piety. Ambroses siblings, Satyrus and Marcellina, are venerated as saints. There is a legend that as an infant, a swarm of bees settled on his face while he lay in his cradle and his father considered this a sign of his future eloquence and honeyed tongue. For this reason, bees and beehives often appear in the saints symbology, after the early death of his father, Ambrose followed his fathers career. He was educated in Rome, studying literature, law, Ambrose was the Governor of Aemilia-Liguria in northern Italy until 374, when he became the Bishop of Milan. He was a popular political figure, and since he was the Governor in the effective capital in the Roman West. In the late 4th century there was a conflict in the diocese of Milan between the Nicene Church and Arians. In 374 the bishop of Milan, Auxentius, an Arian, died, Ambrose went to the church where the election was to take place, to prevent an uproar, which was probable in this crisis. His address was interrupted by a call Ambrose, bishop, which was taken up by the whole assembly. Ambrose was known to be Nicene Christian in belief, but also acceptable to Arians due to the charity shown in matters in this regard. At first he refused the office, for which he was in no way prepared. Upon his appointment, Ambrose fled to a colleagues home seeking to hide, upon receiving a letter from the Emperor Gratian praising the appropriateness of Rome appointing individuals evidently worthy of holy positions, Ambroses host gave him up. Within a week, he was baptized, ordained and duly consecrated bishop of Milan and this raised his popularity even further, giving him considerable political leverage over even the emperor. Ambrose also wrote a treatise by the name of The Goodness of Death, according to legend, Ambrose immediately and forcefully stopped Arianism in Milan. He studied theology with Simplician, a presbyter of Rome, in the confrontation with Arians, Ambrose sought to theologically refute their propositions, which were contrary to the Nicene creed and thus to the officially defined orthodoxy
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Pierre Corneille
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Pierre Corneille was a French tragedian. He is generally considered one of the three great seventeenth-century French dramatists, along with Molière and Jean Racine and he continued to write well-received tragedies for nearly forty years. Corneille was born in Rouen, Normandy, France, to Marthe Le Pesant and Pierre Corneille and his younger brother, Thomas Corneille, also became a noted playwright. He was given a rigorous Jesuit education at the Collège de Bourbon where acting on the stage was part of the training, at 18 he began to study law but his practical legal endeavors were largely unsuccessful. Corneille’s father secured two magisterial posts for him with the Rouen department of Forests and Rivers, during his time with the department, he wrote his first play. It is unknown exactly when he wrote it, but the play, the actors approved of the work and made it part of their repertoire. The play was a success in Paris and Corneille began writing plays on a regular basis and he moved to Paris in the same year and soon became one of the leading playwrights of the French stage. His early comedies, starting with Mélite, depart from the French farce tradition by reflecting the elevated language, Corneille describes his variety of comedy as une peinture de la conversation des honnêtes gens. His first true tragedy is Médée, produced in 1635, the year 1634 brought more attention to Corneille. He was selected to write verses for the Cardinal Richelieu’s visit to Rouen, the Cardinal took notice of Corneille and selected him to be among Les Cinq Auteurs. The others were Guillaume Colletet, Boisrobert, Jean Rotrou, the five were selected to realize Richelieus vision of a new kind of drama that emphasized virtue. Richelieu would present ideas, which the writers would express in dramatic form, however, the Cardinals demands were too restrictive for Corneille, who attempted to innovate outside the boundaries defined by Richelieu. This led to contention between playwright and employer, after his initial contract ended, Corneille left Les Cinq Auteurs and returned to Rouen. In the years following this break with Richelieu, Corneille produced what is considered his finest play. Le Cid is based on the play Mocedades del Cid by Guillem de Castro, both plays were based on the legend of Rodrigo Díaz de Vivar, a military figure in Medieval Spain. The original 1637 edition of the play was subtitled a tragicomedy, even though Le Cid was an enormous popular success, it was the subject of a heated argument over the norms of dramatic practice, known as the Querelle du Cid or The Quarrel of Le Cid. Cardinal Richelieus Académie française acknowledged the success, but determined that it was defective, in part because it did not respect the classical unities of time, place. The newly formed Académie was a body that asserted state control over cultural activity, although it usually dealt with efforts to standardize the French language, Richelieu himself ordered an analysis of Le Cid
37.
Miguel de Cervantes
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Miguel de Cervantes Saavedra, was a Spanish writer who is highly regarded as perhaps the greatest writer in the Spanish language and one of the worlds pre-eminent novelists. His major work, Don Quixote, considered to be the first modern novel, is a classic of Western literature and his influence on the Spanish language has been so great that the language is often called la lengua de Cervantes. He has also been dubbed El príncipe de los ingenios, in 1569, in forced exile from Castile, Cervantes moved to Rome, where he worked as chamber assistant of a cardinal. He then enlisted as a soldier in a Spanish Navy infantry regiment and continued his life until 1575. In 1585, Cervantes published a novel named La Galatea. He worked as a agent for the Spanish Armada. In 1597, discrepancies in his accounts for three years previous landed him in the Crown Jail of Seville, in 1605, Cervantes was in Valladolid when the immediate success of the first part of his Don Quixote, published in Madrid, signaled his return to the literary world. In 1607, he settled in Madrid, where he lived and worked until his death and his last work, Los trabajos de Persiles y Sigismunda, was published posthumously in 1617. It is assumed that Cervantes was born in Alcalá de Henares, the probable date of his birth was determined from records in the church register, given the tradition of naming a child after the feast day of his birth. He was baptized in Alcalá de Henares on 9 October 1547 at the church of Santa María la Mayor. Witnesses, Baltasar Vázquez, Sexton, and I, who baptised him, Miguel at birth was not surnamed Cervantes Saavedra. He adopted the Saavedra name as an adult, by Spanish naming conventions his second surname was that of his mother, Cortinas. His paternal grandfather, Juan de Cervantes, was a lawyer who held several administrative positions. His uncle was mayor of Cabra for many years and his mother, Leonor de Cortinas, was a native of Arganda del Rey and the third daughter of a nobleman, who lost his fortune and had to sell his daughter into matrimony in 1543. This led to an awkward marriage and several affairs by Rodrigo. Leonor died on 19 October 1593, little is known of Cervantes early years. It seems he spent much of his moving from town to town with his family, eventually enrolling in The Imperial School. During this time, he met a young barmaid named Josefina Catalina de Parez, the couple fell madly in love and plotted to run away together
38.
Virgil
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Publius Vergilius Maro, usually called Virgil or Vergil /ˈvɜːrdʒᵻl/ in English, was an ancient Roman poet of the Augustan period. He wrote three of the most famous poems in Latin literature, the Eclogues, the Georgics, a number of minor poems, collected in the Appendix Vergiliana, are sometimes attributed to him. Virgil is traditionally ranked as one of Romes greatest poets and his Aeneid has been considered the national epic of ancient Rome from the time of its composition to the present day. Virgils work has had wide and deep influence on Western literature, most notably Dantes Divine Comedy, in which Virgil appears as Dantes guide through Hell, the tradition holds that Virgil was born in the village of Andes, near Mantua in Cisalpine Gaul. Analysis of his name has led to beliefs that he descended from earlier Roman colonists, modern speculation ultimately is not supported by narrative evidence either from his own writings or his later biographers. Macrobius says that Virgils father was of a background, however. He attended schools in Cremona, Mediolanum, Rome and Naples, after considering briefly a career in rhetoric and law, the young Virgil turned his talents to poetry. From Virgils admiring references to the neoteric writers Pollio and Cinna, it has been inferred that he was, for a time, according to Servius, schoolmates considered Virgil extremely shy and reserved, and he was nicknamed Parthenias or maiden because of his social aloofness. Virgil also seems to have suffered bad health throughout his life, according to the Catalepton, he began to write poetry while in the Epicurean school of Siro the Epicurean at Naples. A group of works attributed to the youthful Virgil by the commentators survive collected under the title Appendix Vergiliana. One, the Catalepton, consists of fourteen poems, some of which may be Virgils, and another. The biographical tradition asserts that Virgil began the hexameter Eclogues in 42 BC and it is thought that the collection was published around 39–38 BC, the Eclogues are a group of ten poems roughly modeled on the bucolic hexameter poetry of the Hellenistic poet Theocritus. The loss of his farm and the attempt through poetic petitions to regain his property have traditionally been seen as Virgils motives in the composition of the Eclogues. This is now thought to be an unsupported inference from interpretations of the Eclogues, the ten Eclogues present traditional pastoral themes with a fresh perspective. Eclogues 1 and 9 address the land confiscations and their effects on the Italian countryside,2 and 3 are pastoral and erotic, discussing both homosexual love and attraction toward people of any gender. Eclogue 4, addressed to Asinius Pollio, the so-called Messianic Eclogue uses the imagery of the age in connection with the birth of a child. Virgil came to many of the other leading literary figures of the time, including Horace, in whose poetry he is often mentioned, and Varius Rufus. At Maecenas insistence Virgil spent the years on the long didactic hexameter poem called the Georgics which he dedicated to Maecenas
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Dante Alighieri
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Durante degli Alighieri, simply called Dante, was a major Italian poet of the Late Middle Ages. In the late Middle Ages, the majority of poetry was written in Latin. In De vulgari eloquentia, however, Dante defended use of the vernacular in literature, as a result, Dante played an instrumental role in establishing the national language of Italy. In addition, the first use of the interlocking three-line rhyme scheme, Dante has been called the Father of the Italian language and one of the greatest poets of world literature. In Italy, Dante is often referred to as il Sommo Poeta and il Poeta, he, Petrarch, Dante was born in Florence, Republic of Florence, present-day Italy. The exact date of his birth is unknown, although it is believed to be around 1265. This can be deduced from autobiographic allusions in the Divine Comedy, in 1265, the sun was in Gemini between approximately May 11 and June 11. Dante claimed that his family descended from the ancient Romans, but the earliest relative he could mention by name was Cacciaguida degli Elisei, born no earlier than about 1100. Dantes father, Alaghiero or Alighiero di Bellincione, was a White Guelph who suffered no reprisals after the Ghibellines won the Battle of Montaperti in the middle of the 13th century. Dantes family had loyalties to the Guelphs, an alliance that supported the Papacy and which was involved in complex opposition to the Ghibellines. The poets mother was Bella, likely a member of the Abati family and she died when Dante was not yet ten years old, and Alighiero soon married again, to Lapa di Chiarissimo Cialuffi. When Dante was 12, he was promised in marriage to Gemma di Manetto Donati, daughter of Manetto Donati, contracting marriages at this early age was quite common and involved a formal ceremony, including contracts signed before a notary. But by this time Dante had fallen in love with another, Beatrice Portinari, years after his marriage to Gemma he claims to have met Beatrice again, he wrote several sonnets to Beatrice but never mentioned Gemma in any of his poems. The exact date of his marriage is not known, the certain information is that, before his exile in 1301. Dante fought with the Guelph cavalry at the Battle of Campaldino and this victory brought about a reformation of the Florentine constitution. To take any part in life, one had to enroll in one of the citys many commercial or artisan guilds, so Dante entered the Physicians. In the following years, his name is recorded as speaking or voting in the various councils of the republic. A substantial portion of minutes from meetings in the years 1298–1300 was lost, however
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Pythagoras
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Pythagoras of Samos was an Ionian Greek philosopher, mathematician, and the putative founder of the movement called Pythagoreanism. Most of the information about Pythagoras was written centuries after he lived. He was born on the island of Samos, and travelled, visiting Egypt and Greece, around 530 BC, he moved to Croton, in Magna Graecia, and there established some kind of school or guild. In 520 BC, he returned to Samos, Pythagoras made influential contributions to philosophy and religion in the late 6th century BC. He is often revered as a mathematician and scientist and is best known for the Pythagorean theorem which bears his name. Many of the accomplishments credited to Pythagoras may actually have been accomplishments of his colleagues, some accounts mention that the philosophy associated with Pythagoras was related to mathematics and that numbers were important. It was said that he was the first man to himself a philosopher, or lover of wisdom, and Pythagorean ideas exercised a marked influence on Plato. Burkert states that Aristoxenus and Dicaearchus are the most important accounts, Aristotle had written a separate work On the Pythagoreans, which is no longer extant. However, the Protrepticus possibly contains parts of On the Pythagoreans and his disciples Dicaearchus, Aristoxenus, and Heraclides Ponticus had written on the same subject. These writers, late as they are, were among the best sources from whom Porphyry and Iamblichus drew, while adding some legendary accounts. Herodotus, Isocrates, and other writers agree that Pythagoras was the son of Mnesarchus and born on the Greek island of Samos. His father is said to have been a gem-engraver or a wealthy merchant, a late source gives his mothers name as Pythais. As to the date of his birth, Aristoxenus stated that Pythagoras left Samos in the reign of Polycrates, at the age of 40, around 530 BC he arrived in the Greek colony of Croton in what was then Magna Graecia. There he founded his own school the members of which he engaged to a disciplined. He furthermore aquired some political influence, on Greeks and non-Greeks of the region, following a conflict with the neighbouring colony of Sybaris, internal discord drove most of the Pythagoreans out of Croton. Pythagoras left the city before the outbreak of civil unrest and moved to Metapontum, after his death, his house was transformed into a sanctuary of Demeter, out of veneration for the philosopher, by the local population. In ancient sources there was disagreement and inconsistency about the late life of Pythagoras. His tomb was shown at Metapontum in the time of Cicero, according to Walter Burkert, Most obvious is the contradiction between Aristoxenus and Dicaearchus, regarding the catastrophe that overwhelmed the Pythagorean society
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Homer
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Homer is the name ascribed by the ancient Greeks to the semi-legendary author of the Iliad and the Odyssey, two epic poems which are the central works of Greek literature. The Odyssey focuses on the home of Odysseus, king of Ithaca. Many accounts of Homers life circulated in classical antiquity, the most widespread being that he was a bard from Ionia. The modern scholarly consensus is that these traditions do not have any historical value, the Homeric question - by whom, when, where and under what circumstances were the Iliad and Odyssey composed - continues to be debated. Broadly speaking, modern scholarly opinion on the authorship question falls into two camps, one group holds that most of the Iliad and the Odyssey is the work of a single poet of genius. The other considers the Homeric poems to be the crystallization of a process of working and re-working by many contributors and it is generally accepted that the poems were composed at some point around the late eighth or early seventh century B. C. Most researchers believe that the poems were transmitted orally. The Homeric epics were the greatest influence on ancient Greek culture and education, to Plato, the chronological period of Homer depends on the meaning to be assigned to the word Homer. Was Homer a single person, an imaginary person representing a group of poets and this information is often called the world of Homer. The Homeric period would in that cover a number of historical periods, especially the Mycenaean Age. Considered word-for-word, the texts as we know them are the product of the scholars of the last three centuries. Each edition of the Iliad or Odyssey is a different, as the editors rely on different manuscripts and fragments. The term accuracy reveals a belief in an original uniform text. The manuscripts of the work currently available date to no earlier than the 10th century. These are at the end of a missing thousand-year chain of copies made as each generation of manuscripts disintegrated or were lost or destroyed and these numerous manuscripts are so similar that a single original can be postulated. The time gap in the chain is bridged by the scholia, or notes, on the existing manuscripts, librarian of the Library of Alexandria, he had noticed a wide divergence in the works attributed to Homer, and was trying to restore a more authentic copy. He had collected several manuscripts, which he named, the Sinopic, the one he selected for correction was the koine, which Murray translates as the Vulgate. Aristarchus was known for his selection of material
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Geoffrey Chaucer
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Geoffrey Chaucer, known as the Father of English literature, is widely considered the greatest English poet of the Middle Ages. He was the first poet to be buried in Poets Corner of Westminster Abbey, among his many works are The Book of the Duchess, The House of Fame, The Legend of Good Women and Troilus and Criseyde. He is best known today for The Canterbury Tales, Chaucers work was crucial in legitimizing the literary use of the Middle English vernacular at a time when the dominant literary languages in England were French and Latin. Geoffrey Chaucer was born in London sometime around 1343, though the precise date and his father and grandfather were both London vintners, several previous generations had been merchants in Ipswich. In 1324 John Chaucer, Geoffreys father, was kidnapped by an aunt in the hope of marrying the boy to her daughter in an attempt to keep property in Ipswich. The aunt was imprisoned and the fine levied suggests that the family was financially secure. In the City Hustings Roll 110,5, Ric II, dated June 1380, Geoffrey Chaucer refers to himself as me Galfridum Chaucer, filium Johannis Chaucer, Vinetarii, Londonie. He also worked as a courtier, a diplomat, and a civil servant, as well as working for the king from 1389 to 1391 as Clerk of the Kings Works. In 1359, in the stages of the Hundred Years War, Edward III invaded France and Chaucer travelled with Lionel of Antwerp, 1st Duke of Clarence, Elizabeths husband. In 1360, he was captured during the siege of Rheims, Edward paid £16 for his ransom, a considerable sum, and Chaucer was released. After this, Chaucers life is uncertain, but he seems to have travelled in France, Spain, around 1366, Chaucer married Philippa Roet. She was a lady-in-waiting to Edward IIIs queen, Philippa of Hainault, and a sister of Katherine Swynford and it is uncertain how many children Chaucer and Philippa had, but three or four are most commonly cited. His son, Thomas Chaucer, had a career, as chief butler to four kings, envoy to France. Thomass daughter, Alice, married the Duke of Suffolk, thomass great-grandson, John de la Pole, Earl of Lincoln, was the heir to the throne designated by Richard III before he was deposed. Geoffreys other children probably included Elizabeth Chaucy, a nun at Barking Abbey, Agnes, an attendant at Henry IVs coronation, Chaucers Treatise on the Astrolabe was written for Lewis. According to tradition, Chaucer studied law in the Inner Temple at this time and he became a member of the royal court of Edward III as a valet de chambre, yeoman, or esquire on 20 June 1367, a position which could entail a wide variety of tasks. His wife also received a pension for court employment and he travelled abroad many times, at least some of them in his role as a valet. In 1368, he may have attended the wedding of Lionel of Antwerp to Violante Visconti, daughter of Galeazzo II Visconti, two other literary stars of the era were in attendance, Jean Froissart and Petrarch
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William Shakespeare
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William Shakespeare was an English poet, playwright, and actor, widely regarded as the greatest writer in the English language and the worlds pre-eminent dramatist. He is often called Englands national poet, and the Bard of Avon and his extant works, including collaborations, consist of approximately 38 plays,154 sonnets, two long narrative poems, and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright, Shakespeare was born and brought up in Stratford-upon-Avon, Warwickshire. At the age of 18, he married Anne Hathaway, with whom he had three children, Susanna, and twins Hamnet and Judith. Sometime between 1585 and 1592, he began a career in London as an actor, writer. He appears to have retired to Stratford around 1613, at age 49, Shakespeare produced most of his known work between 1589 and 1613. His early plays were primarily comedies and histories, which are regarded as some of the best work ever produced in these genres. He then wrote mainly tragedies until about 1608, including Hamlet, Othello, King Lear, in his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. Many of his plays were published in editions of varying quality and it was prefaced with a poem by Ben Jonson, in which Shakespeare is hailed, presciently, as not of an age, but for all time. In the 20th and 21st centuries, his works have been adapted and rediscovered by new movements in scholarship. His plays remain highly popular and are studied, performed. William Shakespeare was the son of John Shakespeare, an alderman and a successful glover originally from Snitterfield, and Mary Arden and he was born in Stratford-upon-Avon and baptised there on 26 April 1564. His actual date of birth unknown, but is traditionally observed on 23 April. This date, which can be traced back to an 18th-century scholars mistake, has proved appealing to biographers because Shakespeare died on 23 April 1616 and he was the third child of eight and the eldest surviving son. At the age of 18, Shakespeare married 26-year-old Anne Hathaway, the consistory court of the Diocese of Worcester issued a marriage licence on 27 November 1582. The next day, two of Hathaways neighbours posted bonds guaranteeing that no lawful claims impeded the marriage, twins, son Hamnet and daughter Judith, followed almost two years later and were baptised 2 February 1585. Hamnet died of unknown causes at the age of 11 and was buried 11 August 1596, after the birth of the twins, Shakespeare left few historical traces until he is mentioned as part of the London theatre scene in 1592. The exception is the appearance of his name in the bill of a law case before the Queens Bench court at Westminster dated Michaelmas Term 1588 and 9 October 1589
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John Milton
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John Milton was an English poet, polemicist, man of letters, and civil servant for the Commonwealth of England under Oliver Cromwell. He wrote at a time of flux and political upheaval. Miltons poetry and prose reflect deep personal convictions, a passion for freedom and self-determination, Samuel Johnson praised Paradise Lost as a poem which. The phases of Miltons life parallel the major historical and political divisions in Stuart Britain, the Restoration of 1660 deprived Milton, now completely blind, of his public platform, but this period saw him complete most of his major works of poetry. Miltons views developed from his extensive reading, as well as travel and experience. By the time of his death in 1674, Milton was impoverished and on the margins of English intellectual life, yet famous throughout Europe, John Milton was born in Bread Street, London on 9 December 1608, the son of composer John Milton and his wife Sarah Jeffrey. The senior John Milton moved to London around 1583 after being disinherited by his devout Catholic father Richard Milton for embracing Protestantism, in London, the senior John Milton married Sarah Jeffrey and found lasting financial success as a scrivener. He lived in and worked from a house on Bread Street, the elder Milton was noted for his skill as a musical composer, and this talent left his son with a lifelong appreciation for music and friendships with musicians such as Henry Lawes. Miltons fathers prosperity provided his eldest son with a tutor, Thomas Young. Research suggests that Youngs influence served as the introduction to religious radicalism. After Youngs tutorship, Milton attended St Pauls School in London, there he began the study of Latin and Greek, and the classical languages left an imprint on his poetry in English. Miltons first datable compositions are two psalms done at age 15 at Long Bennington, one contemporary source is the Brief Lives of John Aubrey, an uneven compilation including first-hand reports. In the work, Aubrey quotes Christopher, Miltons younger brother, When he was young, he studied hard and sat up very late. In 1625, Milton began attending Christs College, Cambridge and he graduated with a B. A. in 1629, and ranked fourth of 24 honours graduates that year in the University of Cambridge. Preparing to become an Anglican priest, Milton stayed on to obtain his Master of Arts degree on 3 July 1632, Milton was probably rusticated for quarrelling in his first year with his tutor, Bishop William Chappell. He was certainly at home in the Lent Term 1626, there he wrote his Elegia Prima, a first Latin elegy, to Charles Diodati, based on remarks of John Aubrey, Chappell whipt Milton. This story is now disputed, though certainly Milton disliked Chappell, historian Christopher Hill cautiously notes that Milton was apparently rusticated, and that the differences between Chappell and Milton may have been either religious or personal. It is also possible that, like Isaac Newton four decades later, Milton was sent home because of the plague, in 1626, Miltons tutor was Nathaniel Tovey
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Johann Wolfgang von Goethe
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Johann Wolfgang von Goethe was a German writer and statesman. In addition, numerous literary and scientific fragments, more than 10,000 letters and he was an early participant in the Sturm und Drang literary movement. He also contributed to the planning of Weimars botanical park and the rebuilding of its Ducal Palace and his first major scientific work, the Metamorphosis of Plants, was published after he returned from a 1788 tour of Italy. During this period, Goethe published his novel, Wilhelm Meisters Apprenticeship, the verse epic Hermann and Dorothea, and, in 1808. Goethes comments and observations form the basis of several biographical works, Goethes father, Johann Caspar Goethe, lived with his family in a large house in Frankfurt, then an Imperial Free City of the Holy Roman Empire. Though he had studied law in Leipzig and had been appointed Imperial Councillor, Johann Caspar married Goethes mother, Catharina Elizabeth Textor at Frankfurt on 20 August 1748, when he was 38 and she was 17. All their children, with the exception of Johann Wolfgang and his sister, Cornelia Friederica Christiana and his father and private tutors gave Goethe lessons in all the common subjects of their time, especially languages. Goethe also received lessons in dancing, riding and fencing, Johann Caspar, feeling frustrated in his own ambitions, was determined that his children should have all those advantages that he had not. Although Goethes great passion was drawing, he became interested in literature, Friedrich Gottlieb Klopstock. He also took pleasure in reading works on history and religion. He writes about this period, Goethe became also acquainted with Frankfurt actors, among early literary attempts, he was infatuated with Gretchen, who would later reappear in his Faust and the adventures with whom he would concisely describe in Dichtung und Wahrheit. He adored Caritas Meixner, a wealthy Worms traders daughter and friend of his sister, Goethe studied law at Leipzig University from 1765 to 1768. He detested learning age-old judicial rules by heart, preferring instead to attend the lessons of Christian Fürchtegott Gellert. In Leipzig, Goethe fell in love with Anna Katharina Schönkopf, in 1770, he anonymously released Annette, his first collection of poems. His uncritical admiration for many contemporary poets vanished as he became interested in Gotthold Ephraim Lessing, already at this time, Goethe wrote a good deal, but he threw away nearly all of these works, except for the comedy Die Mitschuldigen. The restaurant Auerbachs Keller and its legend of Fausts 1525 barrel ride impressed him so much that Auerbachs Keller became the real place in his closet drama Faust Part One. As his studies did not progress, Goethe was forced to return to Frankfurt at the close of August 1768, Goethe became severely ill in Frankfurt. During the year and a half that followed, because of several relapses, during convalescence, Goethe was nursed by his mother and sister
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Friedrich Schiller
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Johann Christoph Friedrich von Schiller was a German poet, philosopher, physician, historian, and playwright. During the last seventeen years of his life, Schiller struck up a productive, if complicated, friendship with the already famous and they frequently discussed issues concerning aesthetics, and Schiller encouraged Goethe to finish works he left as sketches. This relationship and these led to a period now referred to as Weimar Classicism. They also worked together on Xenien, a collection of satirical poems in which both Schiller and Goethe challenge opponents to their philosophical vision. Friedrich Schiller was born on 10 November 1759, in Marbach, Württemberg as the son of military doctor Johann Kaspar Schiller. Schiller grew up in a religious family and spent much of his youth studying the Bible. His father was away in the Seven Years War when Friedrich was born and he was named after king Frederick the Great, but he was called Fritz by nearly everyone. Kaspar Schiller was rarely home during the war, but he did manage to visit the family once in a while and his wife and children also visited him occasionally wherever he happened to be stationed. When the war ended in 1763, Schillers father became an officer and was stationed in Schwäbisch Gmünd. Due to the high cost of living—especially the rent—the family moved to nearby Lorch, although the family was happy in Lorch, Schillers father found his work unsatisfying. He sometimes took his son with him, in Lorch, Schiller received his primary education. The quality of the lessons was fairly bad, and Friedrich regularly cut class with his older sister, because his parents wanted Schiller to become a pastor, they had the pastor of the village instruct the boy in Latin and Greek. Pastor Moser was a teacher, and later Schiller named the cleric in his first play Die Räuber after him. As a boy, Schiller was excited by the idea of becoming a cleric and often put on black robes, in 1766, the family left Lorch for the Duke of Württembergs principal residence, Ludwigsburg. Schillers father had not been paid for three years, and the family had been living on their savings but could no longer afford to do so, so Kaspar Schiller took an assignment to the garrison in Ludwigsburg. There the Schiller boy came to the attention of Karl Eugen and he entered the Karlsschule Stuttgart, in 1773, where he eventually studied medicine. During most of his life, he suffered from illnesses that he tried to cure himself. While at the Karlsschule, Schiller read Rousseau and Goethe and discussed Classical ideals with his classmates, the plays critique of social corruption and its affirmation of proto-revolutionary republican ideals astounded its original audience
