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[
"Nina Vedeneyeva",
"field of work",
"crystal optics"
] |
Nina Yevgenyevna Vedeneyeva (Russian: Нина Евгеньевна Веденеева, 1 December 1882 – 31 December 1955) was a physicist involved in the study of mineral crystals and their coloration. Heading numerous departments at such institutions as the All-USSR Institute of Mineral Resources, the Institute of Geological Sciences and the Institute of Crystallography, she conducted research into color variants of clay minerals and classifying clays which occurred in organic dyes. She was noted for development and design of instruments to improve the methods of optical crystallography. She was the last partner-muse of the poet Sophia Parnok and was awarded the Stalin Prize and Order of Lenin for her scientific studies and inventions.Career
In 1907, Vedeneyeva entered the Chemical Department of the Bestuzhev Courses and graduated in 1912-13, receiving her degree from the USSR Academy of Sciences in 1912 and passing her examination at Moscow University in 1913. In 1914, she began teaching and conducting research in the Bestuzhev Courses, which would later merge with Second Moscow State University and at the Institute of Fine Chemical Technology. In 1915, she enrolled in the Mathematics Department and passed her examination in 1916. She continued teaching first chemistry, then courses on atomic matter, radioactivity and pedagogy until 1919 at Second University. In that year, she divorced Sirotinsky and went on holiday with Eugenia Avramenko (Russian: Евгении Ивановны Авраменко) to Nikolaev again, where her son was living. Unable to return to Moscow because of Anton Denikin's offensive against the city, she and Avramenko proceeded Avramenko's home town and found employment working in Women's Gymnasium in Melitopol for the next two years.Beginning in 1921, both Vedeneyeva and Avramenko taught at the Moscow State Forest University. Vedeneyva taught physics there until she was transferred in 1925 to Leningrad. Avramenko was also transferred to Leningrad in 1925. The following year, Vedeneyva's son, Yevgeny, who was a student at the Moscow Higher Technical School, was arrested and charged as an enemy of the state for participating in scouting, a banned activity. After spending six months at the Solovki prison camp, he was barred from living in any of Russia's major cities and sent in exile to Glazov. It was probably in this period in 1927, when Vedeneyeva met Sophia Parnok, as Parnok's partner at the time, Olga Nikolaevna Tsuberbiller, was a colleague of Vedeneyeva. Tsuberbiller was a mathematician and had written the standard textbook used for several decades in the high schools of the USSR. She assisted Vedeneyeva in obtaining the textbooks Yevgeny needed to complete his mathematics degree. In 1929, he continued his exile in Tver and was not allowed to return to Moscow until 1931.In 1930, Vedeneyeva became the department head of crystal optics at the All-USSR Institute of Mineral Resources in Moscow. The following year, she also began conducting scientific research at Giredmet, the State Research and Design Institute of Rare Metals. She worked on some of the first studies of anomalous dispersion, studying nature of the colorations of both natural and synthetic transparent crystals. In 1932, she moved out of the apartment she had shared since 1918 with Avramenko, moved in with her son, and around the same time her relationship with Parnok intensified. Between January 1932 and August 1933, Parnok wrote thirty poems in two cycles to Vedeneyeva. The first cycle, containing seven poems, was called Ursa Major and the second, containing an additional twenty-three poems was called Useless Goods. The poems are a lyric diary of their affair and are openly erotic poems addressed to her lover, making full use of double entendre to taunt potential censors. Parnok continued living with Tsuberbiller and Vedeneyeva visited her almost daily until her death. The relationship was intense and in the beginning, Vedeneyeva was reticent about the physical relationship. It may have been her first lesbian relationship.Vedeneyeva was with Parnok and Tsuberbiller when Parnok died in 1933 and she fell into a depression. Traveling alone in the summer of 1934 to Armenia, she sought to restore herself, but the depression returned in 1936 and she took a retreat at the beginning of 1936 to sanatorium near Moscow and then in the summer another solo trip to Sudak. Returning to Moscow, Vedeneyeva completed her doctorate in Physical and Mathematical Sciences in 1937 and moved to the Institute of Geological Sciences of the National Academy of Sciences of the USSR to head the optical section in 1941. Working with the Red Army Engineering Unit, she developed a method of spectrophotometry to be used in the field which dealt with the problem of color masking due to crystallographic defects. When the war ended, in 1945, Vedeneyeva became the supervisor of the Crystal Optics Laboratory at the Institute of Crystallography. That same year, she was awarded the Order of the Badge of Honour.Vedeneyeva's research continued, with the study of smoky quartz. She evaluated the absorption and luminescence process of the quartz, and the interrelation of them to its thermoluminescent properties. She also evaluated the adsorption of organic dyes upon thiazine and barium nitrate crystals, as well as upon lead and strontium. She developed and designed instruments which improved the methods of crystal-optical examination and developed methods to classify and diagnose clay minerals and clays found in organic dyes. In 1952, Vedeneyeva was awarded the Stalin Prize in the third degree for inventions and improvements in methods of production in the field of exploration and mining and in 1954, she was presented with the Order of Lenin.
| 10 |
[
"Nina Vedeneyeva",
"award received",
"Stalin Prize"
] |
Nina Yevgenyevna Vedeneyeva (Russian: Нина Евгеньевна Веденеева, 1 December 1882 – 31 December 1955) was a physicist involved in the study of mineral crystals and their coloration. Heading numerous departments at such institutions as the All-USSR Institute of Mineral Resources, the Institute of Geological Sciences and the Institute of Crystallography, she conducted research into color variants of clay minerals and classifying clays which occurred in organic dyes. She was noted for development and design of instruments to improve the methods of optical crystallography. She was the last partner-muse of the poet Sophia Parnok and was awarded the Stalin Prize and Order of Lenin for her scientific studies and inventions.Career
In 1907, Vedeneyeva entered the Chemical Department of the Bestuzhev Courses and graduated in 1912-13, receiving her degree from the USSR Academy of Sciences in 1912 and passing her examination at Moscow University in 1913. In 1914, she began teaching and conducting research in the Bestuzhev Courses, which would later merge with Second Moscow State University and at the Institute of Fine Chemical Technology. In 1915, she enrolled in the Mathematics Department and passed her examination in 1916. She continued teaching first chemistry, then courses on atomic matter, radioactivity and pedagogy until 1919 at Second University. In that year, she divorced Sirotinsky and went on holiday with Eugenia Avramenko (Russian: Евгении Ивановны Авраменко) to Nikolaev again, where her son was living. Unable to return to Moscow because of Anton Denikin's offensive against the city, she and Avramenko proceeded Avramenko's home town and found employment working in Women's Gymnasium in Melitopol for the next two years.Beginning in 1921, both Vedeneyeva and Avramenko taught at the Moscow State Forest University. Vedeneyva taught physics there until she was transferred in 1925 to Leningrad. Avramenko was also transferred to Leningrad in 1925. The following year, Vedeneyva's son, Yevgeny, who was a student at the Moscow Higher Technical School, was arrested and charged as an enemy of the state for participating in scouting, a banned activity. After spending six months at the Solovki prison camp, he was barred from living in any of Russia's major cities and sent in exile to Glazov. It was probably in this period in 1927, when Vedeneyeva met Sophia Parnok, as Parnok's partner at the time, Olga Nikolaevna Tsuberbiller, was a colleague of Vedeneyeva. Tsuberbiller was a mathematician and had written the standard textbook used for several decades in the high schools of the USSR. She assisted Vedeneyeva in obtaining the textbooks Yevgeny needed to complete his mathematics degree. In 1929, he continued his exile in Tver and was not allowed to return to Moscow until 1931.In 1930, Vedeneyeva became the department head of crystal optics at the All-USSR Institute of Mineral Resources in Moscow. The following year, she also began conducting scientific research at Giredmet, the State Research and Design Institute of Rare Metals. She worked on some of the first studies of anomalous dispersion, studying nature of the colorations of both natural and synthetic transparent crystals. In 1932, she moved out of the apartment she had shared since 1918 with Avramenko, moved in with her son, and around the same time her relationship with Parnok intensified. Between January 1932 and August 1933, Parnok wrote thirty poems in two cycles to Vedeneyeva. The first cycle, containing seven poems, was called Ursa Major and the second, containing an additional twenty-three poems was called Useless Goods. The poems are a lyric diary of their affair and are openly erotic poems addressed to her lover, making full use of double entendre to taunt potential censors. Parnok continued living with Tsuberbiller and Vedeneyeva visited her almost daily until her death. The relationship was intense and in the beginning, Vedeneyeva was reticent about the physical relationship. It may have been her first lesbian relationship.Vedeneyeva was with Parnok and Tsuberbiller when Parnok died in 1933 and she fell into a depression. Traveling alone in the summer of 1934 to Armenia, she sought to restore herself, but the depression returned in 1936 and she took a retreat at the beginning of 1936 to sanatorium near Moscow and then in the summer another solo trip to Sudak. Returning to Moscow, Vedeneyeva completed her doctorate in Physical and Mathematical Sciences in 1937 and moved to the Institute of Geological Sciences of the National Academy of Sciences of the USSR to head the optical section in 1941. Working with the Red Army Engineering Unit, she developed a method of spectrophotometry to be used in the field which dealt with the problem of color masking due to crystallographic defects. When the war ended, in 1945, Vedeneyeva became the supervisor of the Crystal Optics Laboratory at the Institute of Crystallography. That same year, she was awarded the Order of the Badge of Honour.Vedeneyeva's research continued, with the study of smoky quartz. She evaluated the absorption and luminescence process of the quartz, and the interrelation of them to its thermoluminescent properties. She also evaluated the adsorption of organic dyes upon thiazine and barium nitrate crystals, as well as upon lead and strontium. She developed and designed instruments which improved the methods of crystal-optical examination and developed methods to classify and diagnose clay minerals and clays found in organic dyes. In 1952, Vedeneyeva was awarded the Stalin Prize in the third degree for inventions and improvements in methods of production in the field of exploration and mining and in 1954, she was presented with the Order of Lenin.
| 17 |
[
"Dora Emilia Mora de Retana",
"instance of",
"human"
] |
Dora Emilia Mora de Retana (24 August 1939 – 12 July 2001) was a noted Costa Rican botanist, known primarily for her work with orchids. She compiled an extensive catalogue of the variations of the flower found in Costa Rica which became the seminal reference work on the family Orchidaceae in the country for over a decade. There are at least five species of orchids named in her honor and in 2011, a plaque bearing her name was installed at the Lankester Botanical Garden to recognize her contributions to its development.
| 0 |
[
"Dora Emilia Mora de Retana",
"country of citizenship",
"Costa Rica"
] |
Dora Emilia Mora de Retana (24 August 1939 – 12 July 2001) was a noted Costa Rican botanist, known primarily for her work with orchids. She compiled an extensive catalogue of the variations of the flower found in Costa Rica which became the seminal reference work on the family Orchidaceae in the country for over a decade. There are at least five species of orchids named in her honor and in 2011, a plaque bearing her name was installed at the Lankester Botanical Garden to recognize her contributions to its development.Early life
Dora Emilia de los Angeles Mora Monge was born on 24 August 1939 in Cartago Province, Costa Rica. After completing her primary schooling at Escuela Sagrado Corazón de Jesús (Sacred Heart of Jesus School) she finished her high school studies in a school of the same name. Going on to university, she enrolled in the University of Costa Rica to study botany and attained her bachelor's degree in Biology. She studied under Rafael Lucas Rodríguez, who developed the academic and scientific study of Costa Rican orchids, and graduated in 1968, becoming one of the first academically trained orchidologists in the country. Her thesis Crecimiento y desarrollo del ápice del vástago vegetativo y de la hoja de Acnistus arborescens Schltdl (Growth and development of the apex of the vegetative stem and leaf of Acnistus arborescens Schltdl), evaluated a type of Solanaceae.
| 2 |
[
"Dora Emilia Mora de Retana",
"given name",
"Dora"
] |
Dora Emilia Mora de Retana (24 August 1939 – 12 July 2001) was a noted Costa Rican botanist, known primarily for her work with orchids. She compiled an extensive catalogue of the variations of the flower found in Costa Rica which became the seminal reference work on the family Orchidaceae in the country for over a decade. There are at least five species of orchids named in her honor and in 2011, a plaque bearing her name was installed at the Lankester Botanical Garden to recognize her contributions to its development.
| 4 |
[
"Dora Emilia Mora de Retana",
"employer",
"University of Costa Rica"
] |
Career
In 1969 Mora became the Chair of Fundamentals of Biology at the University of Costa Rica (UCR) and then in 1973 assumed the Chair for General Biology. In 1978, she was promoted to Chair of General Botany, and the following year was named as the first director of the Lankester Botanical Garden. Under her direction, the private orchid farm was transformed into a botanical garden and research facility. She developed the first infrastructure of the garden and coordinated its landscape development, inviting scientists to conduct research activities. She is widely credited with bringing the facility to international acclaim.In 1984, Mora collaborated with Robert Louis Dressler to prepare the first course on orchidology at UCR. In 1992, she published with Joaquín Bernardo García-Castro Lista actualizada de las orquídeas de Costa Rica (Updated list of Costa Rican orchids), the first catalogue of Costa Rican orchids printed since 1937. Their work included identification of forty-six new genera and four hundred sixty-seven new species identified since Paul Standley had published Flora of Costa Rica. The meticulous work became a consultative text for all researchers wanting to study the family Orchidaceae in Costa Rica for the next decade. In 1989, her work with other scientists led to the inclusion of 300 illustrations of Costa Rican orchids, of which most samples were found in the Lankester Garden, in the series Icones Plantarum Tropicarum. She was a co-author of John T. Atwood's 1999 book Flora costaricensis on the Maxillarieae tribe of orchids native to Costa Rica, which would be her most important legacy to orchid taxonomy.
| 8 |
[
"Dora Emilia Mora de Retana",
"occupation",
"botanist"
] |
Dora Emilia Mora de Retana (24 August 1939 – 12 July 2001) was a noted Costa Rican botanist, known primarily for her work with orchids. She compiled an extensive catalogue of the variations of the flower found in Costa Rica which became the seminal reference work on the family Orchidaceae in the country for over a decade. There are at least five species of orchids named in her honor and in 2011, a plaque bearing her name was installed at the Lankester Botanical Garden to recognize her contributions to its development.Early life
Dora Emilia de los Angeles Mora Monge was born on 24 August 1939 in Cartago Province, Costa Rica. After completing her primary schooling at Escuela Sagrado Corazón de Jesús (Sacred Heart of Jesus School) she finished her high school studies in a school of the same name. Going on to university, she enrolled in the University of Costa Rica to study botany and attained her bachelor's degree in Biology. She studied under Rafael Lucas Rodríguez, who developed the academic and scientific study of Costa Rican orchids, and graduated in 1968, becoming one of the first academically trained orchidologists in the country. Her thesis Crecimiento y desarrollo del ápice del vástago vegetativo y de la hoja de Acnistus arborescens Schltdl (Growth and development of the apex of the vegetative stem and leaf of Acnistus arborescens Schltdl), evaluated a type of Solanaceae.Career
In 1969 Mora became the Chair of Fundamentals of Biology at the University of Costa Rica (UCR) and then in 1973 assumed the Chair for General Biology. In 1978, she was promoted to Chair of General Botany, and the following year was named as the first director of the Lankester Botanical Garden. Under her direction, the private orchid farm was transformed into a botanical garden and research facility. She developed the first infrastructure of the garden and coordinated its landscape development, inviting scientists to conduct research activities. She is widely credited with bringing the facility to international acclaim.In 1984, Mora collaborated with Robert Louis Dressler to prepare the first course on orchidology at UCR. In 1992, she published with Joaquín Bernardo García-Castro Lista actualizada de las orquídeas de Costa Rica (Updated list of Costa Rican orchids), the first catalogue of Costa Rican orchids printed since 1937. Their work included identification of forty-six new genera and four hundred sixty-seven new species identified since Paul Standley had published Flora of Costa Rica. The meticulous work became a consultative text for all researchers wanting to study the family Orchidaceae in Costa Rica for the next decade. In 1989, her work with other scientists led to the inclusion of 300 illustrations of Costa Rican orchids, of which most samples were found in the Lankester Garden, in the series Icones Plantarum Tropicarum. She was a co-author of John T. Atwood's 1999 book Flora costaricensis on the Maxillarieae tribe of orchids native to Costa Rica, which would be her most important legacy to orchid taxonomy.
| 9 |
[
"Dora Emilia Mora de Retana",
"sex or gender",
"female"
] |
Dora Emilia Mora de Retana (24 August 1939 – 12 July 2001) was a noted Costa Rican botanist, known primarily for her work with orchids. She compiled an extensive catalogue of the variations of the flower found in Costa Rica which became the seminal reference work on the family Orchidaceae in the country for over a decade. There are at least five species of orchids named in her honor and in 2011, a plaque bearing her name was installed at the Lankester Botanical Garden to recognize her contributions to its development.
| 10 |
[
"Lillie Rose Ernst",
"instance of",
"human"
] |
Lillie Rose Ernst (September 14, 1870 – December 6, 1943) was an American educator. She was the mentor of the Potters, an informal group of women artists in early 20th-century St. Louis, Missouri, and the first woman to become assistant superintendent of instruction in the St. Louis public school system.Early life
Lillie Rose Ernst was born on September 14, 1870, in St. Louis. Her family was from the middle class and she was the youngest of six children. She first attended Clay School and Ames School, and then Central High School. She went to Washington University in St. Louis, graduating magna cum laude in 1892, one of the first twelve women to graduate from this college.She was a member of Phi Beta Kappa. As a founding member and vice-president of the Washington University Women's Alumnae Association, she received an honorary M.A. degree in 1907.
| 0 |
[
"Lillie Rose Ernst",
"occupation",
"teacher"
] |
Lillie Rose Ernst (September 14, 1870 – December 6, 1943) was an American educator. She was the mentor of the Potters, an informal group of women artists in early 20th-century St. Louis, Missouri, and the first woman to become assistant superintendent of instruction in the St. Louis public school system.Career
Ernst was a botany teacher at Central High School and then served as principal at Cote Brilliante Elementary School from 1907 to 1920. In 1920 she told her students:
| 3 |
[
"Lillie Rose Ernst",
"place of birth",
"St. Louis"
] |
Early life
Lillie Rose Ernst was born on September 14, 1870, in St. Louis. Her family was from the middle class and she was the youngest of six children. She first attended Clay School and Ames School, and then Central High School. She went to Washington University in St. Louis, graduating magna cum laude in 1892, one of the first twelve women to graduate from this college.She was a member of Phi Beta Kappa. As a founding member and vice-president of the Washington University Women's Alumnae Association, she received an honorary M.A. degree in 1907.
| 4 |
[
"Lillie Rose Ernst",
"educated at",
"Washington University in St. Louis"
] |
Early life
Lillie Rose Ernst was born on September 14, 1870, in St. Louis. Her family was from the middle class and she was the youngest of six children. She first attended Clay School and Ames School, and then Central High School. She went to Washington University in St. Louis, graduating magna cum laude in 1892, one of the first twelve women to graduate from this college.She was a member of Phi Beta Kappa. As a founding member and vice-president of the Washington University Women's Alumnae Association, she received an honorary M.A. degree in 1907.
| 6 |
[
"Lillie Rose Ernst",
"family name",
"Ernst"
] |
Lillie Rose Ernst (September 14, 1870 – December 6, 1943) was an American educator. She was the mentor of the Potters, an informal group of women artists in early 20th-century St. Louis, Missouri, and the first woman to become assistant superintendent of instruction in the St. Louis public school system.Early life
Lillie Rose Ernst was born on September 14, 1870, in St. Louis. Her family was from the middle class and she was the youngest of six children. She first attended Clay School and Ames School, and then Central High School. She went to Washington University in St. Louis, graduating magna cum laude in 1892, one of the first twelve women to graduate from this college.She was a member of Phi Beta Kappa. As a founding member and vice-president of the Washington University Women's Alumnae Association, she received an honorary M.A. degree in 1907.
| 7 |
[
"Lillie Rose Ernst",
"occupation",
"academic administrator"
] |
Lillie Rose Ernst (September 14, 1870 – December 6, 1943) was an American educator. She was the mentor of the Potters, an informal group of women artists in early 20th-century St. Louis, Missouri, and the first woman to become assistant superintendent of instruction in the St. Louis public school system.Career
Ernst was a botany teacher at Central High School and then served as principal at Cote Brilliante Elementary School from 1907 to 1920. In 1920 she told her students:It is our playtime that should net us re-creation, enthusiasm for work, joy for living, ever-widening fields for thought, deeper thrillings of the soul, reverence, and an ever growing consciousness and comprehension of truth and beauty and law.
In 1920 she became assistant to the Superintendent of Instruction, the first woman to hold the title in the St. Louis Public Schools system. A group of male principals organized against Ernst, believing as one said, that the promotion of a woman as superintendent "would tend to disrupt the school system". Public demonstrations followed, led by women's groups such as the League of Women Voters and members of the school board, and her nomination as superintendent was successful. In 1926 she was demoted to principal at Mark Twain High School, becoming the first woman to obtain the title of "principal" in a public high school. She returned to be assistant to the Superintendent of Instruction in 1929 until 1934, and was again demoted to principal at Blewett High School in 1934. This last position she held till 1941, when she retired at the age of 70. While assistant to the Superintendent of Instruction she advocated for the reform of the Board of Education, to improve retention of students in high schools and to create a pension plan for retired teachers. Because she was unsuccessful in establishing a pension for teachers, she took a leave of absence instead of a retirement without benefits.
| 10 |
[
"Lillie Rose Ernst",
"given name",
"Lillie"
] |
Lillie Rose Ernst (September 14, 1870 – December 6, 1943) was an American educator. She was the mentor of the Potters, an informal group of women artists in early 20th-century St. Louis, Missouri, and the first woman to become assistant superintendent of instruction in the St. Louis public school system.Early life
Lillie Rose Ernst was born on September 14, 1870, in St. Louis. Her family was from the middle class and she was the youngest of six children. She first attended Clay School and Ames School, and then Central High School. She went to Washington University in St. Louis, graduating magna cum laude in 1892, one of the first twelve women to graduate from this college.She was a member of Phi Beta Kappa. As a founding member and vice-president of the Washington University Women's Alumnae Association, she received an honorary M.A. degree in 1907.
| 11 |
[
"Émile Roux",
"student of",
"Louis Pasteur"
] |
Pierre Paul Émile Roux FRS (17 December 1853 – 3 November 1933) was a French physician, bacteriologist and immunologist. Roux was one of the closest collaborators of Louis Pasteur (1822–1895), a co-founder of the Pasteur Institute, and responsible for the institute's production of the anti-diphtheria serum, the first effective therapy for this disease. Additionally, he investigated cholera, chicken-cholera, rabies, and tuberculosis. Roux is regarded as a founder of the field of immunology.
| 13 |
[
"Émile Roux",
"field of work",
"medicine"
] |
Pierre Paul Émile Roux FRS (17 December 1853 – 3 November 1933) was a French physician, bacteriologist and immunologist. Roux was one of the closest collaborators of Louis Pasteur (1822–1895), a co-founder of the Pasteur Institute, and responsible for the institute's production of the anti-diphtheria serum, the first effective therapy for this disease. Additionally, he investigated cholera, chicken-cholera, rabies, and tuberculosis. Roux is regarded as a founder of the field of immunology.
| 16 |
[
"Émile Roux",
"field of work",
"immunology"
] |
Pierre Paul Émile Roux FRS (17 December 1853 – 3 November 1933) was a French physician, bacteriologist and immunologist. Roux was one of the closest collaborators of Louis Pasteur (1822–1895), a co-founder of the Pasteur Institute, and responsible for the institute's production of the anti-diphtheria serum, the first effective therapy for this disease. Additionally, he investigated cholera, chicken-cholera, rabies, and tuberculosis. Roux is regarded as a founder of the field of immunology.
| 22 |
[
"Émile Roux",
"member of",
"Royal Swedish Academy of Sciences"
] |
Other research and later years
In the following years, Roux dedicated himself indefatigably to many investigations on the microbiology and practical immunology of tetanus, tuberculosis, syphilis, and pneumonia. He was elected a member of the Royal Swedish Academy of Sciences in 1900. In 1904, he was nominated to the Pasteur's former position as General Director of the Pasteur Institute.In 1916, he moved to a small apartment in the Pasteur Hospital, where he died on 3 November 1933.
| 26 |
[
"Émile Roux",
"field of work",
"bacteriology"
] |
Pierre Paul Émile Roux FRS (17 December 1853 – 3 November 1933) was a French physician, bacteriologist and immunologist. Roux was one of the closest collaborators of Louis Pasteur (1822–1895), a co-founder of the Pasteur Institute, and responsible for the institute's production of the anti-diphtheria serum, the first effective therapy for this disease. Additionally, he investigated cholera, chicken-cholera, rabies, and tuberculosis. Roux is regarded as a founder of the field of immunology.
| 29 |
[
"Émile Roux",
"occupation",
"immunologist"
] |
Pierre Paul Émile Roux FRS (17 December 1853 – 3 November 1933) was a French physician, bacteriologist and immunologist. Roux was one of the closest collaborators of Louis Pasteur (1822–1895), a co-founder of the Pasteur Institute, and responsible for the institute's production of the anti-diphtheria serum, the first effective therapy for this disease. Additionally, he investigated cholera, chicken-cholera, rabies, and tuberculosis. Roux is regarded as a founder of the field of immunology.
| 40 |
[
"Émile Roux",
"occupation",
"bacteriologist"
] |
Pierre Paul Émile Roux FRS (17 December 1853 – 3 November 1933) was a French physician, bacteriologist and immunologist. Roux was one of the closest collaborators of Louis Pasteur (1822–1895), a co-founder of the Pasteur Institute, and responsible for the institute's production of the anti-diphtheria serum, the first effective therapy for this disease. Additionally, he investigated cholera, chicken-cholera, rabies, and tuberculosis. Roux is regarded as a founder of the field of immunology.
| 44 |
[
"Charles Friedel",
"instance of",
"human"
] |
Charles Friedel (French: [fʁidɛl]; 12 March 1832 – 20 April 1899) was a French chemist and mineralogist.Life
A native of Strasbourg, France, he was a student of Louis Pasteur at the Sorbonne. In 1876, he became a professor of chemistry and mineralogy at the Sorbonne.
Friedel developed the Friedel-Crafts alkylation and acylation reactions with James Crafts in 1877, and attempted to make synthetic diamonds.
His son Georges Friedel (1865–1933) also became a renowned mineralogist.
| 0 |
[
"Charles Friedel",
"country of citizenship",
"France"
] |
Charles Friedel (French: [fʁidɛl]; 12 March 1832 – 20 April 1899) was a French chemist and mineralogist.Life
A native of Strasbourg, France, he was a student of Louis Pasteur at the Sorbonne. In 1876, he became a professor of chemistry and mineralogy at the Sorbonne.
Friedel developed the Friedel-Crafts alkylation and acylation reactions with James Crafts in 1877, and attempted to make synthetic diamonds.
His son Georges Friedel (1865–1933) also became a renowned mineralogist.
| 1 |
[
"Charles Friedel",
"residence",
"France"
] |
Charles Friedel (French: [fʁidɛl]; 12 March 1832 – 20 April 1899) was a French chemist and mineralogist.Life
A native of Strasbourg, France, he was a student of Louis Pasteur at the Sorbonne. In 1876, he became a professor of chemistry and mineralogy at the Sorbonne.
Friedel developed the Friedel-Crafts alkylation and acylation reactions with James Crafts in 1877, and attempted to make synthetic diamonds.
His son Georges Friedel (1865–1933) also became a renowned mineralogist.
| 2 |
[
"Charles Friedel",
"languages spoken, written or signed",
"French"
] |
Charles Friedel (French: [fʁidɛl]; 12 March 1832 – 20 April 1899) was a French chemist and mineralogist.
| 3 |
[
"Charles Friedel",
"student of",
"Louis Pasteur"
] |
Life
A native of Strasbourg, France, he was a student of Louis Pasteur at the Sorbonne. In 1876, he became a professor of chemistry and mineralogy at the Sorbonne.
Friedel developed the Friedel-Crafts alkylation and acylation reactions with James Crafts in 1877, and attempted to make synthetic diamonds.
His son Georges Friedel (1865–1933) also became a renowned mineralogist.
| 6 |
[
"Charles Friedel",
"field of work",
"chemistry"
] |
Charles Friedel (French: [fʁidɛl]; 12 March 1832 – 20 April 1899) was a French chemist and mineralogist.Life
A native of Strasbourg, France, he was a student of Louis Pasteur at the Sorbonne. In 1876, he became a professor of chemistry and mineralogy at the Sorbonne.
Friedel developed the Friedel-Crafts alkylation and acylation reactions with James Crafts in 1877, and attempted to make synthetic diamonds.
His son Georges Friedel (1865–1933) also became a renowned mineralogist.
| 7 |
[
"Charles Friedel",
"educated at",
"University of Paris"
] |
Charles Friedel (French: [fʁidɛl]; 12 March 1832 – 20 April 1899) was a French chemist and mineralogist.Life
A native of Strasbourg, France, he was a student of Louis Pasteur at the Sorbonne. In 1876, he became a professor of chemistry and mineralogy at the Sorbonne.
Friedel developed the Friedel-Crafts alkylation and acylation reactions with James Crafts in 1877, and attempted to make synthetic diamonds.
His son Georges Friedel (1865–1933) also became a renowned mineralogist.
| 8 |
[
"Charles Friedel",
"place of birth",
"Strasbourg"
] |
Charles Friedel (French: [fʁidɛl]; 12 March 1832 – 20 April 1899) was a French chemist and mineralogist.Life
A native of Strasbourg, France, he was a student of Louis Pasteur at the Sorbonne. In 1876, he became a professor of chemistry and mineralogy at the Sorbonne.
Friedel developed the Friedel-Crafts alkylation and acylation reactions with James Crafts in 1877, and attempted to make synthetic diamonds.
His son Georges Friedel (1865–1933) also became a renowned mineralogist.
| 10 |
[
"Charles Friedel",
"notable work",
"Friedel–Crafts reaction"
] |
Charles Friedel (French: [fʁidɛl]; 12 March 1832 – 20 April 1899) was a French chemist and mineralogist.Life
A native of Strasbourg, France, he was a student of Louis Pasteur at the Sorbonne. In 1876, he became a professor of chemistry and mineralogy at the Sorbonne.
Friedel developed the Friedel-Crafts alkylation and acylation reactions with James Crafts in 1877, and attempted to make synthetic diamonds.
His son Georges Friedel (1865–1933) also became a renowned mineralogist.
| 12 |
[
"Charles Friedel",
"educated at",
"University of Strasbourg"
] |
Life
A native of Strasbourg, France, he was a student of Louis Pasteur at the Sorbonne. In 1876, he became a professor of chemistry and mineralogy at the Sorbonne.
Friedel developed the Friedel-Crafts alkylation and acylation reactions with James Crafts in 1877, and attempted to make synthetic diamonds.
His son Georges Friedel (1865–1933) also became a renowned mineralogist.
| 14 |
[
"Charles Friedel",
"occupation",
"mineralogist"
] |
Charles Friedel (French: [fʁidɛl]; 12 March 1832 – 20 April 1899) was a French chemist and mineralogist.Life
A native of Strasbourg, France, he was a student of Louis Pasteur at the Sorbonne. In 1876, he became a professor of chemistry and mineralogy at the Sorbonne.
Friedel developed the Friedel-Crafts alkylation and acylation reactions with James Crafts in 1877, and attempted to make synthetic diamonds.
His son Georges Friedel (1865–1933) also became a renowned mineralogist.
| 17 |
[
"Charles Friedel",
"family name",
"Friedel"
] |
Charles Friedel (French: [fʁidɛl]; 12 March 1832 – 20 April 1899) was a French chemist and mineralogist.Life
A native of Strasbourg, France, he was a student of Louis Pasteur at the Sorbonne. In 1876, he became a professor of chemistry and mineralogy at the Sorbonne.
Friedel developed the Friedel-Crafts alkylation and acylation reactions with James Crafts in 1877, and attempted to make synthetic diamonds.
His son Georges Friedel (1865–1933) also became a renowned mineralogist.
| 21 |
[
"Charles Friedel",
"occupation",
"chemist"
] |
Charles Friedel (French: [fʁidɛl]; 12 March 1832 – 20 April 1899) was a French chemist and mineralogist.Life
A native of Strasbourg, France, he was a student of Louis Pasteur at the Sorbonne. In 1876, he became a professor of chemistry and mineralogy at the Sorbonne.
Friedel developed the Friedel-Crafts alkylation and acylation reactions with James Crafts in 1877, and attempted to make synthetic diamonds.
His son Georges Friedel (1865–1933) also became a renowned mineralogist.
| 25 |
[
"Charles Friedel",
"occupation",
"university teacher"
] |
Life
A native of Strasbourg, France, he was a student of Louis Pasteur at the Sorbonne. In 1876, he became a professor of chemistry and mineralogy at the Sorbonne.
Friedel developed the Friedel-Crafts alkylation and acylation reactions with James Crafts in 1877, and attempted to make synthetic diamonds.
His son Georges Friedel (1865–1933) also became a renowned mineralogist.
| 30 |
[
"Charles Friedel",
"given name",
"Charles"
] |
Charles Friedel (French: [fʁidɛl]; 12 March 1832 – 20 April 1899) was a French chemist and mineralogist.Life
A native of Strasbourg, France, he was a student of Louis Pasteur at the Sorbonne. In 1876, he became a professor of chemistry and mineralogy at the Sorbonne.
Friedel developed the Friedel-Crafts alkylation and acylation reactions with James Crafts in 1877, and attempted to make synthetic diamonds.
His son Georges Friedel (1865–1933) also became a renowned mineralogist.
| 31 |
[
"Charles Chamberland",
"instance of",
"human"
] |
Charles Edouard Chamberland (French pronunciation: [ʃaʁl ʃɑ̃bɛʁlɑ̃]; 12 March 1851 – 2 May 1908) was a French microbiologist from Chilly-le-Vignoble in the department of Jura who worked with Louis Pasteur.In 1884 he developed a type of filtration known today as the Chamberland filter or Chamberland-Pasteur filter, a device that made use of an unglazed porcelain bar. The filter had pores that were smaller than bacteria, thus making it possible to pass a solution containing bacteria through the filter, and having the bacteria completely removed from the solution. Chamberland was also credited for starting a research project that led to the invention of the autoclave device in 1879.
| 0 |
[
"Charles Chamberland",
"country of citizenship",
"France"
] |
Charles Edouard Chamberland (French pronunciation: [ʃaʁl ʃɑ̃bɛʁlɑ̃]; 12 March 1851 – 2 May 1908) was a French microbiologist from Chilly-le-Vignoble in the department of Jura who worked with Louis Pasteur.
| 2 |
[
"Charles Chamberland",
"languages spoken, written or signed",
"French"
] |
Charles Edouard Chamberland (French pronunciation: [ʃaʁl ʃɑ̃bɛʁlɑ̃]; 12 March 1851 – 2 May 1908) was a French microbiologist from Chilly-le-Vignoble in the department of Jura who worked with Louis Pasteur.
| 3 |
[
"Charles Chamberland",
"student of",
"Louis Pasteur"
] |
Charles Edouard Chamberland (French pronunciation: [ʃaʁl ʃɑ̃bɛʁlɑ̃]; 12 March 1851 – 2 May 1908) was a French microbiologist from Chilly-le-Vignoble in the department of Jura who worked with Louis Pasteur.
| 5 |
[
"Charles Chamberland",
"given name",
"Charles"
] |
Charles Edouard Chamberland (French pronunciation: [ʃaʁl ʃɑ̃bɛʁlɑ̃]; 12 March 1851 – 2 May 1908) was a French microbiologist from Chilly-le-Vignoble in the department of Jura who worked with Louis Pasteur.In 1884 he developed a type of filtration known today as the Chamberland filter or Chamberland-Pasteur filter, a device that made use of an unglazed porcelain bar. The filter had pores that were smaller than bacteria, thus making it possible to pass a solution containing bacteria through the filter, and having the bacteria completely removed from the solution. Chamberland was also credited for starting a research project that led to the invention of the autoclave device in 1879.
| 6 |
[
"Charles Chamberland",
"native language",
"French"
] |
Charles Edouard Chamberland (French pronunciation: [ʃaʁl ʃɑ̃bɛʁlɑ̃]; 12 March 1851 – 2 May 1908) was a French microbiologist from Chilly-le-Vignoble in the department of Jura who worked with Louis Pasteur.
| 7 |
[
"Charles Chamberland",
"field of work",
"bacteriology"
] |
Charles Edouard Chamberland (French pronunciation: [ʃaʁl ʃɑ̃bɛʁlɑ̃]; 12 March 1851 – 2 May 1908) was a French microbiologist from Chilly-le-Vignoble in the department of Jura who worked with Louis Pasteur.In 1884 he developed a type of filtration known today as the Chamberland filter or Chamberland-Pasteur filter, a device that made use of an unglazed porcelain bar. The filter had pores that were smaller than bacteria, thus making it possible to pass a solution containing bacteria through the filter, and having the bacteria completely removed from the solution. Chamberland was also credited for starting a research project that led to the invention of the autoclave device in 1879.
| 11 |
[
"Charles Chamberland",
"employer",
"Pasteur Institute"
] |
Charles Edouard Chamberland (French pronunciation: [ʃaʁl ʃɑ̃bɛʁlɑ̃]; 12 March 1851 – 2 May 1908) was a French microbiologist from Chilly-le-Vignoble in the department of Jura who worked with Louis Pasteur.
| 12 |
[
"Charles Chamberland",
"occupation",
"biologist"
] |
Charles Edouard Chamberland (French pronunciation: [ʃaʁl ʃɑ̃bɛʁlɑ̃]; 12 March 1851 – 2 May 1908) was a French microbiologist from Chilly-le-Vignoble in the department of Jura who worked with Louis Pasteur.
| 13 |
[
"Charles Chamberland",
"occupation",
"chemist"
] |
In 1884 he developed a type of filtration known today as the Chamberland filter or Chamberland-Pasteur filter, a device that made use of an unglazed porcelain bar. The filter had pores that were smaller than bacteria, thus making it possible to pass a solution containing bacteria through the filter, and having the bacteria completely removed from the solution. Chamberland was also credited for starting a research project that led to the invention of the autoclave device in 1879.
| 14 |
[
"Charles Chamberland",
"sex or gender",
"male"
] |
Charles Edouard Chamberland (French pronunciation: [ʃaʁl ʃɑ̃bɛʁlɑ̃]; 12 March 1851 – 2 May 1908) was a French microbiologist from Chilly-le-Vignoble in the department of Jura who worked with Louis Pasteur.
| 15 |
[
"Charles Chamberland",
"place of birth",
"Chilly-le-Vignoble"
] |
Charles Edouard Chamberland (French pronunciation: [ʃaʁl ʃɑ̃bɛʁlɑ̃]; 12 March 1851 – 2 May 1908) was a French microbiologist from Chilly-le-Vignoble in the department of Jura who worked with Louis Pasteur.
| 17 |
[
"Philippe Édouard Léon Van Tieghem",
"country of citizenship",
"France"
] |
Philippe Édouard Léon Van Tieghem (French pronunciation: [filip edwaʁ leɔ̃ van tiɡɛm]; 19 April 1839 – 28 April 1914) was a French botanist born in Baillleul in the département of Nord. He was one of the best known French botanists of the latter nineteenth century.
| 4 |
[
"Philippe Édouard Léon Van Tieghem",
"field of work",
"biology"
] |
Philippe Édouard Léon Van Tieghem (French pronunciation: [filip edwaʁ leɔ̃ van tiɡɛm]; 19 April 1839 – 28 April 1914) was a French botanist born in Baillleul in the département of Nord. He was one of the best known French botanists of the latter nineteenth century.Life
Van Tieghem's father was a textile merchant who died of yellow fever in Martinique before he was born, and his mother shortly thereafter. One of five children, he obtained his baccalauréat in 1856, and continued his studies at the École Normale Supérieure, where after receiving agrégation, he worked in the laboratory of Louis Pasteur (1822–1895). Here he performed research involving the cultivation of mushrooms. He is credited with creation of the eponymous "Van Tieghem cell", a device mounted on a microscope slide that allows for observing the development of a fungus' mycelium.
In 1864 he earned his doctorate in physical sciences with a thesis titled Recherches sur la fermentation de l'urée et de l'acide hippurique, and two years later obtained a doctorate in natural history. From 1873 to 1886, he taught classes at the École centrale des arts et manufactures, and from 1878 to 1914, was a professor at the Muséum national d'histoire naturelle. Within this time period (1899–1914), he was also an instructor at the Institut agronomique in Paris.
In 1871 he became a member of the Société philomathique de Paris, and in 1876 gained membership to the Académie des sciences. In 1874 he translated the third edition of Julius von Sachs' Lehrbuch der Botanik textbook (1873) from German into French as Traité de botanique conforme à l'état présent de la science. Van Tieghem's own Traité de botanique appeared in 1884, in which he outlined his schema for taxonomic classification.
In 1876 he was the first to describe blastomycosis, a fungal infection that is also known as "Gilchrist disease", named after Thomas Casper Gilchrist (1862–1927), who published a treatise on the condition in 1896. He died in Paris in 1914.He also wrote extensively on the mistletoe family of Loranthaceae, with much of his taxonomic work surviving to the present day.
| 6 |
[
"Philippe Édouard Léon Van Tieghem",
"educated at",
"École Normale Supérieure"
] |
Life
Van Tieghem's father was a textile merchant who died of yellow fever in Martinique before he was born, and his mother shortly thereafter. One of five children, he obtained his baccalauréat in 1856, and continued his studies at the École Normale Supérieure, where after receiving agrégation, he worked in the laboratory of Louis Pasteur (1822–1895). Here he performed research involving the cultivation of mushrooms. He is credited with creation of the eponymous "Van Tieghem cell", a device mounted on a microscope slide that allows for observing the development of a fungus' mycelium.
In 1864 he earned his doctorate in physical sciences with a thesis titled Recherches sur la fermentation de l'urée et de l'acide hippurique, and two years later obtained a doctorate in natural history. From 1873 to 1886, he taught classes at the École centrale des arts et manufactures, and from 1878 to 1914, was a professor at the Muséum national d'histoire naturelle. Within this time period (1899–1914), he was also an instructor at the Institut agronomique in Paris.
In 1871 he became a member of the Société philomathique de Paris, and in 1876 gained membership to the Académie des sciences. In 1874 he translated the third edition of Julius von Sachs' Lehrbuch der Botanik textbook (1873) from German into French as Traité de botanique conforme à l'état présent de la science. Van Tieghem's own Traité de botanique appeared in 1884, in which he outlined his schema for taxonomic classification.
In 1876 he was the first to describe blastomycosis, a fungal infection that is also known as "Gilchrist disease", named after Thomas Casper Gilchrist (1862–1927), who published a treatise on the condition in 1896. He died in Paris in 1914.He also wrote extensively on the mistletoe family of Loranthaceae, with much of his taxonomic work surviving to the present day.
| 10 |
[
"Philippe Édouard Léon Van Tieghem",
"sex or gender",
"male"
] |
Philippe Édouard Léon Van Tieghem (French pronunciation: [filip edwaʁ leɔ̃ van tiɡɛm]; 19 April 1839 – 28 April 1914) was a French botanist born in Baillleul in the département of Nord. He was one of the best known French botanists of the latter nineteenth century.Life
Van Tieghem's father was a textile merchant who died of yellow fever in Martinique before he was born, and his mother shortly thereafter. One of five children, he obtained his baccalauréat in 1856, and continued his studies at the École Normale Supérieure, where after receiving agrégation, he worked in the laboratory of Louis Pasteur (1822–1895). Here he performed research involving the cultivation of mushrooms. He is credited with creation of the eponymous "Van Tieghem cell", a device mounted on a microscope slide that allows for observing the development of a fungus' mycelium.
In 1864 he earned his doctorate in physical sciences with a thesis titled Recherches sur la fermentation de l'urée et de l'acide hippurique, and two years later obtained a doctorate in natural history. From 1873 to 1886, he taught classes at the École centrale des arts et manufactures, and from 1878 to 1914, was a professor at the Muséum national d'histoire naturelle. Within this time period (1899–1914), he was also an instructor at the Institut agronomique in Paris.
In 1871 he became a member of the Société philomathique de Paris, and in 1876 gained membership to the Académie des sciences. In 1874 he translated the third edition of Julius von Sachs' Lehrbuch der Botanik textbook (1873) from German into French as Traité de botanique conforme à l'état présent de la science. Van Tieghem's own Traité de botanique appeared in 1884, in which he outlined his schema for taxonomic classification.
In 1876 he was the first to describe blastomycosis, a fungal infection that is also known as "Gilchrist disease", named after Thomas Casper Gilchrist (1862–1927), who published a treatise on the condition in 1896. He died in Paris in 1914.He also wrote extensively on the mistletoe family of Loranthaceae, with much of his taxonomic work surviving to the present day.
| 11 |
[
"Philippe Édouard Léon Van Tieghem",
"student of",
"Louis Pasteur"
] |
Life
Van Tieghem's father was a textile merchant who died of yellow fever in Martinique before he was born, and his mother shortly thereafter. One of five children, he obtained his baccalauréat in 1856, and continued his studies at the École Normale Supérieure, where after receiving agrégation, he worked in the laboratory of Louis Pasteur (1822–1895). Here he performed research involving the cultivation of mushrooms. He is credited with creation of the eponymous "Van Tieghem cell", a device mounted on a microscope slide that allows for observing the development of a fungus' mycelium.
In 1864 he earned his doctorate in physical sciences with a thesis titled Recherches sur la fermentation de l'urée et de l'acide hippurique, and two years later obtained a doctorate in natural history. From 1873 to 1886, he taught classes at the École centrale des arts et manufactures, and from 1878 to 1914, was a professor at the Muséum national d'histoire naturelle. Within this time period (1899–1914), he was also an instructor at the Institut agronomique in Paris.
In 1871 he became a member of the Société philomathique de Paris, and in 1876 gained membership to the Académie des sciences. In 1874 he translated the third edition of Julius von Sachs' Lehrbuch der Botanik textbook (1873) from German into French as Traité de botanique conforme à l'état présent de la science. Van Tieghem's own Traité de botanique appeared in 1884, in which he outlined his schema for taxonomic classification.
In 1876 he was the first to describe blastomycosis, a fungal infection that is also known as "Gilchrist disease", named after Thomas Casper Gilchrist (1862–1927), who published a treatise on the condition in 1896. He died in Paris in 1914.He also wrote extensively on the mistletoe family of Loranthaceae, with much of his taxonomic work surviving to the present day.
| 12 |
[
"Philippe Édouard Léon Van Tieghem",
"field of work",
"botany"
] |
Life
Van Tieghem's father was a textile merchant who died of yellow fever in Martinique before he was born, and his mother shortly thereafter. One of five children, he obtained his baccalauréat in 1856, and continued his studies at the École Normale Supérieure, where after receiving agrégation, he worked in the laboratory of Louis Pasteur (1822–1895). Here he performed research involving the cultivation of mushrooms. He is credited with creation of the eponymous "Van Tieghem cell", a device mounted on a microscope slide that allows for observing the development of a fungus' mycelium.
In 1864 he earned his doctorate in physical sciences with a thesis titled Recherches sur la fermentation de l'urée et de l'acide hippurique, and two years later obtained a doctorate in natural history. From 1873 to 1886, he taught classes at the École centrale des arts et manufactures, and from 1878 to 1914, was a professor at the Muséum national d'histoire naturelle. Within this time period (1899–1914), he was also an instructor at the Institut agronomique in Paris.
In 1871 he became a member of the Société philomathique de Paris, and in 1876 gained membership to the Académie des sciences. In 1874 he translated the third edition of Julius von Sachs' Lehrbuch der Botanik textbook (1873) from German into French as Traité de botanique conforme à l'état présent de la science. Van Tieghem's own Traité de botanique appeared in 1884, in which he outlined his schema for taxonomic classification.
In 1876 he was the first to describe blastomycosis, a fungal infection that is also known as "Gilchrist disease", named after Thomas Casper Gilchrist (1862–1927), who published a treatise on the condition in 1896. He died in Paris in 1914.He also wrote extensively on the mistletoe family of Loranthaceae, with much of his taxonomic work surviving to the present day.
| 13 |
[
"Philippe Édouard Léon Van Tieghem",
"occupation",
"biologist"
] |
Life
Van Tieghem's father was a textile merchant who died of yellow fever in Martinique before he was born, and his mother shortly thereafter. One of five children, he obtained his baccalauréat in 1856, and continued his studies at the École Normale Supérieure, where after receiving agrégation, he worked in the laboratory of Louis Pasteur (1822–1895). Here he performed research involving the cultivation of mushrooms. He is credited with creation of the eponymous "Van Tieghem cell", a device mounted on a microscope slide that allows for observing the development of a fungus' mycelium.
In 1864 he earned his doctorate in physical sciences with a thesis titled Recherches sur la fermentation de l'urée et de l'acide hippurique, and two years later obtained a doctorate in natural history. From 1873 to 1886, he taught classes at the École centrale des arts et manufactures, and from 1878 to 1914, was a professor at the Muséum national d'histoire naturelle. Within this time period (1899–1914), he was also an instructor at the Institut agronomique in Paris.
In 1871 he became a member of the Société philomathique de Paris, and in 1876 gained membership to the Académie des sciences. In 1874 he translated the third edition of Julius von Sachs' Lehrbuch der Botanik textbook (1873) from German into French as Traité de botanique conforme à l'état présent de la science. Van Tieghem's own Traité de botanique appeared in 1884, in which he outlined his schema for taxonomic classification.
In 1876 he was the first to describe blastomycosis, a fungal infection that is also known as "Gilchrist disease", named after Thomas Casper Gilchrist (1862–1927), who published a treatise on the condition in 1896. He died in Paris in 1914.He also wrote extensively on the mistletoe family of Loranthaceae, with much of his taxonomic work surviving to the present day.
| 23 |
[
"Philippe Édouard Léon Van Tieghem",
"employer",
"Muséum national d'histoire naturelle"
] |
Life
Van Tieghem's father was a textile merchant who died of yellow fever in Martinique before he was born, and his mother shortly thereafter. One of five children, he obtained his baccalauréat in 1856, and continued his studies at the École Normale Supérieure, where after receiving agrégation, he worked in the laboratory of Louis Pasteur (1822–1895). Here he performed research involving the cultivation of mushrooms. He is credited with creation of the eponymous "Van Tieghem cell", a device mounted on a microscope slide that allows for observing the development of a fungus' mycelium.
In 1864 he earned his doctorate in physical sciences with a thesis titled Recherches sur la fermentation de l'urée et de l'acide hippurique, and two years later obtained a doctorate in natural history. From 1873 to 1886, he taught classes at the École centrale des arts et manufactures, and from 1878 to 1914, was a professor at the Muséum national d'histoire naturelle. Within this time period (1899–1914), he was also an instructor at the Institut agronomique in Paris.
In 1871 he became a member of the Société philomathique de Paris, and in 1876 gained membership to the Académie des sciences. In 1874 he translated the third edition of Julius von Sachs' Lehrbuch der Botanik textbook (1873) from German into French as Traité de botanique conforme à l'état présent de la science. Van Tieghem's own Traité de botanique appeared in 1884, in which he outlined his schema for taxonomic classification.
In 1876 he was the first to describe blastomycosis, a fungal infection that is also known as "Gilchrist disease", named after Thomas Casper Gilchrist (1862–1927), who published a treatise on the condition in 1896. He died in Paris in 1914.He also wrote extensively on the mistletoe family of Loranthaceae, with much of his taxonomic work surviving to the present day.
| 25 |
[
"Philippe Édouard Léon Van Tieghem",
"family name",
"Van Tieghem"
] |
Philippe Édouard Léon Van Tieghem (French pronunciation: [filip edwaʁ leɔ̃ van tiɡɛm]; 19 April 1839 – 28 April 1914) was a French botanist born in Baillleul in the département of Nord. He was one of the best known French botanists of the latter nineteenth century.
| 26 |
[
"Philippe Édouard Léon Van Tieghem",
"member of",
"Société Philomathique de Paris"
] |
Life
Van Tieghem's father was a textile merchant who died of yellow fever in Martinique before he was born, and his mother shortly thereafter. One of five children, he obtained his baccalauréat in 1856, and continued his studies at the École Normale Supérieure, where after receiving agrégation, he worked in the laboratory of Louis Pasteur (1822–1895). Here he performed research involving the cultivation of mushrooms. He is credited with creation of the eponymous "Van Tieghem cell", a device mounted on a microscope slide that allows for observing the development of a fungus' mycelium.
In 1864 he earned his doctorate in physical sciences with a thesis titled Recherches sur la fermentation de l'urée et de l'acide hippurique, and two years later obtained a doctorate in natural history. From 1873 to 1886, he taught classes at the École centrale des arts et manufactures, and from 1878 to 1914, was a professor at the Muséum national d'histoire naturelle. Within this time period (1899–1914), he was also an instructor at the Institut agronomique in Paris.
In 1871 he became a member of the Société philomathique de Paris, and in 1876 gained membership to the Académie des sciences. In 1874 he translated the third edition of Julius von Sachs' Lehrbuch der Botanik textbook (1873) from German into French as Traité de botanique conforme à l'état présent de la science. Van Tieghem's own Traité de botanique appeared in 1884, in which he outlined his schema for taxonomic classification.
In 1876 he was the first to describe blastomycosis, a fungal infection that is also known as "Gilchrist disease", named after Thomas Casper Gilchrist (1862–1927), who published a treatise on the condition in 1896. He died in Paris in 1914.He also wrote extensively on the mistletoe family of Loranthaceae, with much of his taxonomic work surviving to the present day.
| 30 |
[
"Philippe Édouard Léon Van Tieghem",
"given name",
"Philippe"
] |
Philippe Édouard Léon Van Tieghem (French pronunciation: [filip edwaʁ leɔ̃ van tiɡɛm]; 19 April 1839 – 28 April 1914) was a French botanist born in Baillleul in the département of Nord. He was one of the best known French botanists of the latter nineteenth century.Life
Van Tieghem's father was a textile merchant who died of yellow fever in Martinique before he was born, and his mother shortly thereafter. One of five children, he obtained his baccalauréat in 1856, and continued his studies at the École Normale Supérieure, where after receiving agrégation, he worked in the laboratory of Louis Pasteur (1822–1895). Here he performed research involving the cultivation of mushrooms. He is credited with creation of the eponymous "Van Tieghem cell", a device mounted on a microscope slide that allows for observing the development of a fungus' mycelium.
In 1864 he earned his doctorate in physical sciences with a thesis titled Recherches sur la fermentation de l'urée et de l'acide hippurique, and two years later obtained a doctorate in natural history. From 1873 to 1886, he taught classes at the École centrale des arts et manufactures, and from 1878 to 1914, was a professor at the Muséum national d'histoire naturelle. Within this time period (1899–1914), he was also an instructor at the Institut agronomique in Paris.
In 1871 he became a member of the Société philomathique de Paris, and in 1876 gained membership to the Académie des sciences. In 1874 he translated the third edition of Julius von Sachs' Lehrbuch der Botanik textbook (1873) from German into French as Traité de botanique conforme à l'état présent de la science. Van Tieghem's own Traité de botanique appeared in 1884, in which he outlined his schema for taxonomic classification.
In 1876 he was the first to describe blastomycosis, a fungal infection that is also known as "Gilchrist disease", named after Thomas Casper Gilchrist (1862–1927), who published a treatise on the condition in 1896. He died in Paris in 1914.He also wrote extensively on the mistletoe family of Loranthaceae, with much of his taxonomic work surviving to the present day.
| 34 |
[
"Georg Joachim Rheticus",
"instance of",
"human"
] |
Surname
Rheticus was born at Feldkirch in the Archduchy of Austria. Both his parents, Georg Iserin and Thomasina de Porris, were of Italian heritage and possessed considerable wealth, his father being the town physician as well as a government official. He was educated by his father until the age of 14 when Georg (Iserin) abused the trust of many of his patients, stealing belongings and money from their homes. In 1528 he was convicted and executed for his crimes, and as a result his family was stripped of their surname.The family adopted the mother's maiden name: de Porris. Later as a student at the University of Wittenberg, Georg Joachim adopted the toponym Rheticus, a form of the Latin name for his home region, Rhaetia, a Roman province that had included parts of Austria, Switzerland and Germany. In the matriculation list for the University of Leipzig his family name, de Porris, is translated into German as von Lauchen. The lunar crater Rhaeticus as well as asteroid 15949 Rhaeticus were named for him.
| 1 |
[
"Georg Joachim Rheticus",
"field of work",
"trigonometry"
] |
Georg Joachim de Porris, also known as Rheticus (/ˈrɛtɪkəs/; 16 February 1514 – 5 December 1576), was a mathematician, astronomer, cartographer, navigational-instrument maker, medical practitioner, and teacher. He is perhaps best known for his trigonometric tables and as Nicolaus Copernicus's sole pupil. He facilitated the publication of his master's De revolutionibus orbium coelestium (On the Revolutions of the Heavenly Spheres).Later years
Often overshadowed by the facilitative role he played in Copernicus' publications, Rheticus would continue to pursue other scientific endeavors following his exile. 1551-52 found him studying medicine at the University of Prague, primarily applying his skills toward treatment of patients without any appreciable contributions to the field. Then in 1553, he was offered a position in mathematics at Vienna where he would travel to ultimately decline the appointment, instead relocating to Kraków in 1554 for the next 20 years as a practicing doctor. While there, he continued his work within mathematics and astronomy, further compiling his calculations of trigonomic functions with funding from Emperor Maximilian II with the aid of numerous assistants. The canon of Warmia Georg Donner and the bishop of Warmia Johannes Dantiscus were both patrons of Rheticus. Rheticus was also commissioned to make a staff for king Sigismund II of Poland, while he held a position as teacher in Kraków for many years. From there he went to Košice in the Kingdom of Hungary, where he died.Trigonometry
For much of his life, Rheticus displayed a passion for the study of triangles, the branch of mathematics now called trigonometry. In 1542 he had the trigonometric sections of Copernicus' De revolutionibis published separately under the title De lateribus et angulis triangulorum (On the Sides and Angles of Triangles). In 1551 Rheticus produced a tract titled Canon of the Science of Triangles, the first publication of six-function trigonometric tables (although the word trigonometry was not yet coined). This pamphlet was to be an introduction to Rheticus' greatest work, a full set of tables to be used in angular astronomical measurements.At his death, the Science of Triangles was still unfinished. However, paralleling his own relationship with Copernicus, Rheticus had acquired a student from Wittenberg who sought him out. Valentinus Otho, devoted to completing his teacher's work, oversaw the hand computation of approximately 100,000 ratios to at least ten decimal places. When completed in 1596, the volume, Opus palatinum de triangulis, filled nearly 1,500 pages. Its tables were accurate enough to be used in astronomical computation into the early twentieth century.
| 4 |
[
"Georg Joachim Rheticus",
"student of",
"Nicolaus Copernicus"
] |
Georg Joachim de Porris, also known as Rheticus (/ˈrɛtɪkəs/; 16 February 1514 – 5 December 1576), was a mathematician, astronomer, cartographer, navigational-instrument maker, medical practitioner, and teacher. He is perhaps best known for his trigonometric tables and as Nicolaus Copernicus's sole pupil. He facilitated the publication of his master's De revolutionibus orbium coelestium (On the Revolutions of the Heavenly Spheres).Later years
Often overshadowed by the facilitative role he played in Copernicus' publications, Rheticus would continue to pursue other scientific endeavors following his exile. 1551-52 found him studying medicine at the University of Prague, primarily applying his skills toward treatment of patients without any appreciable contributions to the field. Then in 1553, he was offered a position in mathematics at Vienna where he would travel to ultimately decline the appointment, instead relocating to Kraków in 1554 for the next 20 years as a practicing doctor. While there, he continued his work within mathematics and astronomy, further compiling his calculations of trigonomic functions with funding from Emperor Maximilian II with the aid of numerous assistants. The canon of Warmia Georg Donner and the bishop of Warmia Johannes Dantiscus were both patrons of Rheticus. Rheticus was also commissioned to make a staff for king Sigismund II of Poland, while he held a position as teacher in Kraków for many years. From there he went to Košice in the Kingdom of Hungary, where he died.
| 5 |
[
"Georg Joachim Rheticus",
"work location",
"Leipzig"
] |
Copernicus
In May 1539, Rheticus arrived in Frombork (Frauenburg), where he spent two years with Copernicus. Despite the effort invested thus far, Copernicus had not finished a manuscript of his work, apparently choosing to not seek publication, presumably due to issues reconciling such findings with the historically held religious attitudes at the time. Eventually though, he would be swayed to allow Rheticus to author an abstract on his research despite being well aware of the criticism and controversy it could bring. Only following its reception, widely considered the best introduction to Copernicus' work, would he then give Rheticus further permission to edit and publish his work in full. In this, Rheticus would prove integral in utilizing previously forged social connections as well as strategically cultivating new ones just to bring it to publication. It was thus only because of this fortuitous meeting that the heliocentric theory, a concept that would still not be accepted for decades to come, would ultimately be brought to light.
In September 1539, Rheticus went to Danzig (Gdańsk) to visit the mayor, who gave him financial assistance to publish his Narratio Prima (First Report) of Copernicus' forthcoming treatise. Rhode in Danzig published Narratio Prima in 1540. Unexpectedly, it also contains a eulogy of Prussia. In it, the origins, flora, and fauna of the country are discussed as well as descriptions for several of its cities, regarding their commerce and history, demonstrating that his travels frequently served a twin purpose. While in Danzig, Rheticus interviewed maritime pilots to learn about their problems in navigation. Rheticus also visited Copernicus' friend Tiedemann Giese, who was Bishop of Chełmno (Culm) and further encouraged him to publish the former's work. At some point, he would additionally become a patron.
In August 1541, Rheticus presented both a copy of Chorographia (containing a systematic approach to the preparation of maps, distinguishing chorography from geography, discussing various methods of cartographic survey by the use of the compass as well as improvements to the aforementioned instrument) and Tabula chorographica auff Preussen und etliche umbliegende lender (Map of Prussia and Neighboring Lands) to Albert, Duke of Prussia. Knowing the duke had been trying to compute the exact time of sunrise, Rheticus made an instrument that determined the length of the day, and through this favor obtained from him a recommendation to Wittenberg that De revolutionibus be published. Albrecht asked Rheticus to end his travels and return to his teaching position. Rheticus returned to the University of Wittenberg in October 1541, then elected dean of the Faculty of Arts as well as joining the theological faculty. In May 1542, he traveled to Nürnberg to supervise the printing by Johannes Petreius of the first edition of De revolutionibus in which he included tables of trigonometric functions he had calculated in further support of Copernicus' work, but had to leave in fall to take a position at the University of Leipzig, and Andreas Osiander replaced him. A theologian, Osiander would use this role to add an unauthorized preface in a would-be attempt to avoid censorship, explicitly describing the theory discussed therein as a model of pure hypothesis predicated on assumptions that are coincidentally consistent with the calculations. Towards this, Rheticus would allegedly deface every such copy he came across. Copernicus' major work would eventually be published shortly before his death in 1543.In a work now properly attributed to Rheticus tentatively titled Epistolae de Terrae Motu (Letter on the Motion of the Earth), he attempts to reconcile Copernicanism with scripture by employing St. Augustine's principle of accommodation. According to historian Robert Westman, the Epistolae or also known as the Opusculum, published posthumously and anonymously in 1651, demonstrates that Copernicus and Rheticus recognized the problem of conflict between their finding of earthly motion and biblical scripture, and had therefore developed a systematic defense of compatibility. Written in a moderate tone, he would suggest that the bible only contains that which is necessary for salvation, in doctrine and ethical instruction. Considering this tenet, scripture would then lack reference to any specific matter that may be studied by science, such as the movement of the earth with respect to the sun, with the exception being those facts of nature outside mankind's ability to investigate. Rheticus would further argue that biblical language was written in terms meant to be readily comprehensible to a wide audience:
| 9 |
[
"Georg Joachim Rheticus",
"employer",
"Leipzig University"
] |
Copernicus
In May 1539, Rheticus arrived in Frombork (Frauenburg), where he spent two years with Copernicus. Despite the effort invested thus far, Copernicus had not finished a manuscript of his work, apparently choosing to not seek publication, presumably due to issues reconciling such findings with the historically held religious attitudes at the time. Eventually though, he would be swayed to allow Rheticus to author an abstract on his research despite being well aware of the criticism and controversy it could bring. Only following its reception, widely considered the best introduction to Copernicus' work, would he then give Rheticus further permission to edit and publish his work in full. In this, Rheticus would prove integral in utilizing previously forged social connections as well as strategically cultivating new ones just to bring it to publication. It was thus only because of this fortuitous meeting that the heliocentric theory, a concept that would still not be accepted for decades to come, would ultimately be brought to light.
In September 1539, Rheticus went to Danzig (Gdańsk) to visit the mayor, who gave him financial assistance to publish his Narratio Prima (First Report) of Copernicus' forthcoming treatise. Rhode in Danzig published Narratio Prima in 1540. Unexpectedly, it also contains a eulogy of Prussia. In it, the origins, flora, and fauna of the country are discussed as well as descriptions for several of its cities, regarding their commerce and history, demonstrating that his travels frequently served a twin purpose. While in Danzig, Rheticus interviewed maritime pilots to learn about their problems in navigation. Rheticus also visited Copernicus' friend Tiedemann Giese, who was Bishop of Chełmno (Culm) and further encouraged him to publish the former's work. At some point, he would additionally become a patron.
In August 1541, Rheticus presented both a copy of Chorographia (containing a systematic approach to the preparation of maps, distinguishing chorography from geography, discussing various methods of cartographic survey by the use of the compass as well as improvements to the aforementioned instrument) and Tabula chorographica auff Preussen und etliche umbliegende lender (Map of Prussia and Neighboring Lands) to Albert, Duke of Prussia. Knowing the duke had been trying to compute the exact time of sunrise, Rheticus made an instrument that determined the length of the day, and through this favor obtained from him a recommendation to Wittenberg that De revolutionibus be published. Albrecht asked Rheticus to end his travels and return to his teaching position. Rheticus returned to the University of Wittenberg in October 1541, then elected dean of the Faculty of Arts as well as joining the theological faculty. In May 1542, he traveled to Nürnberg to supervise the printing by Johannes Petreius of the first edition of De revolutionibus in which he included tables of trigonometric functions he had calculated in further support of Copernicus' work, but had to leave in fall to take a position at the University of Leipzig, and Andreas Osiander replaced him. A theologian, Osiander would use this role to add an unauthorized preface in a would-be attempt to avoid censorship, explicitly describing the theory discussed therein as a model of pure hypothesis predicated on assumptions that are coincidentally consistent with the calculations. Towards this, Rheticus would allegedly deface every such copy he came across. Copernicus' major work would eventually be published shortly before his death in 1543.In a work now properly attributed to Rheticus tentatively titled Epistolae de Terrae Motu (Letter on the Motion of the Earth), he attempts to reconcile Copernicanism with scripture by employing St. Augustine's principle of accommodation. According to historian Robert Westman, the Epistolae or also known as the Opusculum, published posthumously and anonymously in 1651, demonstrates that Copernicus and Rheticus recognized the problem of conflict between their finding of earthly motion and biblical scripture, and had therefore developed a systematic defense of compatibility. Written in a moderate tone, he would suggest that the bible only contains that which is necessary for salvation, in doctrine and ethical instruction. Considering this tenet, scripture would then lack reference to any specific matter that may be studied by science, such as the movement of the earth with respect to the sun, with the exception being those facts of nature outside mankind's ability to investigate. Rheticus would further argue that biblical language was written in terms meant to be readily comprehensible to a wide audience:
| 14 |
[
"Georg Joachim Rheticus",
"given name",
"Georg"
] |
Georg Joachim de Porris, also known as Rheticus (/ˈrɛtɪkəs/; 16 February 1514 – 5 December 1576), was a mathematician, astronomer, cartographer, navigational-instrument maker, medical practitioner, and teacher. He is perhaps best known for his trigonometric tables and as Nicolaus Copernicus's sole pupil. He facilitated the publication of his master's De revolutionibus orbium coelestium (On the Revolutions of the Heavenly Spheres).
| 18 |
[
"Georg Joachim Rheticus",
"educated at",
"University of Halle-Wittenberg"
] |
Surname
Rheticus was born at Feldkirch in the Archduchy of Austria. Both his parents, Georg Iserin and Thomasina de Porris, were of Italian heritage and possessed considerable wealth, his father being the town physician as well as a government official. He was educated by his father until the age of 14 when Georg (Iserin) abused the trust of many of his patients, stealing belongings and money from their homes. In 1528 he was convicted and executed for his crimes, and as a result his family was stripped of their surname.The family adopted the mother's maiden name: de Porris. Later as a student at the University of Wittenberg, Georg Joachim adopted the toponym Rheticus, a form of the Latin name for his home region, Rhaetia, a Roman province that had included parts of Austria, Switzerland and Germany. In the matriculation list for the University of Leipzig his family name, de Porris, is translated into German as von Lauchen. The lunar crater Rhaeticus as well as asteroid 15949 Rhaeticus were named for him.
| 22 |
[
"Georg Joachim Rheticus",
"present in work",
"Copernicus"
] |
Georg Joachim de Porris, also known as Rheticus (/ˈrɛtɪkəs/; 16 February 1514 – 5 December 1576), was a mathematician, astronomer, cartographer, navigational-instrument maker, medical practitioner, and teacher. He is perhaps best known for his trigonometric tables and as Nicolaus Copernicus's sole pupil. He facilitated the publication of his master's De revolutionibus orbium coelestium (On the Revolutions of the Heavenly Spheres).Patrons
After Georg Iserin's death, Achilles Gasser took over his medical practice, helping Rheticus to continue his studies and supporting him, eventually going so far as to furnish him with a letter of introduction to Philipp Melanchthon, a theologian and educator who would become a major patron, having reorganized the whole educational system of the Lutheran Protestant parts of Germany, reforming and founding several new universities during the Reformation. This relationship in particular would soon serve him well as Melanchton possibly chose him specifically for the University of Wittenberg. Rheticus studied at Feldkirch, Zürich and Wittenberg where he received his M.A. in 1536, after which Melanchthon appointed Rheticus as professor of the lower mathematics, arithmetic and astronomy, at the Wittenberg University.
Two years later, Melanchthon arranged a two-year leave for Rheticus to study with noted astronomers. Leaving Wittenberg in October 1538, he first went to Nuremberg to visit the professor of mathematics at the Eigidien Oberschule, Johannes Schöner. In Nuremberg he also made the acquaintance of other mathematicians such as Georg Hartmann and Thomas Venatorius as well as the printer-publisher Johannes Petreius. During his journey, probably in Nuremberg, Rheticus heard of Copernicus and decided to seek him out. It is unknown whether he had access to Copernicus' Commentariolus, an unsigned, unpublished outline of Copernicus' revolutionary heliocentric theory that Copernicus distributed to friends and colleagues three decades before he published De revolutionibus, prior to this or perhaps on consulting Schöner who is believed to have persuaded him. From Johannes Petreius Rheticus was given works by Regiomontanus and others, intended as presents for Copernicus. He went on to Peter Apian at the University of Ingolstadt and Joachim Camerarius at the University of Tübingen, then to his hometown when Rheticus would present Gasser with an edition of Sacrobosco. From Feldkirch he set out on his journey to visit Copernicus in Frombork.Copernicus
In May 1539, Rheticus arrived in Frombork (Frauenburg), where he spent two years with Copernicus. Despite the effort invested thus far, Copernicus had not finished a manuscript of his work, apparently choosing to not seek publication, presumably due to issues reconciling such findings with the historically held religious attitudes at the time. Eventually though, he would be swayed to allow Rheticus to author an abstract on his research despite being well aware of the criticism and controversy it could bring. Only following its reception, widely considered the best introduction to Copernicus' work, would he then give Rheticus further permission to edit and publish his work in full. In this, Rheticus would prove integral in utilizing previously forged social connections as well as strategically cultivating new ones just to bring it to publication. It was thus only because of this fortuitous meeting that the heliocentric theory, a concept that would still not be accepted for decades to come, would ultimately be brought to light.
In September 1539, Rheticus went to Danzig (Gdańsk) to visit the mayor, who gave him financial assistance to publish his Narratio Prima (First Report) of Copernicus' forthcoming treatise. Rhode in Danzig published Narratio Prima in 1540. Unexpectedly, it also contains a eulogy of Prussia. In it, the origins, flora, and fauna of the country are discussed as well as descriptions for several of its cities, regarding their commerce and history, demonstrating that his travels frequently served a twin purpose. While in Danzig, Rheticus interviewed maritime pilots to learn about their problems in navigation. Rheticus also visited Copernicus' friend Tiedemann Giese, who was Bishop of Chełmno (Culm) and further encouraged him to publish the former's work. At some point, he would additionally become a patron.
In August 1541, Rheticus presented both a copy of Chorographia (containing a systematic approach to the preparation of maps, distinguishing chorography from geography, discussing various methods of cartographic survey by the use of the compass as well as improvements to the aforementioned instrument) and Tabula chorographica auff Preussen und etliche umbliegende lender (Map of Prussia and Neighboring Lands) to Albert, Duke of Prussia. Knowing the duke had been trying to compute the exact time of sunrise, Rheticus made an instrument that determined the length of the day, and through this favor obtained from him a recommendation to Wittenberg that De revolutionibus be published. Albrecht asked Rheticus to end his travels and return to his teaching position. Rheticus returned to the University of Wittenberg in October 1541, then elected dean of the Faculty of Arts as well as joining the theological faculty. In May 1542, he traveled to Nürnberg to supervise the printing by Johannes Petreius of the first edition of De revolutionibus in which he included tables of trigonometric functions he had calculated in further support of Copernicus' work, but had to leave in fall to take a position at the University of Leipzig, and Andreas Osiander replaced him. A theologian, Osiander would use this role to add an unauthorized preface in a would-be attempt to avoid censorship, explicitly describing the theory discussed therein as a model of pure hypothesis predicated on assumptions that are coincidentally consistent with the calculations. Towards this, Rheticus would allegedly deface every such copy he came across. Copernicus' major work would eventually be published shortly before his death in 1543.In a work now properly attributed to Rheticus tentatively titled Epistolae de Terrae Motu (Letter on the Motion of the Earth), he attempts to reconcile Copernicanism with scripture by employing St. Augustine's principle of accommodation. According to historian Robert Westman, the Epistolae or also known as the Opusculum, published posthumously and anonymously in 1651, demonstrates that Copernicus and Rheticus recognized the problem of conflict between their finding of earthly motion and biblical scripture, and had therefore developed a systematic defense of compatibility. Written in a moderate tone, he would suggest that the bible only contains that which is necessary for salvation, in doctrine and ethical instruction. Considering this tenet, scripture would then lack reference to any specific matter that may be studied by science, such as the movement of the earth with respect to the sun, with the exception being those facts of nature outside mankind's ability to investigate. Rheticus would further argue that biblical language was written in terms meant to be readily comprehensible to a wide audience:Trigonometry
For much of his life, Rheticus displayed a passion for the study of triangles, the branch of mathematics now called trigonometry. In 1542 he had the trigonometric sections of Copernicus' De revolutionibis published separately under the title De lateribus et angulis triangulorum (On the Sides and Angles of Triangles). In 1551 Rheticus produced a tract titled Canon of the Science of Triangles, the first publication of six-function trigonometric tables (although the word trigonometry was not yet coined). This pamphlet was to be an introduction to Rheticus' greatest work, a full set of tables to be used in angular astronomical measurements.At his death, the Science of Triangles was still unfinished. However, paralleling his own relationship with Copernicus, Rheticus had acquired a student from Wittenberg who sought him out. Valentinus Otho, devoted to completing his teacher's work, oversaw the hand computation of approximately 100,000 ratios to at least ten decimal places. When completed in 1596, the volume, Opus palatinum de triangulis, filled nearly 1,500 pages. Its tables were accurate enough to be used in astronomical computation into the early twentieth century.In popular culture
Rheticus narrates the third part of John Banville's 1975 novel Doctor Copernicus, relating how he convinced Copernicus to publish the book. The novel itself is less about Copernicus's work than about his life and the 16th century world in which he lived.
The episode "Claudia" of the U.S. science fiction series Warehouse 13 references a teleportation device in the form of a compass said to have been built by Rheticus.
Rheticus is referenced several times in the song "Like Rheticus" on the 2004 album Place by British songwriter Owen Tromans.Dava Sobel's 2011 book A More Perfect Heaven: How Copernicus Revolutionized the Cosmos features a fictional play about Rheticus' visit to Copernicus, sandwiched between chapters about the visit's pre-history and post-history.
| 28 |
[
"Georg Joachim Rheticus",
"notable work",
"Opus Palatinum de triangulis"
] |
Trigonometry
For much of his life, Rheticus displayed a passion for the study of triangles, the branch of mathematics now called trigonometry. In 1542 he had the trigonometric sections of Copernicus' De revolutionibis published separately under the title De lateribus et angulis triangulorum (On the Sides and Angles of Triangles). In 1551 Rheticus produced a tract titled Canon of the Science of Triangles, the first publication of six-function trigonometric tables (although the word trigonometry was not yet coined). This pamphlet was to be an introduction to Rheticus' greatest work, a full set of tables to be used in angular astronomical measurements.At his death, the Science of Triangles was still unfinished. However, paralleling his own relationship with Copernicus, Rheticus had acquired a student from Wittenberg who sought him out. Valentinus Otho, devoted to completing his teacher's work, oversaw the hand computation of approximately 100,000 ratios to at least ten decimal places. When completed in 1596, the volume, Opus palatinum de triangulis, filled nearly 1,500 pages. Its tables were accurate enough to be used in astronomical computation into the early twentieth century.
| 30 |
[
"Georg Joachim Rheticus",
"educated at",
"University of Wittenberg"
] |
Surname
Rheticus was born at Feldkirch in the Archduchy of Austria. Both his parents, Georg Iserin and Thomasina de Porris, were of Italian heritage and possessed considerable wealth, his father being the town physician as well as a government official. He was educated by his father until the age of 14 when Georg (Iserin) abused the trust of many of his patients, stealing belongings and money from their homes. In 1528 he was convicted and executed for his crimes, and as a result his family was stripped of their surname.The family adopted the mother's maiden name: de Porris. Later as a student at the University of Wittenberg, Georg Joachim adopted the toponym Rheticus, a form of the Latin name for his home region, Rhaetia, a Roman province that had included parts of Austria, Switzerland and Germany. In the matriculation list for the University of Leipzig his family name, de Porris, is translated into German as von Lauchen. The lunar crater Rhaeticus as well as asteroid 15949 Rhaeticus were named for him.
| 32 |
[
"Georg Joachim Rheticus",
"occupation",
"university teacher"
] |
Copernicus
In May 1539, Rheticus arrived in Frombork (Frauenburg), where he spent two years with Copernicus. Despite the effort invested thus far, Copernicus had not finished a manuscript of his work, apparently choosing to not seek publication, presumably due to issues reconciling such findings with the historically held religious attitudes at the time. Eventually though, he would be swayed to allow Rheticus to author an abstract on his research despite being well aware of the criticism and controversy it could bring. Only following its reception, widely considered the best introduction to Copernicus' work, would he then give Rheticus further permission to edit and publish his work in full. In this, Rheticus would prove integral in utilizing previously forged social connections as well as strategically cultivating new ones just to bring it to publication. It was thus only because of this fortuitous meeting that the heliocentric theory, a concept that would still not be accepted for decades to come, would ultimately be brought to light.
In September 1539, Rheticus went to Danzig (Gdańsk) to visit the mayor, who gave him financial assistance to publish his Narratio Prima (First Report) of Copernicus' forthcoming treatise. Rhode in Danzig published Narratio Prima in 1540. Unexpectedly, it also contains a eulogy of Prussia. In it, the origins, flora, and fauna of the country are discussed as well as descriptions for several of its cities, regarding their commerce and history, demonstrating that his travels frequently served a twin purpose. While in Danzig, Rheticus interviewed maritime pilots to learn about their problems in navigation. Rheticus also visited Copernicus' friend Tiedemann Giese, who was Bishop of Chełmno (Culm) and further encouraged him to publish the former's work. At some point, he would additionally become a patron.
In August 1541, Rheticus presented both a copy of Chorographia (containing a systematic approach to the preparation of maps, distinguishing chorography from geography, discussing various methods of cartographic survey by the use of the compass as well as improvements to the aforementioned instrument) and Tabula chorographica auff Preussen und etliche umbliegende lender (Map of Prussia and Neighboring Lands) to Albert, Duke of Prussia. Knowing the duke had been trying to compute the exact time of sunrise, Rheticus made an instrument that determined the length of the day, and through this favor obtained from him a recommendation to Wittenberg that De revolutionibus be published. Albrecht asked Rheticus to end his travels and return to his teaching position. Rheticus returned to the University of Wittenberg in October 1541, then elected dean of the Faculty of Arts as well as joining the theological faculty. In May 1542, he traveled to Nürnberg to supervise the printing by Johannes Petreius of the first edition of De revolutionibus in which he included tables of trigonometric functions he had calculated in further support of Copernicus' work, but had to leave in fall to take a position at the University of Leipzig, and Andreas Osiander replaced him. A theologian, Osiander would use this role to add an unauthorized preface in a would-be attempt to avoid censorship, explicitly describing the theory discussed therein as a model of pure hypothesis predicated on assumptions that are coincidentally consistent with the calculations. Towards this, Rheticus would allegedly deface every such copy he came across. Copernicus' major work would eventually be published shortly before his death in 1543.In a work now properly attributed to Rheticus tentatively titled Epistolae de Terrae Motu (Letter on the Motion of the Earth), he attempts to reconcile Copernicanism with scripture by employing St. Augustine's principle of accommodation. According to historian Robert Westman, the Epistolae or also known as the Opusculum, published posthumously and anonymously in 1651, demonstrates that Copernicus and Rheticus recognized the problem of conflict between their finding of earthly motion and biblical scripture, and had therefore developed a systematic defense of compatibility. Written in a moderate tone, he would suggest that the bible only contains that which is necessary for salvation, in doctrine and ethical instruction. Considering this tenet, scripture would then lack reference to any specific matter that may be studied by science, such as the movement of the earth with respect to the sun, with the exception being those facts of nature outside mankind's ability to investigate. Rheticus would further argue that biblical language was written in terms meant to be readily comprehensible to a wide audience:
| 34 |
[
"Georg Joachim Rheticus",
"place of birth",
"Feldkirch"
] |
Surname
Rheticus was born at Feldkirch in the Archduchy of Austria. Both his parents, Georg Iserin and Thomasina de Porris, were of Italian heritage and possessed considerable wealth, his father being the town physician as well as a government official. He was educated by his father until the age of 14 when Georg (Iserin) abused the trust of many of his patients, stealing belongings and money from their homes. In 1528 he was convicted and executed for his crimes, and as a result his family was stripped of their surname.The family adopted the mother's maiden name: de Porris. Later as a student at the University of Wittenberg, Georg Joachim adopted the toponym Rheticus, a form of the Latin name for his home region, Rhaetia, a Roman province that had included parts of Austria, Switzerland and Germany. In the matriculation list for the University of Leipzig his family name, de Porris, is translated into German as von Lauchen. The lunar crater Rhaeticus as well as asteroid 15949 Rhaeticus were named for him.
| 36 |
[
"Pontormo",
"country of citizenship",
"Italy"
] |
Jacopo Carucci (May 24, 1494 – January 2, 1557), usually known as Jacopo (da) Pontormo or simply Pontormo, was an Italian Mannerist painter and portraitist from the Florentine School. His work represents a profound stylistic shift from the calm perspectival regularity that characterized the art of the Florentine Renaissance. He is famous for his use of twining poses, coupled with ambiguous perspective; his figures often seem to float in an uncertain environment, unhampered by the forces of gravity.
| 4 |
[
"Pontormo",
"work location",
"Florence"
] |
Jacopo Carucci (May 24, 1494 – January 2, 1557), usually known as Jacopo (da) Pontormo or simply Pontormo, was an Italian Mannerist painter and portraitist from the Florentine School. His work represents a profound stylistic shift from the calm perspectival regularity that characterized the art of the Florentine Renaissance. He is famous for his use of twining poses, coupled with ambiguous perspective; his figures often seem to float in an uncertain environment, unhampered by the forces of gravity.Biography and early work
Jacopo Carucci was born at Pontorme, near Empoli, to Bartolomeo di Jacopo di Martino Carrucci and Alessandra di Pasquale di Zanobi. Vasari relates how the orphaned boy, "young, melancholy, and lonely", was shuttled around as a young apprentice:Jacopo had not been many months in Florence before Bernardo Vettori sent him to stay with Leonardo da Vinci, and then with Mariotto Albertinelli, Piero di Cosimo, and finally, in 1512, with Andrea del Sarto, with whom he did not remain long, for after he had done the cartoons for the arch of the Servites, it does not seem that Andrea bore him any good will, whatever the cause may have been.Pontormo painted in and around Florence, often supported by Medici patronage. A foray to Rome, largely to see Michelangelo's work, influenced his later style. Haunted faces and elongated bodies are characteristic of his work. An example of Pontormo's early style is a fresco depicting the Visitation of the Virgin and St Elizabeth, with its dancelike, balanced figures, painted from 1514 to 1516.
This early Visitation makes an interesting comparison with his painting of the same subject which was done about a decade later, now housed in the parish church of St. Michael Archangel in Carmignano, about 20 km west of Florence. Placing these two pictures together—one from his early style, and another from his mature period—throws Pontormo's artistic development into sharp relief. In the earlier work, Pontormo is much closer in style to his teacher, Andrea del Sarto, and to the early sixteenth-century renaissance artistic principles. For example, the figures stand at just under half the height of the overall picture, and though a bit more crowded than true high renaissance balance would prefer, at least are placed in a classicizing architectural setting at a comfortable distance from the viewer. In the later work, the viewer is brought almost uncomfortably close to the Virgin and St. Elizabeth, who drift toward each other in clouds of drapery. Moreover, the clear architectural setting that is carefully constructed in the earlier piece has been completely abandoned in favour of a peculiar nondescript urban setting.
| 6 |
[
"Pontormo",
"has works in the collection",
"Uffizi Gallery"
] |
Jacopo Carucci (May 24, 1494 – January 2, 1557), usually known as Jacopo (da) Pontormo or simply Pontormo, was an Italian Mannerist painter and portraitist from the Florentine School. His work represents a profound stylistic shift from the calm perspectival regularity that characterized the art of the Florentine Renaissance. He is famous for his use of twining poses, coupled with ambiguous perspective; his figures often seem to float in an uncertain environment, unhampered by the forces of gravity.On the wall to the right of the Deposition, Pontormo frescoed an Annunciation scene (at left). As with the Deposition, the artist's primary attention is on the figures themselves rather than their setting. Placed against white walls, the Angel Gabriel and Virgin Mary are presented in an environment that is so simplified as to almost seem stark. The fictive architectural details above each of them, are painted to resemble the gray stone pietra serena that adorns the interior of Santa Felicità, thus uniting their painted space with the viewer's actual space. The startling contrast between the figures and ground makes their brilliant garments almost seem to glow in the light of the window between them, against the stripped-down background, as if the couple miraculously appeared in an extension of the chapel wall. The Annunciation resembles his above-mentioned Visitation in the church of San Michele at Carmignano in both the style and swaying postures.
Vasari tells us that the cupola was originally painted with God the Father and Four Patriarchs. The decoration in the dome of the chapel is now lost, but four roundels with the Evangelists still adorn the pendentives, worked on by both Pontormo and his chief pupil Agnolo Bronzino. The two artists collaborated so closely that specialists dispute which roundels each of them painted.
This tumultuous oval of figures took three years for Pontormo to complete. According to Vasari, because Pontormo desired above all to "do things his own way without being bothered by anyone," the artist screened off the chapel so as to prevent interfering opinions. Vasari continues, "And so, having painted it in his own way without any of his friends being able to point anything out to him, it was finally uncovered and seen with astonishment by all of Florence..."A number of Pontormo's other works have also remained in Florence; the Uffizi Gallery holds his mystical Supper at Emmaus as well as portraits.
Many of Pontormo's well-known canvases, such as the early Joseph in Egypt series (c. 1515) and the later Martyrdom of St Maurice and the Theban Legion (c. 1531) depict crowds milling about in extreme contrapposto of greatly varied positions.
His portraits, acutely characterized, show similarly Mannerist proportions.
| 7 |
[
"Pontormo",
"has works in the collection",
"Galleria dell'Accademia"
] |
Jacopo Carucci (May 24, 1494 – January 2, 1557), usually known as Jacopo (da) Pontormo or simply Pontormo, was an Italian Mannerist painter and portraitist from the Florentine School. His work represents a profound stylistic shift from the calm perspectival regularity that characterized the art of the Florentine Renaissance. He is famous for his use of twining poses, coupled with ambiguous perspective; his figures often seem to float in an uncertain environment, unhampered by the forces of gravity.
| 12 |
[
"Pontormo",
"has works in the collection",
"Uffizi Gallery"
] |
Jacopo Carucci (May 24, 1494 – January 2, 1557), usually known as Jacopo (da) Pontormo or simply Pontormo, was an Italian Mannerist painter and portraitist from the Florentine School. His work represents a profound stylistic shift from the calm perspectival regularity that characterized the art of the Florentine Renaissance. He is famous for his use of twining poses, coupled with ambiguous perspective; his figures often seem to float in an uncertain environment, unhampered by the forces of gravity.On the wall to the right of the Deposition, Pontormo frescoed an Annunciation scene (at left). As with the Deposition, the artist's primary attention is on the figures themselves rather than their setting. Placed against white walls, the Angel Gabriel and Virgin Mary are presented in an environment that is so simplified as to almost seem stark. The fictive architectural details above each of them, are painted to resemble the gray stone pietra serena that adorns the interior of Santa Felicità, thus uniting their painted space with the viewer's actual space. The startling contrast between the figures and ground makes their brilliant garments almost seem to glow in the light of the window between them, against the stripped-down background, as if the couple miraculously appeared in an extension of the chapel wall. The Annunciation resembles his above-mentioned Visitation in the church of San Michele at Carmignano in both the style and swaying postures.
Vasari tells us that the cupola was originally painted with God the Father and Four Patriarchs. The decoration in the dome of the chapel is now lost, but four roundels with the Evangelists still adorn the pendentives, worked on by both Pontormo and his chief pupil Agnolo Bronzino. The two artists collaborated so closely that specialists dispute which roundels each of them painted.
This tumultuous oval of figures took three years for Pontormo to complete. According to Vasari, because Pontormo desired above all to "do things his own way without being bothered by anyone," the artist screened off the chapel so as to prevent interfering opinions. Vasari continues, "And so, having painted it in his own way without any of his friends being able to point anything out to him, it was finally uncovered and seen with astonishment by all of Florence..."A number of Pontormo's other works have also remained in Florence; the Uffizi Gallery holds his mystical Supper at Emmaus as well as portraits.
Many of Pontormo's well-known canvases, such as the early Joseph in Egypt series (c. 1515) and the later Martyrdom of St Maurice and the Theban Legion (c. 1531) depict crowds milling about in extreme contrapposto of greatly varied positions.
His portraits, acutely characterized, show similarly Mannerist proportions.
| 13 |
[
"Pontormo",
"has works in the collection",
"National Gallery"
] |
The Joseph canvases (now in the National Gallery in London) offer another example of Pontormo's developing style. Done around the same time as the earlier Visitation, these works (such as Joseph in Egypt, at left) show a much more mannerist leaning. According to Giorgio Vasari, the sitter for the boy seated on a step is his young apprentice, Bronzino.
In the years between the SS Annunziata and San Michele Visitations, Pontormo took part in the fresco decoration of the salon of the Medici country villa at Poggio a Caiano (1519–20), 17 km NNW of Florence. There he painted frescoes in a pastoral genre style, very uncommon for Florentine painters; their subject was the obscure classical myth of Vertumnus and Pomona in a lunette.
| 20 |
[
"Pontormo",
"occupation",
"painter"
] |
Jacopo Carucci (May 24, 1494 – January 2, 1557), usually known as Jacopo (da) Pontormo or simply Pontormo, was an Italian Mannerist painter and portraitist from the Florentine School. His work represents a profound stylistic shift from the calm perspectival regularity that characterized the art of the Florentine Renaissance. He is famous for his use of twining poses, coupled with ambiguous perspective; his figures often seem to float in an uncertain environment, unhampered by the forces of gravity.
| 25 |
[
"Pontormo",
"given name",
"Jacopo"
] |
Jacopo Carucci (May 24, 1494 – January 2, 1557), usually known as Jacopo (da) Pontormo or simply Pontormo, was an Italian Mannerist painter and portraitist from the Florentine School. His work represents a profound stylistic shift from the calm perspectival regularity that characterized the art of the Florentine Renaissance. He is famous for his use of twining poses, coupled with ambiguous perspective; his figures often seem to float in an uncertain environment, unhampered by the forces of gravity.Biography and early work
Jacopo Carucci was born at Pontorme, near Empoli, to Bartolomeo di Jacopo di Martino Carrucci and Alessandra di Pasquale di Zanobi. Vasari relates how the orphaned boy, "young, melancholy, and lonely", was shuttled around as a young apprentice:
| 28 |
[
"Pontormo",
"student",
"Bronzino"
] |
The Joseph canvases (now in the National Gallery in London) offer another example of Pontormo's developing style. Done around the same time as the earlier Visitation, these works (such as Joseph in Egypt, at left) show a much more mannerist leaning. According to Giorgio Vasari, the sitter for the boy seated on a step is his young apprentice, Bronzino.
In the years between the SS Annunziata and San Michele Visitations, Pontormo took part in the fresco decoration of the salon of the Medici country villa at Poggio a Caiano (1519–20), 17 km NNW of Florence. There he painted frescoes in a pastoral genre style, very uncommon for Florentine painters; their subject was the obscure classical myth of Vertumnus and Pomona in a lunette.
| 46 |
[
"Pontormo",
"movement",
"mannerism"
] |
Lost or damaged works
Many of Pontormo's works have been damaged, including the lunettes for the cloister in the Carthusian monastery of Galluzo. They now are displayed indoors, although in their damaged state.
Perhaps most tragic is the loss of the unfinished frescoes for the choir of the Basilica of San Lorenzo, Florence which consumed the last decade of his life. His frescoes depicted a Last Judgment day composed of an unsettling morass of writhing figures. The remaining drawings, showing a bizarre and mystical ribboning of bodies, had an almost hallucinatory effect. Florentine figure painting had mainly stressed linear and sculptural figures. For example, the Christ in Michelangelo's Last Judgment in the Sistine Chapel is a massive painted block, stern in his wrath; by contrast, Pontormo's Jesus in the Last Judgment twists sinuously, as if rippling through the heavens in the dance of ultimate finality. Angels swirl about him in even more serpentine poses. If Pontormo's work from the 1520s seemed to float in a world little touched by gravitational force, the Last Judgment figures seem to have escaped it altogether and flail through rarefied air.
In his Last Judgment, Pontormo went against pictorial and theological tradition by placing God the Father at the feet of Christ, instead of above him, an idea Vasari found deeply disturbing:
| 47 |
[
"Pontormo",
"father",
"Bartolommeo di Jacopo di Martino"
] |
Biography and early work
Jacopo Carucci was born at Pontorme, near Empoli, to Bartolomeo di Jacopo di Martino Carrucci and Alessandra di Pasquale di Zanobi. Vasari relates how the orphaned boy, "young, melancholy, and lonely", was shuttled around as a young apprentice:
| 49 |
[
"Pontormo",
"has works in the collection",
"Gabinetto dei disegni e delle stampe"
] |
Jacopo Carucci (May 24, 1494 – January 2, 1557), usually known as Jacopo (da) Pontormo or simply Pontormo, was an Italian Mannerist painter and portraitist from the Florentine School. His work represents a profound stylistic shift from the calm perspectival regularity that characterized the art of the Florentine Renaissance. He is famous for his use of twining poses, coupled with ambiguous perspective; his figures often seem to float in an uncertain environment, unhampered by the forces of gravity.
| 66 |
[
"Francesco Melzi",
"work location",
"Milan"
] |
Career and life
Francesco Melzi's career is inextricably linked to Leonardo da Vinci, and this could be a reason that he is not well-known, because his master overshadowed him. Sigmund Freud attributed the lack of success of Leonardo's pupils, including the talented Francesco, to their inability to distinguish themselves as separate from their master, and thus their careers were unable to flourish after his death.(p52) Before Leonardo's death in 1519, Francesco's career consisted largely of being an assistant to, and an executor for, Leonardo. Because of their close relationship, more like father-son rather than master-apprentice, he was content with aiding and caring for Leonardo, a companion/secretary. One of his main tasks was to scribe his master's Codex Trivulzianus, a manuscript of learned words and ideas,(p291) which is presumed to have been written entirely in Milan because Francesco (or Leonardo) scribed "Milan" on the last page.(p291)Francesco was Leonardo's only pupil who stayed with him until his death, traveling and working with him in Milan, Rome, and France. He accompanied the master painter to Milan, where the French governor of Milan Charles d'Amboise was Leonardo's patron,(p408) and went to Rome with him in 1513. In his notebook Leonardo wrote, "I left Milan for Rome on the 24th day of September 1513, with Giovanni Boltraffio, Francesco de' Melzi, Lorenzo di Credi, and il Fanfoia."(p439) After three years in Rome, Francesco accompanied Leonardo to France in 1516(p18) where they stayed in the Chateau de Cloux in Amboise. During this time, Francis I of France was Leonardo's patron, and the French court account books logged Leonardo's annual payment was 1000 gold crowns (écus de soleil), while Francesco Melzi received 400.(p503)During this time in France, Andrea Salaí, another pupil, left Leonardo and built a house on Leonardo's estate in Italy, and so Francesco was the last pupil who continued to work for his master until his death. He was the executor and heir of Leonardo's will. Although Francesco was Leonardo's official heir and was bequeathed with his master's manuscripts, drawings, workshop materials and machinery, Salaì received Leonardo's paintings in 1524 in France and brought them back to Milan.(p371) Francesco's responsibility attaching him to Leonardo da Vinci was to care for his late master's works after he passed. Leonardo wanted his works to be shared with the world and read by others after his death, however Francesco never fully accomplished this.
| 6 |
[
"Francesco Melzi",
"student of",
"Leonardo da Vinci"
] |
Francesco Melzi, or Francesco de Melzi (1491–1570), was an Italian painter born into a family of the Milanese nobility in Lombardy. He became a pupil of Leonardo da Vinci and remained as his closest professional assistant throughout his career. After da Vinci's death he became the literary executor of all da Vinci's papers, editing them into a manuscript on painting he published as Tratatto della Pittura [Treatise on Painting] or a compilation entitled the Codex Urbinas.Early life and training
Francesco's father, Gerolamo Melzi, was an engineer for Francesco II Sforza's military, and a captain in the militia in Milan under Louis XII. Francesco lived with his family in the Villa Melzi in Vaprio d'Adda (not to be confused with the Villa Melzi d'Eril in Bellagio, Lombardy), which today is still under the ownership of the Dukes Melzi d'Eril.(p19) Francesco grew up in the Milanese court, and was raised with proper manners and was granted a good education, which included training in the arts. He was reasonably talented in the arts and worked very hard.As a member of a prominent family of the Milanese court, however, Francesco would have had political and social responsibilities as he got older that would have caused him to discontinue his studies in art had it not been for Leonardo da Vinci. Leonardo returned to Milan for some time around 1505 and stayed with the Melzi family. It was there that he met Francesco for the first time, enticed by his good nature and handsomeness. In a biography of Leonardo da Vinci, it is argued that he felt compelled to stay in Milan longer than he had intended after meeting with the young Francesco.(p381) Francesco is described in literature as charming and graceful, an adolescent without the awkwardness or lack of manners typical of boys around this age.(p381) Francesco and another pupil of Leonardo's – Boltraffo – stood out from the other students as they were capable painters, very bright, and well-learned. Because of his upbringing in the high court, Francesco was gracious and dignified, and had a very good education.(p351) Shortly after they met, Francesco began studying and working at Leonardo's workshop and quickly became his master's favorite pupil, and the most devoted as well. Despite this, fairly little is written about the apprentice painter, and what is known about him is almost exclusively within the context of Leonardo.
Other than Francesco, none of Leonardo's pupils went on to become respected artists. And although he is not well-known, Francesco is referred to as being the first person responsible for collecting, organizing, and preserving Leonardo da Vinci's notes on painting, and transforming it into a manuscript copy known as the Codex Urbinas. After Leonardo's death in 1519, Francesco returned to Italy and married Angiola di Landriani; with her he fathered eight children.(p371) One of his children, Orazio, inherited Leonardo's manuscripts after Francesco's death in 1569~1570.Selected works
Leonardo da Vinci chose only very handsome boys, as was Francesco, to be his pupils and cared for them considerably as if they were family.(p52) In addition to Francesco Melzi, some of his pupils were Cesare da Sesto, Giovanni Boltraffio, and Andrea Salaí. However, as they were chosen based on attractiveness rather than talent, they were not very skilled painters, and therefore most critics consider it easy to identify paintings they worked, on based on their lower quality.(p359)Because of the general workshop practice where multiple artists work on one painting, it has become common practice to ascribe Leonardo's pupils to his less known (or lower quality) works.(p359) These might be referenced to as paintings done by his pupils that Leonardo touched up, as opposed to the inverse. Francesco Melzi, in contrast to his peers, actually does have a handful of completed, high quality paintings attributed to him, as well as drawings and studies. He is responsible for the red chalk portrait, from approximately 1515, of da Vinci's profile which depicts him as very classically handsome and regal. This is most likely the portrait to which Vasari and Anonimo Gaddiano, as well as other later writers, refer to in describing Leonardo as having such "grace and beauty."There are several other drawings attributed to him in the Biblioteca Ambrosiana in Milan. This includes Head of an Old Man which he signed himself saying "1510 a dí 14 Augusto p.a caveat de relic Franchesco de Melzo de anti 17" ["on the day 14 August taken from a relief by Francesco Melzi 17 years of age"].(p116) There is a note on the back sheet that identifies the man in this drawing as Artus Boysi.(pp370–380) This drawing is red chalk on paper, and although it highlights the artist's keen ability to render from observation, Francesco's note at the bottom leads us to believe that it was based on a relief, most likely by Leonardo.(p116) It is also conjectured that he uses this same head in his Vertumnus and Pomona. He also created the chalk drawing Five Grotesque Heads, in addition to Seven Caricatures and Two Grotesque Heads, all in similar style. There are many drawings attributed to Francesco, however it is often difficult to know definitively if they are his because his style is so influenced by, and therefore similar to, Leonardo's.(p120)He is also responsible for some paintings, some of which are relatively well-known. His Vertumnus and Pomona is in the Berlin Museum displayed in the altarpiece, and his Flora, which was attributed to Leonardo until the mid 19th century, hangs in the Hermitage Museum.(p18) La Belle Ferronnière is a painting of an unidentified woman whose author is not certain. In the Louvre it is attributed to Leonardo da Vinci, but is sometimes attributed to Francesco Melzi, and even other times to Leonardo's Workshop. (PLATE III. (a)) Other paintings by or attributed to Francesco are Nymph at the Spring (Washington Gallery of Art), Portrait of a Young Man with a Parrot (Milan, private collection), and Saint Anne with the Virgin and the Child Embracing a Lamb (Galleria degli Uffizi).(pp370–380)Francesco's Flora appears on the cover of Mango's 2009 album Gli amori son finestre.
| 8 |
[
"Francesco Melzi",
"family",
"Melzi family"
] |
Francesco Melzi, or Francesco de Melzi (1491–1570), was an Italian painter born into a family of the Milanese nobility in Lombardy. He became a pupil of Leonardo da Vinci and remained as his closest professional assistant throughout his career. After da Vinci's death he became the literary executor of all da Vinci's papers, editing them into a manuscript on painting he published as Tratatto della Pittura [Treatise on Painting] or a compilation entitled the Codex Urbinas.
| 19 |
[
"Francesco Melzi",
"family name",
"Melzi"
] |
Francesco Melzi, or Francesco de Melzi (1491–1570), was an Italian painter born into a family of the Milanese nobility in Lombardy. He became a pupil of Leonardo da Vinci and remained as his closest professional assistant throughout his career. After da Vinci's death he became the literary executor of all da Vinci's papers, editing them into a manuscript on painting he published as Tratatto della Pittura [Treatise on Painting] or a compilation entitled the Codex Urbinas.
| 21 |
[
"Francesco Melzi",
"sex or gender",
"male"
] |
Francesco Melzi, or Francesco de Melzi (1491–1570), was an Italian painter born into a family of the Milanese nobility in Lombardy. He became a pupil of Leonardo da Vinci and remained as his closest professional assistant throughout his career. After da Vinci's death he became the literary executor of all da Vinci's papers, editing them into a manuscript on painting he published as Tratatto della Pittura [Treatise on Painting] or a compilation entitled the Codex Urbinas.
| 24 |
[
"Francesco Melzi",
"given name",
"Francesco"
] |
Francesco Melzi, or Francesco de Melzi (1491–1570), was an Italian painter born into a family of the Milanese nobility in Lombardy. He became a pupil of Leonardo da Vinci and remained as his closest professional assistant throughout his career. After da Vinci's death he became the literary executor of all da Vinci's papers, editing them into a manuscript on painting he published as Tratatto della Pittura [Treatise on Painting] or a compilation entitled the Codex Urbinas.
| 27 |
[
"Andrea Solari",
"has works in the collection",
"Thyssen-Bornemisza Museum"
] |
Works
Portrait of a Young Man, c. 1490, oil on panel, 31x28 cm, Madrid, Thyssen-Bornemisza Museum
Madonna with Child, c. 1495, oil on panel, 30,5x27 cm, Milan, Poldi-Pezzoli Museum
Man with a Pink Carnation, c. 1495, oil on panel, 50x39 cm, National Gallery of London
Christ carrying the cross, 1495–1500, oil on panel, 34x26 cm, Brescia, Pinacoteca Tosio Martinengo
Portrait of a Man, c. 1500, oil on panel, 42x32 cm, Milan, Brera Gallery
Christ crowned with thorns, 1500–1505, oil on panel, 39x31 cm, Bergamo, Accademia Carrara
Head of a Bearded Man, 1500–1510, black, red, and yellow chalk on brownish paper, New York, Metropolitan Museum
Portrait of Giovanni Cristoforo Longoni, 1505, oil on panel, 79x60,5 cm, National Gallery of London
Ecce Homo, 1505–1506, oil on panel, 43x33 cm, Milan, Poldi-Pezzoli Museum
Ecce Homo, 1506-1507, oil on panel, 43x34 cm, Belgrade, National Museum of Serbia
Lamentation over the Dead Christ, c. 1505-1507, oil on panel, 168x152 cm, Washington, National Gallery of Art
Ecce Homo, 1505–1507, oil on panel, 57x44 cm, Oxford, Ashmolean Museum
Portrait of Charles d'Amboise, c. 1507, oil on panel, 75x52 cm, Paris, Louvre
The Head of Saint John the Baptist on a Charger, 1507, oil on panel, 46x43 cm, Paris, Louvre
Madonna with the Green Cushion, 1507, oil on panel, 59x47 cm, Paris, Louvre
Christ's flagellation, c. 1509, oil on panel, 63x45 cm, Philadelphia Museum of Art
Madonna with Child, c. 1509, oil on panel, 27,2x27,9 cm, Milan, Poldi-Pezzoli Museum
Woman playing the lute, c. 1510, oil on panel, 65x52 cm, Rome, Palazzo Barberini, Galleria Nazionale d'Arte Antica
St Jerome in the desert, 1510–1515, oil on panel, 69x543 cm, County Durham, Bowes Museum
St John the Baptist; St Anthony, 1512, oil on panel, 16x13 cm each, Milan, Poldi-Pezzoli Museum
Christ carrying the cross, 1513, oil on panel, 45.5 x 34 cm, Nantes, Musée des Beaux-Arts
Rest on the Flight into Egypt, 1515, oil on panel, 76x55 cm, Milan, Poldi-Pezzoli Museum
Salome with the Head of St John the Baptist, 1520–1524, oil on panel, 58,5x57,5 cm, Vienna, Kunsthistorisches Museum
Salome with the Head of St John the Baptist, ca. 1507–9, oil on wood, 57.2x47 cm, New York, Metropolitan Museum
Blessing Christ, c. 1524, oil on panel, 203x130 cm, New York, Metropolitan Museum
| 12 |
[
"Andrea Solari",
"has works in the collection",
"National Gallery"
] |
History
Solario was born in Milan. He was one of the most important followers of Leonardo da Vinci, and brother of Cristoforo Solari, who gave him his first training whilst employed extensively on work at the Milan cathedral, and at the Certosa di Pavia. In 1490 he accompanied his brother to Venice, where he seems to have been strongly influenced by Antonello da Messina, who was then active in the city. The fine portrait of a Venetian Senator (currently at the National Gallery of London) displays Antonello's plastic conception of form and was probably painted about 1492. The two brothers returned to Milan in 1493. The Ecce Homo at the Poldi-Pezzoli Museum, notable for its strong modelling, may have been painted soon after his arrival.Solari's earliest dated work is a Holy Family and St. Jerome (at the Brera Gallery), with a fine landscape background, executed at Murano in 1495. It was the original work that influenced Correggio's painting, The Holy Family with Saint Jerome in 1515. The Leonardesque type of the Madonna proves that Andrea after his return from Venice, became strongly influenced by the great Florentine artist, who was then carrying everything before him. To this period of Andrea belong a small Crucifixion (1503, at the Louvre) and the portrait of Charles d'Amboise (Louvre); the portrait of Giovanni Longoni (1505, National Gallery of London); the Annunciation (1506, Fitzwilliam Museum, Cambridge); and the Madonna with the Green Cushion (Louvre), for which a sensitive drawing of the Virgin's head is in the Biblioteca Ambrosiana at Milan; and the Head of the Baptist in a silver charger (1507, Louvre).
In 1507 Andrea Solari went to France with letters of introduction to the Cardinal of Amboise, and was employed for two years on frescoes in the chapel of his castle of Gaillon in Normandy. According to Giovanni Morelli's suggestion, the artist may have visited Flanders before returning to his native country, and this may account for the Flemish character of his later work.
The artist was back in Italy in 1515, the date of the Flight into Egypt (Poldi-Pezzoli Collection) with its harmonious and detailed landscape background. To this period belong the Procession to Calvary (Borghese Gallery, Rome); the portrait of the Chancellor Domenico Morone (Palazzo Scotti, Milan); and the Woman playing a guitar (at the National Gallery of Ancient Art, Rome).
Andrea's last work was an altarpiece representing The Assumption of the Virgin for the Certosa di Pavia, left unfinished at his death and completed by Bernardino Campi about 1576.
| 13 |
[
"Andrea Solari",
"notable work",
"Crucifixion"
] |
History
Solario was born in Milan. He was one of the most important followers of Leonardo da Vinci, and brother of Cristoforo Solari, who gave him his first training whilst employed extensively on work at the Milan cathedral, and at the Certosa di Pavia. In 1490 he accompanied his brother to Venice, where he seems to have been strongly influenced by Antonello da Messina, who was then active in the city. The fine portrait of a Venetian Senator (currently at the National Gallery of London) displays Antonello's plastic conception of form and was probably painted about 1492. The two brothers returned to Milan in 1493. The Ecce Homo at the Poldi-Pezzoli Museum, notable for its strong modelling, may have been painted soon after his arrival.Solari's earliest dated work is a Holy Family and St. Jerome (at the Brera Gallery), with a fine landscape background, executed at Murano in 1495. It was the original work that influenced Correggio's painting, The Holy Family with Saint Jerome in 1515. The Leonardesque type of the Madonna proves that Andrea after his return from Venice, became strongly influenced by the great Florentine artist, who was then carrying everything before him. To this period of Andrea belong a small Crucifixion (1503, at the Louvre) and the portrait of Charles d'Amboise (Louvre); the portrait of Giovanni Longoni (1505, National Gallery of London); the Annunciation (1506, Fitzwilliam Museum, Cambridge); and the Madonna with the Green Cushion (Louvre), for which a sensitive drawing of the Virgin's head is in the Biblioteca Ambrosiana at Milan; and the Head of the Baptist in a silver charger (1507, Louvre).
In 1507 Andrea Solari went to France with letters of introduction to the Cardinal of Amboise, and was employed for two years on frescoes in the chapel of his castle of Gaillon in Normandy. According to Giovanni Morelli's suggestion, the artist may have visited Flanders before returning to his native country, and this may account for the Flemish character of his later work.
The artist was back in Italy in 1515, the date of the Flight into Egypt (Poldi-Pezzoli Collection) with its harmonious and detailed landscape background. To this period belong the Procession to Calvary (Borghese Gallery, Rome); the portrait of the Chancellor Domenico Morone (Palazzo Scotti, Milan); and the Woman playing a guitar (at the National Gallery of Ancient Art, Rome).
Andrea's last work was an altarpiece representing The Assumption of the Virgin for the Certosa di Pavia, left unfinished at his death and completed by Bernardino Campi about 1576.
| 22 |
[
"Andrea Solari",
"field of work",
"art of painting"
] |
Andrea Solari (also Solario) (1460–1524) was an Italian Renaissance painter of the Milanese school. He was initially named Andre del Gobbo, but more confusingly as Andrea del Bartolo
a name shared with two other Italian painters, the 14th-century Siennese Andrea di Bartolo, and the 15th-century Florentine Andrea di Bartolo.
His paintings can be seen in Venice, Milan, The Louvre and the Château de Gaillon (Normandy, France). One of his better-known paintings is the Madonna with the Green Cushion (c. 1507) in the Louvre.History
Solario was born in Milan. He was one of the most important followers of Leonardo da Vinci, and brother of Cristoforo Solari, who gave him his first training whilst employed extensively on work at the Milan cathedral, and at the Certosa di Pavia. In 1490 he accompanied his brother to Venice, where he seems to have been strongly influenced by Antonello da Messina, who was then active in the city. The fine portrait of a Venetian Senator (currently at the National Gallery of London) displays Antonello's plastic conception of form and was probably painted about 1492. The two brothers returned to Milan in 1493. The Ecce Homo at the Poldi-Pezzoli Museum, notable for its strong modelling, may have been painted soon after his arrival.Solari's earliest dated work is a Holy Family and St. Jerome (at the Brera Gallery), with a fine landscape background, executed at Murano in 1495. It was the original work that influenced Correggio's painting, The Holy Family with Saint Jerome in 1515. The Leonardesque type of the Madonna proves that Andrea after his return from Venice, became strongly influenced by the great Florentine artist, who was then carrying everything before him. To this period of Andrea belong a small Crucifixion (1503, at the Louvre) and the portrait of Charles d'Amboise (Louvre); the portrait of Giovanni Longoni (1505, National Gallery of London); the Annunciation (1506, Fitzwilliam Museum, Cambridge); and the Madonna with the Green Cushion (Louvre), for which a sensitive drawing of the Virgin's head is in the Biblioteca Ambrosiana at Milan; and the Head of the Baptist in a silver charger (1507, Louvre).
In 1507 Andrea Solari went to France with letters of introduction to the Cardinal of Amboise, and was employed for two years on frescoes in the chapel of his castle of Gaillon in Normandy. According to Giovanni Morelli's suggestion, the artist may have visited Flanders before returning to his native country, and this may account for the Flemish character of his later work.
The artist was back in Italy in 1515, the date of the Flight into Egypt (Poldi-Pezzoli Collection) with its harmonious and detailed landscape background. To this period belong the Procession to Calvary (Borghese Gallery, Rome); the portrait of the Chancellor Domenico Morone (Palazzo Scotti, Milan); and the Woman playing a guitar (at the National Gallery of Ancient Art, Rome).
Andrea's last work was an altarpiece representing The Assumption of the Virgin for the Certosa di Pavia, left unfinished at his death and completed by Bernardino Campi about 1576.
| 26 |
[
"Andrea Solari",
"sex or gender",
"male"
] |
Andrea Solari (also Solario) (1460–1524) was an Italian Renaissance painter of the Milanese school. He was initially named Andre del Gobbo, but more confusingly as Andrea del Bartolo
a name shared with two other Italian painters, the 14th-century Siennese Andrea di Bartolo, and the 15th-century Florentine Andrea di Bartolo.
His paintings can be seen in Venice, Milan, The Louvre and the Château de Gaillon (Normandy, France). One of his better-known paintings is the Madonna with the Green Cushion (c. 1507) in the Louvre.History
Solario was born in Milan. He was one of the most important followers of Leonardo da Vinci, and brother of Cristoforo Solari, who gave him his first training whilst employed extensively on work at the Milan cathedral, and at the Certosa di Pavia. In 1490 he accompanied his brother to Venice, where he seems to have been strongly influenced by Antonello da Messina, who was then active in the city. The fine portrait of a Venetian Senator (currently at the National Gallery of London) displays Antonello's plastic conception of form and was probably painted about 1492. The two brothers returned to Milan in 1493. The Ecce Homo at the Poldi-Pezzoli Museum, notable for its strong modelling, may have been painted soon after his arrival.Solari's earliest dated work is a Holy Family and St. Jerome (at the Brera Gallery), with a fine landscape background, executed at Murano in 1495. It was the original work that influenced Correggio's painting, The Holy Family with Saint Jerome in 1515. The Leonardesque type of the Madonna proves that Andrea after his return from Venice, became strongly influenced by the great Florentine artist, who was then carrying everything before him. To this period of Andrea belong a small Crucifixion (1503, at the Louvre) and the portrait of Charles d'Amboise (Louvre); the portrait of Giovanni Longoni (1505, National Gallery of London); the Annunciation (1506, Fitzwilliam Museum, Cambridge); and the Madonna with the Green Cushion (Louvre), for which a sensitive drawing of the Virgin's head is in the Biblioteca Ambrosiana at Milan; and the Head of the Baptist in a silver charger (1507, Louvre).
In 1507 Andrea Solari went to France with letters of introduction to the Cardinal of Amboise, and was employed for two years on frescoes in the chapel of his castle of Gaillon in Normandy. According to Giovanni Morelli's suggestion, the artist may have visited Flanders before returning to his native country, and this may account for the Flemish character of his later work.
The artist was back in Italy in 1515, the date of the Flight into Egypt (Poldi-Pezzoli Collection) with its harmonious and detailed landscape background. To this period belong the Procession to Calvary (Borghese Gallery, Rome); the portrait of the Chancellor Domenico Morone (Palazzo Scotti, Milan); and the Woman playing a guitar (at the National Gallery of Ancient Art, Rome).
Andrea's last work was an altarpiece representing The Assumption of the Virgin for the Certosa di Pavia, left unfinished at his death and completed by Bernardino Campi about 1576.
| 33 |
[
"Andrea Solari",
"sibling",
"Cristoforo Solari"
] |
History
Solario was born in Milan. He was one of the most important followers of Leonardo da Vinci, and brother of Cristoforo Solari, who gave him his first training whilst employed extensively on work at the Milan cathedral, and at the Certosa di Pavia. In 1490 he accompanied his brother to Venice, where he seems to have been strongly influenced by Antonello da Messina, who was then active in the city. The fine portrait of a Venetian Senator (currently at the National Gallery of London) displays Antonello's plastic conception of form and was probably painted about 1492. The two brothers returned to Milan in 1493. The Ecce Homo at the Poldi-Pezzoli Museum, notable for its strong modelling, may have been painted soon after his arrival.Solari's earliest dated work is a Holy Family and St. Jerome (at the Brera Gallery), with a fine landscape background, executed at Murano in 1495. It was the original work that influenced Correggio's painting, The Holy Family with Saint Jerome in 1515. The Leonardesque type of the Madonna proves that Andrea after his return from Venice, became strongly influenced by the great Florentine artist, who was then carrying everything before him. To this period of Andrea belong a small Crucifixion (1503, at the Louvre) and the portrait of Charles d'Amboise (Louvre); the portrait of Giovanni Longoni (1505, National Gallery of London); the Annunciation (1506, Fitzwilliam Museum, Cambridge); and the Madonna with the Green Cushion (Louvre), for which a sensitive drawing of the Virgin's head is in the Biblioteca Ambrosiana at Milan; and the Head of the Baptist in a silver charger (1507, Louvre).
In 1507 Andrea Solari went to France with letters of introduction to the Cardinal of Amboise, and was employed for two years on frescoes in the chapel of his castle of Gaillon in Normandy. According to Giovanni Morelli's suggestion, the artist may have visited Flanders before returning to his native country, and this may account for the Flemish character of his later work.
The artist was back in Italy in 1515, the date of the Flight into Egypt (Poldi-Pezzoli Collection) with its harmonious and detailed landscape background. To this period belong the Procession to Calvary (Borghese Gallery, Rome); the portrait of the Chancellor Domenico Morone (Palazzo Scotti, Milan); and the Woman playing a guitar (at the National Gallery of Ancient Art, Rome).
Andrea's last work was an altarpiece representing The Assumption of the Virgin for the Certosa di Pavia, left unfinished at his death and completed by Bernardino Campi about 1576.
| 38 |
[
"Andrea Solari",
"notable work",
"The Head of Saint John the Baptist on a Charger"
] |
History
Solario was born in Milan. He was one of the most important followers of Leonardo da Vinci, and brother of Cristoforo Solari, who gave him his first training whilst employed extensively on work at the Milan cathedral, and at the Certosa di Pavia. In 1490 he accompanied his brother to Venice, where he seems to have been strongly influenced by Antonello da Messina, who was then active in the city. The fine portrait of a Venetian Senator (currently at the National Gallery of London) displays Antonello's plastic conception of form and was probably painted about 1492. The two brothers returned to Milan in 1493. The Ecce Homo at the Poldi-Pezzoli Museum, notable for its strong modelling, may have been painted soon after his arrival.Solari's earliest dated work is a Holy Family and St. Jerome (at the Brera Gallery), with a fine landscape background, executed at Murano in 1495. It was the original work that influenced Correggio's painting, The Holy Family with Saint Jerome in 1515. The Leonardesque type of the Madonna proves that Andrea after his return from Venice, became strongly influenced by the great Florentine artist, who was then carrying everything before him. To this period of Andrea belong a small Crucifixion (1503, at the Louvre) and the portrait of Charles d'Amboise (Louvre); the portrait of Giovanni Longoni (1505, National Gallery of London); the Annunciation (1506, Fitzwilliam Museum, Cambridge); and the Madonna with the Green Cushion (Louvre), for which a sensitive drawing of the Virgin's head is in the Biblioteca Ambrosiana at Milan; and the Head of the Baptist in a silver charger (1507, Louvre).
In 1507 Andrea Solari went to France with letters of introduction to the Cardinal of Amboise, and was employed for two years on frescoes in the chapel of his castle of Gaillon in Normandy. According to Giovanni Morelli's suggestion, the artist may have visited Flanders before returning to his native country, and this may account for the Flemish character of his later work.
The artist was back in Italy in 1515, the date of the Flight into Egypt (Poldi-Pezzoli Collection) with its harmonious and detailed landscape background. To this period belong the Procession to Calvary (Borghese Gallery, Rome); the portrait of the Chancellor Domenico Morone (Palazzo Scotti, Milan); and the Woman playing a guitar (at the National Gallery of Ancient Art, Rome).
Andrea's last work was an altarpiece representing The Assumption of the Virgin for the Certosa di Pavia, left unfinished at his death and completed by Bernardino Campi about 1576.
| 40 |
[
"Andrea Solari",
"family name",
"Solari"
] |
Andrea Solari (also Solario) (1460–1524) was an Italian Renaissance painter of the Milanese school. He was initially named Andre del Gobbo, but more confusingly as Andrea del Bartolo
a name shared with two other Italian painters, the 14th-century Siennese Andrea di Bartolo, and the 15th-century Florentine Andrea di Bartolo.
His paintings can be seen in Venice, Milan, The Louvre and the Château de Gaillon (Normandy, France). One of his better-known paintings is the Madonna with the Green Cushion (c. 1507) in the Louvre.History
Solario was born in Milan. He was one of the most important followers of Leonardo da Vinci, and brother of Cristoforo Solari, who gave him his first training whilst employed extensively on work at the Milan cathedral, and at the Certosa di Pavia. In 1490 he accompanied his brother to Venice, where he seems to have been strongly influenced by Antonello da Messina, who was then active in the city. The fine portrait of a Venetian Senator (currently at the National Gallery of London) displays Antonello's plastic conception of form and was probably painted about 1492. The two brothers returned to Milan in 1493. The Ecce Homo at the Poldi-Pezzoli Museum, notable for its strong modelling, may have been painted soon after his arrival.Solari's earliest dated work is a Holy Family and St. Jerome (at the Brera Gallery), with a fine landscape background, executed at Murano in 1495. It was the original work that influenced Correggio's painting, The Holy Family with Saint Jerome in 1515. The Leonardesque type of the Madonna proves that Andrea after his return from Venice, became strongly influenced by the great Florentine artist, who was then carrying everything before him. To this period of Andrea belong a small Crucifixion (1503, at the Louvre) and the portrait of Charles d'Amboise (Louvre); the portrait of Giovanni Longoni (1505, National Gallery of London); the Annunciation (1506, Fitzwilliam Museum, Cambridge); and the Madonna with the Green Cushion (Louvre), for which a sensitive drawing of the Virgin's head is in the Biblioteca Ambrosiana at Milan; and the Head of the Baptist in a silver charger (1507, Louvre).
In 1507 Andrea Solari went to France with letters of introduction to the Cardinal of Amboise, and was employed for two years on frescoes in the chapel of his castle of Gaillon in Normandy. According to Giovanni Morelli's suggestion, the artist may have visited Flanders before returning to his native country, and this may account for the Flemish character of his later work.
The artist was back in Italy in 1515, the date of the Flight into Egypt (Poldi-Pezzoli Collection) with its harmonious and detailed landscape background. To this period belong the Procession to Calvary (Borghese Gallery, Rome); the portrait of the Chancellor Domenico Morone (Palazzo Scotti, Milan); and the Woman playing a guitar (at the National Gallery of Ancient Art, Rome).
Andrea's last work was an altarpiece representing The Assumption of the Virgin for the Certosa di Pavia, left unfinished at his death and completed by Bernardino Campi about 1576.
| 41 |
[
"Andrea Solari",
"given name",
"Andrea"
] |
Andrea Solari (also Solario) (1460–1524) was an Italian Renaissance painter of the Milanese school. He was initially named Andre del Gobbo, but more confusingly as Andrea del Bartolo
a name shared with two other Italian painters, the 14th-century Siennese Andrea di Bartolo, and the 15th-century Florentine Andrea di Bartolo.
His paintings can be seen in Venice, Milan, The Louvre and the Château de Gaillon (Normandy, France). One of his better-known paintings is the Madonna with the Green Cushion (c. 1507) in the Louvre.History
Solario was born in Milan. He was one of the most important followers of Leonardo da Vinci, and brother of Cristoforo Solari, who gave him his first training whilst employed extensively on work at the Milan cathedral, and at the Certosa di Pavia. In 1490 he accompanied his brother to Venice, where he seems to have been strongly influenced by Antonello da Messina, who was then active in the city. The fine portrait of a Venetian Senator (currently at the National Gallery of London) displays Antonello's plastic conception of form and was probably painted about 1492. The two brothers returned to Milan in 1493. The Ecce Homo at the Poldi-Pezzoli Museum, notable for its strong modelling, may have been painted soon after his arrival.Solari's earliest dated work is a Holy Family and St. Jerome (at the Brera Gallery), with a fine landscape background, executed at Murano in 1495. It was the original work that influenced Correggio's painting, The Holy Family with Saint Jerome in 1515. The Leonardesque type of the Madonna proves that Andrea after his return from Venice, became strongly influenced by the great Florentine artist, who was then carrying everything before him. To this period of Andrea belong a small Crucifixion (1503, at the Louvre) and the portrait of Charles d'Amboise (Louvre); the portrait of Giovanni Longoni (1505, National Gallery of London); the Annunciation (1506, Fitzwilliam Museum, Cambridge); and the Madonna with the Green Cushion (Louvre), for which a sensitive drawing of the Virgin's head is in the Biblioteca Ambrosiana at Milan; and the Head of the Baptist in a silver charger (1507, Louvre).
In 1507 Andrea Solari went to France with letters of introduction to the Cardinal of Amboise, and was employed for two years on frescoes in the chapel of his castle of Gaillon in Normandy. According to Giovanni Morelli's suggestion, the artist may have visited Flanders before returning to his native country, and this may account for the Flemish character of his later work.
The artist was back in Italy in 1515, the date of the Flight into Egypt (Poldi-Pezzoli Collection) with its harmonious and detailed landscape background. To this period belong the Procession to Calvary (Borghese Gallery, Rome); the portrait of the Chancellor Domenico Morone (Palazzo Scotti, Milan); and the Woman playing a guitar (at the National Gallery of Ancient Art, Rome).
Andrea's last work was an altarpiece representing The Assumption of the Virgin for the Certosa di Pavia, left unfinished at his death and completed by Bernardino Campi about 1576.
| 43 |
[
"Giovanni Francesco Rustici",
"has works in the collection",
"Fitzwilliam Museum"
] |
Giovan Francesco Rustici, or Giovanni Francesco Rustici, (1475–1554) was an Italian Renaissance painter and sculptor.
He was born into a noble family of Florence, with an independent income. Rustici profited from study of the Medici sculpture in the garden at San Marco, and according to Giorgio Vasari, Lorenzo de' Medici placed him in the studio of Verrocchio, and that after Verrocchio's departure for Venice, he placed himself with Leonardo da Vinci, who had also trained in Verocchio's workshop. He shared lodgings with Leonardo while he was working on the bronze figures for the Florence Baptistry, for which he was ill paid and resolved, according to Vasari, not to work again on a public commission. Moreover, an echo of Leonardo's inspiration is unmistakable in the much-discussed and much-reviled wax bust of "Flora" in Berlin, ascribed to a circle of Leonardo and most probably to Rustici. At this time, Pomponius Gauricus, in De sculptura (1504), named him one of the principal sculptors of Tuscany, the peer of Benedetto da Maiano, Andrea Sansovino and Michelangelo. It may have been made in France, perhaps in the circle of Rustici, who entered Francis I's service in 1528.
Vasari tells of the elaborate suppers given by Rustici and his comrades.
Rustici's Mercury was commissioned by Cardinal Giuliano de' Medici in 1515 as a fountain figure for the courtyard of Palazzo Medici in Florence. The figure blew a jet of water that spun a whirligig with four vanes in the form of butterfly wings, according to Giorgio Vasari's description. According to James Draper, Rustici's figure drew inspiration from the mid-fifteenth century gilt-bronze fountain Winged Infant now at the Metropolitan Museum of Art. Vasari praised the sculpture, now in the Boscawen collection at the Fitzwilliam Museum, Cambridge.At the time of the siege of Florence, 1528, he went to France, where he was pensioned by King Francis I but after the king's death died in poverty at Tours.
Baccio Bandinelli apprenticed with Rustici.
Some glazed terracotta bas-reliefs in the technique familiar from the della Robbia workshops, are attributed to Rustici, notably a Madonna and Child in the Bargello and a Saint John the Baptist in the Museum of Fine Arts, Boston.
| 18 |
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