title: Al Caiola

texts:
 "The Ballad of Paladin", "The Rebel", and "Gunslinger". His album Solid Gold Guitar contained arrangements of "Jezebel", "Two Guitars", "Big Guitar", "I Walk the Line", and "Guitar Boogie". The Magnificent Seven album, other than the title track, consisted of a variety of pop songs with a jazzy bent.Guitars Guitars Guitars was similar. There was a wide variety to his albums — soft pop, Italian, Hawaiian, country, jazz. In the early 1970s he continued on the Avalanche Recordings label, producing similar work including the album Theme From the 'Magnificent 7 Ride' '73. Later, on other labels, came some ethnic-themed instrumental albums such as In a Spanish Mood in 1982, and Italian instrumentals. In 1976, <mask> accompanied Sergio Franchi, Dana Valery, and Wayne J. Kirby (Franchi's musical director) on a concert tour to Johannesburg, South Africa. <mask> died in Allendale, New Jersey, at the age of 96. Discography
 Serenade in Blue (Savoy, 1956)
 Music for Space Squirrels (Atco, 1958)
 Deep in a Dream (Savoy, 1958)
 High Strung (RCA Victor, 1959)
 Guitars Guitars Guitars (United Artists, 1960)
 Percussion Espanol (Time, 1960)
 Great Pickin'  with Don Arnone (Chancellor, 1960)
 Salute Italia!Oro Italiano (<mask>na, 2001)
 Guitar for Latin Lovers (<mask>na, 2001)
 The Manhattan Guitars (<mask>na, 2002)
 Classic Italian Love Songs (<mask>na, 2005)

Partial studio

masks: Caiola Caiola Alan Alan Alan Alan


title: Al Caiola

type: original

texts:
 recordings list
{{external media |align=center |width=300px |audio1= You may hear <mask> performing the songs Granada and Secret Love from the album Squeeze Play with John Serry Sr. as released on Chicago Musette: John Serry et son Accordéon in 1958 Here on Gallica.BnF  |audio2= You may hear <mask> performing with John Serry on the album Squeeze Play in 1956 [https://archive.org/details/lp_squeeze-play-featuring-the-dynamic-accordi_john-serry 'Here on archive.org] }}
 Paul Anka — "Diana", "Lonely Boy", "My Way", "Puppy Love", "Put Your Head on My Shoulder", "Times of Your Life" Louis Armstrong — "Back O'Town Blues", "Mop! Mop! ", "Blueberry Hill" (All three tracks recorded live in 1947)
 Frankie Avalon — "DeDe Dinah", "Venus" Burt Bacharach — "Bridget Bardo" Pearl Bailey — "I Got Plenty o' Nuttin'", "Westport" LaVern Baker — "I Cried a Tear", "I'm Leaving You", banjo on "Humpty Dumpty Heart" Tony Bennett — "Boulevard of Broken Dreams", "Climb Ev'ry Mountain", "Stranger in Paradise" Ruth Brown — "Miss Rhythm", "Late Date with Ruth Brown" Solomon Burke — "Cry to Me" Petula Clark — "Don't Sleep in the Subway", "This Is My Song" Rosemary Clooney — "Come on a My House", "Half as Much", "Hey There", "This Ole House" Perry Como — "Don't Let the Stars Get in Your Eyes", "Patricia", "Temptation" Ray Conniff, His Orchestra And Chorus — "Melody for Two Guitars" The

masks:
Al Caiola
Al Caiola


title: Mary Anne Franks

texts: <mask> is an American legal scholar, author, activist, and media commentator. She is a professor of law and Dean's Distinguished Scholar at the University of Miami School of Law, where she teaches family law, criminal law, criminal procedure, and First Amendment law, and she serves as both president and legislative & tech policy director of the Cyber Civil Rights Initiative. Her scholarly work focuses on online harassment, free speech, discrimination, and violence. <mask> also writes for various news media outlets, including The Atlantic, The Guardian, The Independent, and the Daily Dot. She is a regular contributor to The Huffington Post. As a frequent legal commentator in the media on cyberlaw and criminal law issues, <mask> has been quoted in publications such as The New York Times, The Wall Street Journal, The Washington Post, and The New Yorker, and she has appeared on the Today show, HuffPost Live, and Al Jazeera America. <mask> is a co-producer of the 2015 film Hot Girls Wanted, a documentary produced by the actress Rashida Jones that examines the "professional amateur" porn industry.<mask> is noted for her work advocating for legislative, technological, and social reform on the issue of nonconsensual pornography ("revenge porn"). She has been instrumental in drafting recent state legislation against the practice in the United States. She has worked with Congresswoman Jackie Speier on a federal criminal bill, the Intimate Privacy Protection Act (IPPA), which evolved into the ENOUGH Act, and again into the SHIELD Act. The SHIELD Act is now part of the Violence Against Women Reauthorization Act of 2021, which the United States House of Representatives passed with bipartisan support in March 2021. <mask> also advises major tech companies on their privacy and abuse policies. In 2015, several major tech

masks:
Mary Anne Franks
Franks
Franks
Franks
Franks
Franks


title: Mary Anne Franks

texts:
 companies, most notably Google, announced that they would be adding sexually explicit images published without consent to their privacy and removal policies. In 2014, <mask> was named one of "The Heroes in the Fight to Save the Internet" by the Daily Dot.<mask> is the author of The Cult of the Constitution: Our Deadly Devotion to Guns and Free Speech, which went on to win a gold medal at the 2020 Independent Publisher Book Awards as well as the 2020 Association of American Publishers PROSE Awards for Legal Studies and Excellence in Social Sciences. Her second book, Fearless Speech, is expected in 2022. Early life and education
<mask> <mask> was born in Indiana to Kang Tu-Kwei, a Taiwanese woman, and <mask>, a white American World War II veteran who passed away when <mask> was two years old. After her father's death, <mask> spent the vast majority of her childhood in Pine Bluff, Arkansas, a location that <mask> has described as "not the most racially sensitive place." She attended Loyola University New Orleans and majored in philosophy and English literature, with a classics minor. Recognizing her academic promise, then-dean of arts and sciences Frank E. Scully encouraged <mask> to apply for the Rhodes Scholarship, which she was successfully awarded in December 1998. <mask> graduated summa cum laude from Loyola with her BA in May 1999 and enrolled at Oxford University that autumn, earning her MPhil in European literature, with distinction, in June 2001 and her DPhil in modern languages and literature in January 2004.Her examination field of continental philosophy, psychoanalytic theory, gender theory, and political theory culminated in her doctoral thesis, "Enjoying Women:  Sex, Psychoanalysis, and the Political." <mask> then went on to earn her JD from Harvard Law School, where she served as senior

masks:
Franks
Franks
Mary Anne
Franks
Jesse Franks
Franks
Franks
Franks
Franks
Franks
Franks


title: Mary Anne Franks

texts:
 executive editor of the Harvard Journal of Law & Gender and executive editor of the Harvard Human Rights Journal. During her law school career, she also received awards including the Harvard Law School Association Alumnae Fellowship, Reginald Lewis International Internship, and Chayes International Public Service Fellow in 2005, as well as the National Association of Women Lawyers Outstanding Law School Student Award in 2007. <mask> graduated cum laude in 2007. Career
Between 2004 and 2005, <mask> taught courses in ethics, world religions, and introductory philosophy within the Department of Humanities at Quincy College, Massachusetts. During her time at Harvard Law School, <mask> clerked for the Office of the Prosecutor at the International Criminal Court the summer after her 1L year and at Debevoise & Plimpton the summer after her 2L year. She also worked from 2005 to 2008 as a lecturer for the Department of Social Studies and as a teaching fellow for the government, philosophy, and English departments.From 2008 to 2010, she was a Bigelow Fellow and lecturer in law at the University of Chicago Law School as well as a faculty affiliate for the Center for Gender Studies. In 2013, she served as a visiting professor at the University of Navarra in Pamplona, Spain, and during the summer of 2018, she taught a course on cybercrime for New York Law School's summer abroad program in London. Since 2014, <mask> has worked in various capacities with the Cyber Civil Rights Initiative (CCRI), a nonprofit organization that seeks to combat cyber harassment, nonconsenual pornography, and online abuse through legislation, tech policy reform, and victim support:  she served as CCRI's vice president from 2014 to 2018 and succeeded CCRI founder Holly Jacobs as president in 2018. In addition to her consecutive terms of vice

masks: Franks Franks Franks Franks


title: Mary Anne Franks

texts:
 presidency and presidency, she has maintained the title of Legislative & Tech Policy Director since 2014. <mask> has been teaching law courses at the University of Miami School of Law since 2010. Between 2010 and 2015, <mask> served as an Associate Professor of Law and was promoted to a Professor of Law in 2015. In 2019, <mask> was recognized as a Dean's Distinguished Scholar for the Profession, an honor bestowed upon law faculty members whose scholarly contributions to the legal profession are significant and influential.Personal life
<mask> is Taiwanese-American. While <mask> is best known for her legal scholarship and activism, she is also an instructor in Krav Maga, a self-defense system developed for the military in Israel. On the topic of women's empowerment through honing self-defense skills, <mask> said, "Society puts a lot of focus on women as objects as opposed to women asserting their subject-hood. I’m concerned with ways that women can create a relationship with their bodies that’s about making them stronger, faster, as well as more secure." She is also a vocal proponent of hand-to-hand self-defense techniques over the use of firearms:  "What troubles me about Florida when it comes to the psychology of self-defense is that our answer for defending ourselves is always a gun. Krav Maga is a nuanced approach to defending oneself and protecting one’s space. You can respond effectively, but no one gets shot, no one dies."Selected works

 Articles

 Academic Scholarship

References

External links
Personal website

Loyola University New Orleans alumni
American Rhodes Scholars
Living people
Krav Maga practitioners
Harvard Law School alumni
University of Miami faculty
American feminist writers
American legal scholars
American activists
1977 births
American women of

masks: Franks Franks Franks Franks Franks Franks


title: Vladimir Luxuria

texts:
<mask> (born 24 June 1965) is an Italian activist, television personality and actress. <mask> was a Communist Refoundation Party MP, belonging to The Union coalition led by Romano Prodi. She was the first openly transgender member of Parliament in Europe, and the world's second openly transgender MP after New Zealander Georgina Beyer. She lost her seat in the election of April 2008. In the 2006 general election, <mask> was elected to the Chamber of Deputies by the Lazio 1 constituency in Rome. She lost her seat in the 2008 election. After the retirement of Beyer and <mask>, there were no transgender MPs reported in the world, until 2011, when Anna Grodzka was elected to the Polish parliament.Biography

Born in Foggia, Apulia, Luxuria moved to Rome in 1985 to study foreign languages and literature. She also began to act, notably in cabaret, and through this developed her gender ambiguity as a hallmark. Her assumed surname, Luxuria, means lust in Latin. She earned her first acting credit in Cena alle nove by Paolo Breccia in 1991; and began organizing parties and gay pride events, becoming director of the Muccassassina, the self-financing party of the Circle of homosexual culture Mario Mieli. She graduated in foreign languages and literatures at University of Rome La Sapienza with a master thesis on Joseph Conrad. She organized Italy's first pride festival, in Rome on 2 June 1994, which attracted some ten thousand people. From 2001 to 2003 she toured Italian theatres with the musical Emotions co-starring with Sabrina Salerno and Ambra Angiolini.Her career as performer was not restricted to stage shows, and in 2005 she hosted a television show about nostalgia

masks:
Vladimir Luxuria
Luxuria
Luxuria
Luxuria


title: Vladimir Luxuria

texts:
 Luxuria declared that she had used the toilets for years and that using the male lavatory would engender even greater problems.In the 2008 election, the Refoundation Communist Party joined a coalition of left-wing parties known as the Rainbow Left. However this group gained only 3.2% of the vote and lost all of its seats in parliament. Silvio Berlusconi's centre-right coalition swept to victory. Luxuria was not re-elected. Paolo Ferrero, then leader of the Communist Refoundation Party, said that he would be open to the idea of her returning to politics as a nominee for the 2009 European Parliament election after her win on L'Isola dei Famosi, but Luxuria said that she had no plans to re-enter politics. Gay rights
Luxuria has long been a strong advocate for gay rights and a participant in events promoting equality for homosexuals. She helped organize Italy's first gay pride festival in 1994 and continued her activism throughout her tenure as a politician; in May 2007, she took part in the second Muscovite gay pride parade.She used her prominence in Italian politics once elected as a platform for advocating gay rights. In the lead-up to her election, Luxuria made gay rights an issue of her campaign and felt herself to be a representative of the LGBT community, saying, "We don't want privileges – we want our rights." In addition, <mask> called for civil unions to be enabled for gay couples and for Italy to accommodate political asylum for "all gays who try to get into Italy from countries where homosexuality is punishable by death." Luxuria also campaigned prior to the elections for gays to have cohabitation rights, and had helped campaign by winning the


title: Vladimir Luxuria

texts:
 support of Italy's left. Furthermore, <mask> outlined her long-term support for full gay marriage rights, comparable with Spain's implementation of the law. In September 2006, she stated that the Vatican's ongoing influence in politics, specifically in regards to gay marriage, contravened clauses of the Italian Constitution. <mask> reacted to Pope Benedict XVI's end-of-year speech in 2008, when he compared protecting the environment with saving humanity from a "blurring of gender" (homosexual or transsexual behaviour), by saying that such comments were "hurtful".Filmography

Films

Television

Theater
 Emozioni (2001–2003)
 Che fine ha fatto Cenerentola? (2003)
 One Drag Show (2003)
 Male di Luna (2004)
 My name is Silvia (2005)
 Persone naturali e strafottenti (2010)
 La donna uomo (2010)
 Morning has broken - Una vita spezzata (2010)
 Si sdrai perfavore (2011 - 2012)

Bibliography

 Chi ha paura della muccassassina? Il mio mondo in discoteca e viceversa, Bompiani, 2007
 Le favole non dette, Bompiani, 2009
 Eldorado, Bompiani, 2011
 L'Italia migliore, Bompiani, 2013

Discography

 Der Traurige, in Hey Roma! (Klang Records - klg 003 - 1989)

References

External links
 <mask>
 "Meglio fascista che frocio" A short passage of the video showing the quarrel between Mussolini and Luxuria. (as <mask>)
  (as Wladimiro Guadagno)

1965 births
People from Foggia
Living people
Transgender and transsexual politicians
Communist Refoundation Party politicians
Transgender and transsexual women
LGBT politicians from Italy
Italian actor-politicians
LGBT rights activists from Italy
Survivor (franchise) winners
Participants in Italian reality television series
LGBT

masks:
Luxuria
Luxuria
Vladimir Luxuria
Vladimir Luxuria


title: Danial Hakimi

texts:
<mask> (, ; March 6, 1963) is an Iranian film, stage, TV, and radio actor/director

Early life and education
<mask> was born in Shahrud, Iran. He graduated from Radio acting school in Iran, and studied Acting with Hamid Samandarian. He started his professional acting career by playing as Oceanus, in Prometheus Bound tragedy and performed in many notable roles on stage. He went on to film work, beginning with 2001 Inventor, followed by What's Up? and My Eyes for You. Hakimi, had successful performances in many Television series including Asleep & Awake, Love province, Paternal House, Passenger, Evil Mind, and The Gradual Death of a Dream. In 2007 he won the 24th Fajr International Theater Festival award for best performance in the leading role, for the role of Bahman Ahang in the Melody of the Rainy City drama, written by Akbar Radi.Small Heaven Directed by "Masoud Rasam"
Played in Mr.Paranoid (1989) a.k.a. Mr.Dollar Directed by "Majid Beheshti"
Played in Section

masks:
Danial Hakimi
Hakimi


title: Francisco Primo de Verdad y Ramos

texts:
<mask> (June 9, 1760, hacienda Ciénega del Rincón Jalisco – October 4, 1808, Mexico City) was a New Spain lawyer and politician and a proponent of independence from Spain. He was imprisoned by the Spanish authorities for his advocacy, and died in prison. He is considered one of the protomartyrs of Mexican independence. Born at the hacienda of Ciénega del Rincón in what is now the Municipality of Ojuelos de Jalisco in the State of Jalisco but was then under the jurisdiction the village of Santa María de los Lagos (nowadays Lagos de Moreno); from the religious point of view, the hacienda of Ciénega del Rincón, belonged to the Parish Church of the actual city of Aguascalientes, Aguascalientes. <mask> studied in the College of San Ildefonso in Mexico City, graduating as a lawyer. He was a student of the American and French Revolutions, and of Jean-Jacques Rousseau. His friend and comrade Licenciado <mask> later described him as a "true scholar" (sabio).In 1808, he was a member of the Cabildo (city council) of the ayuntamiento (city government) in the capital of the viceroyalty. He was a Criollo by virtue of his birth in America, and a prominent member of the Criollo party in government. Criollos were prominent in the agitation for autonomy or independence from Spain, and this agitation was increasing. The Cabildo of Mexico City was composed of professional men, Criollos. It is possible that <mask> <mask> was also a member of one of the secret societies working for the independence of the colony, but that is not known with certainty. Independence of Mexico

On March 19, 1808, at the summer palace of Aranjuez, King Carlos IV of Spain was forced to abdicate a court faction that removed Prime Minister <mask>e Fernado as Fernando VII.Napoleon's troops occupied Madrid and he invited Carlos IV and Fernando VII to Bayonne, France, where he forced both to abdicate in favor of his brother

masks:
Francisco Primo de Verdad y Ramos
Francisco Primo de Verdad y Ramos
Juan Francisco Azcárate y Ledma
Primo
de Verdad
Godoyfant


title: Francisco Primo de Verdad y Ramos

texts: Joseph Bonaparte in May 1808. News of this second abdication was received in Mexico on July 11, 1808. The way now seemed open for the Criollo, party to achieve autonomy for New Spain. An old Spanish law was invoked that in the absence of the head of state, sovereignty reverts to the people, expressed through their representatives in the Cortes. The application of this law would allow a legal route for New Spain to weaken its ties with Spain. This was arguably an attempt to preserve the monarchical constitution in the face of foreign aggression, rather than a subversion of it. On July 19, councilmen Azcárate y <mask> and <mask> <mask> presented a plan to form a provisional, governing junta for an autonomous New Spain, with Viceroy <mask> <mask> at its head.The justification for this was that the mother country was now occupied by foreign troops, and the royal family was being held prisoner. The plan was accepted by the viceroy and the Cabildo, but not by the Audiencia. (Just as the Cabildo was dominated by liberal Criollos, the Audiencia was dominated by conservative Peninsulares, large landowners and wealthy businessmen born in Spain.) On August 9, 1808, at a meeting of Notables called to debate the situation, <mask> <mask> spoke in favor of popular sovereignty. Some of the oidores (members of the Audiencia) spoke in rebuttal, declaring the proposal seditious and subversive. Inquisitor Bernardo Prado <mask> declared it heresy and anathema. The Notables adopted an intermediate position — New Spain would recognize no supreme authority other than the king of Spain, now considered to be Ferdinand VII.On August 31, 1808, the crisis took a sharper turn with the arrival of Juan Gabriel Jabat, representative of the Junta of Seville, and a message from the Junta of Asturias. Both juntas requested New Spain's recognition as the legitimate government of Spain, thus providing evidence of the

masks:
Ledesma
Primo
Verdad
José de
Iturrigaray
Primo
de Verdad
y Ovejero


title: Francisco Primo de Verdad y Ramos

texts:
 lack of any legitimate government in the country. On September 1, 1808, Melchor <mask>, a Peruvian priest and the intellectual leader of the Criollo party, delivered two tracts to the Cabildo, in favor of separation from Spain and the convoking of a Mexican congress. On September 15, 1808, the Spaniards opposed to independence and popular sovereignty, headed by the rich businessman Gabriel J<mask> Yermo, staged a coup. Viceroy <mask> was deposed and <mask> <mask>, Melchor <mask> and other members of the Criollo party were arrested. The viceroy was replaced with General <mask> <mask>. <mask> <mask> and others were imprisoned in the jail of the archbishop, subject to trial.With this seizure of power, Yermo and the Peninsulares initiated a "half century of uprisings and coups d'état", in both colonial and independent Mexico (Fuentes Mares, p. 81). Death

On October 4, 1808, <mask> <mask> was found dead in his cell, of suicide or murder. Circumstances suggested the latter and poison was suspected, but that was never proven. Today in Mexico <mask> <mask> <mask> is revered as one of the protomartyrs of Mexican independence. Notes

References
 "<mask> y <mask>, <mask> <mask>," Enciclopedia de México, v. 14. Mexico City, 1988. Fuentes Mares, José.Biografía de una nación: <mask> a López Portillo. Mexico City: Océano, 1982. <mask> <mask> y <mask>, <mask>, "Memoria Póstuma", en Genaro García, Documentos Históricos Mexicanos, v. II. Mexico City: Comisión Nacional para la Celebración del 175 Aniversario de la Independencia Nacional y 75 Aniversario de la Revolución Mexicana, 1985. Lancaster-Jones, Ricardo; "Primo Verdad, Jalisciense Neto", Gaceta de Guadalajara, No. 228, 1959, pp. 8–14.External links
 Biography and analysis
 Short biography
 Biography

Colonial Mexico
1760 births
1808 deaths
Mexican people who died in prison custody
Prisoners who died in Spanish detention
Politicians from

masks:
de Talamantes
. de
Iturrigaray
Primo
de Verdad
de Talamantes
Pedro de
Garibay
Primo
de Verdad
Primo
de Verdad
Francisco Primo
de Verdad
y Ramos
Verdad
Ramos
Francisco Primo
de
de Coés
Primo
de Verdad
Ramos
Francisco


title: Willemiena Bouwman

texts:
<mask> (5 February 1920 – 3 March 2007), also known as Mien van Trouw, was a social worker and member of the Dutch Resistance who rescued dozens of Jewish children who were at risk of persecution and deportation by Nazi officials during World War II. She also played a role in the development of the Dutch newspaper, Trouw, as one of its earliest employees. She was declared to be Righteous Among the Nations by Yad Vashem on 7 June 1992 for her rescue of Jewish children during the war. Formative years
Born in the village of Gees in the Netherlands province of Drenthe on 5 February 1920, <mask> was a daughter of the Rev. J. J. Bouwman. Sometime around the start of World War II, the family resided in Almelo; their father had been forced into hiding for forbidding a prominent member of the Nationaal-Socialistische Beweging (the National Socialist Movement in the Netherlands or NSB) from taking part in religious services related to an evening meal. World War II
<mask> found love during the early years of World War II with Willem Pieter (“Wim”) Speelman (1919-1945), one of the organizers of Trouw (“True” or “Allegiance”), an orthodox Protestant underground newspaper which was published illegally in violation of Nazi laws prohibiting the free operation of independent press outlets.An economics student at the Vrije Universiteit (Free University), Speelman had been involved with the Dutch Resistance since 1940, writing content for resistance advocacy pamphlets, as well as with Vrij Nederland (Free the Netherlands). Under increasing scrutiny by Dutch and German officials, Speelman was forced to go into hiding on 20 April 1941 when that scrutiny turned into a wave of arrests at Trouw. Bouwman would later recall that his date of

masks:
Willemiena Bouman
Willemiena Bouman
Willemiena Bouman


title: Willemiena Bouwman

texts:
 <mask> Bouwman became active with the ongoing Crèche rescues. Picking up children in Amsterdam on her return from courier trips for Trouw, she transported those children to safe houses located in Friesland and Groningen. Additional rescue trips were also undertaken to Drenthe and Overijssel. In one case, she escorted Barend Stempel on a dangerous train trip north. After dropping the two-year-old off at a temporary shelter, she was able to return home safely.Mien van Trouw overladen, Trouw, March 5, 2007. By September 1943, as child rescues from the Crèche declined, <mask> Bouwman resumed her covert activities for Trouw. Three months later, her fiancé was arrested, but then managed to escape on 30 December.In January 1944, they relocated to Amsterdam in order to facilitate new resistance activities. A year later, her fiancé was arrested when the Sicherheitsdienst (also known as the “SD”) raided the printing office of Trouw on Amsterdam's Lijnbaansgracht. Just over two weeks later, Wim Speelman was executed. He was just 26 years old when he died at Halfweg on 19 February 1945. Soldiering on, <mask> Bouwman (aka “Mien van Trouw”) took over her fiancé's former job with the newspaper. Ten weeks later, she oversaw the publication of Trouws 5 May 1945 Liberation edition.Mien van Trouw overladen, Trouw, March 3, 2007.Bak, Peter. Ze moest wel meedoen aan de verzetsstrijd, Trouw.Post-war life
Following her nation's liberation from its occupation by Germany and the end of World War II, <mask> Bouwman left her newspaper work behind, and became a social worker at the Stichting Gezinszorg in Kennemerland. She also married and was widowed by fellow former Trouw courier Gerrit Dijkstra. Later, she wed for a second time, marrying Henk

masks: Willemiena Willemiena Willemiena Willemiena


title: Henry Perrin Coon

texts: <mask> (September 30, 1822 – December 4, 1884) was the 10th Mayor of San Francisco who served from July 1, 1863, to December 1, 1867. He was one of the most versatile men ever to hold the office, having previously worked as a teacher, doctor, lawyer, druggist and businessman. <mask> was born on September 30, 1822, in Columbia County, New York, the youngest of 13 children, and was raised in the Presbyterian church. His parents sent him to Claverack Academy, near Hudson, New York, where he spent two or three years. He then attended Williams College where he graduated with the class of 1844. After college, he was the superintendent of Claverack Academy for a short time before beginning studies for the ministry. After about a year, his biography records that a severe cold settled into his throat that spoiled his voice for public speaking, which he ultimately regained in California's milder climate.At that point, he selected medicine as his profession. After receiving his medical degree from the Philadelphia College of Medicine in 1848, he returned to Hudson, New York where he married Ruthetta Folger on September 18, 1849. He then established a medical practice in Syracuse, New York. In 1853, he left for California, leaving his wife and infant daughter behind for the time being, although they joined him the following year. He and Ruthetta ultimately had four children: three sons and a daughter. After arriving in San Francisco in 1853, he established a new medical practice, complete with an apothecary shop and a chemical-importing company. Coon also participated in organizing manufacturing and wholesale vinegar businesses.He was an active member of

masks:
Henry Perrin Coon
Coon


title: Henry Perrin Coon

texts: San Francisco's Vigilance Committee of 1856. When the Vigilance Committee transformed itself into a political party called the Peoples' Party later that year, he was the party's nominee for police judge. He was elected to the judgeship on November 4, 1856, receiving 8,706 votes out of 11,038 cast. Coon established a reputation for being tough on criminals (compared to the previous attitude of leniency toward them). Coon also gained notoriety for refusing to stop a duel between California Supreme Court Justice David S. Terry and U.S. Senator David C. Broderick, in which Broderick was killed. At the end of his second term in 1860, <mask> stepped down from the post to return to his medical practice.In early 1861, he and his family traveled to the East Coast but returned to San Francisco late that year when he again resumed the practice of medicine. <mask> reluctantly ran for mayor in 1863 after being approached by the People's Party, winning by nearly a thousand votes in the election of May 16, 1863. While he spent his first two years in office with ceremonial duties, including participating in the opening of the Bank of California, and leading a procession through the streets after President Abraham Lincoln was assassinated, his second two-year term would be quite traumatic. In the same election in which <mask> was first elected, there had been a bond measure known as the Railroad Subscription Act. The measure—which easily passed—called for the city government to issue $650,000 in bonds for an equal amount of stock in the Central Pacific Railroad Company. <mask>, at first, refused to issue the bonds. After the railroad company obtained an

masks: Coon Coon Coon Coon


title: Henry Perrin Coon

texts: injunction ordering him to do so, he acquiesced.He also opposed William Ralston's plan to extend Montgomery Street past Howard Street in the South of Market area, even though he helped Ralston open the Bank of California. Ralston had bought land south of the intersection and had obtained approval from the Board of Supervisors. However, after <mask>'s veto, Ralston had to content himself with building the Palace Hotel. <mask> also turned his energies to adorning the city. He hired a crew to survey a very sandy area in the western part of the city. This sandy area would be the site of Golden Gate Park. On April 3, 1865, by order of the San Francisco Board of Supervisors, <mask> became ex officio President of the city's Board of Health.After leaving office in 1867, he did not resume the practice of medicine but engaged in the insurance business as well as dealing in real estate. He amassed enough wealth to purchase two large ranches, one of them became part of the campus of Stanford University. In 1868, he was appointed by the Governor to the office of Tide Lands Commissioner. In 1870–71, he and his family visited Great Britain and many parts of continental Europe. His wife, Ruthetta, died in 1877 and he remarried the next year to the widow of a Navy doctor. <mask> died of heart failure on December 4, 1884, at Ralston's Palace Hotel. In reporting his death, the Daily Alta California newspaper of San Francisco noted that "throughout his career in this city he has been conspicuous as an energetic citizen in local enterprises, with strong executive ability, conservative business principles, and the firmest integrity in all his transactions.In

masks:
Coon
Coon
Mayor Coon
Coon


title: Henry Perrin Coon

texts:
 private life he was highly esteemed as a gentleman of kind sociability and true friendship. The activity and usefulness of his life was unbroken from the days of the pioneers up to yesterday. "<ref>Daily Alta California”, December 5, 1884, archived at the UCR Center for Bibliographical Studies and Research, California Digital Newspaper Collection https://cdnc.ucr.edu/?a=d&d=DAC18841205.2.23&srpos=30&dliv=none&e=-------en--20-DAC-21--txt-txIN-Coon-------1%2f accessed March 3, 2019</ref>

He is interred at the Mountain View Cemetery in Oakland, California. Sources
 Heintz, William F., San Francisco's Mayors:  1850-1880. From the Gold Rush to the Silver Bonanza. Woodside, CA:  Gilbert Roberts Publications, 1975. (Library of Congress Card No.75-17094)
 <mask>, H.I., Life of <mask><mask>'', unpublished manuscript c.1885, in the California State Library, California History Room, Sacramento, California

References

External links
The Political Graveyard
San Francisco's Alcades and Mayors

1822 births
1884 deaths
Mayors of San Francisco
California Populists
People from Columbia County, New York
Williams College alumni
Burials at Mountain View Cemetery (Oakland, California)
People's Party (United States) elected officials
19th-century American

masks:
Coon
Henry P
. Coon


title: Mykola Lebid

texts:
<mask> (, , 5 May 1936 – 29 March 2007) was a Ukrainian painter, graphic artist, designer, Honored Artist of Ukraine, and professor, known for watercolor paintings, graphics, design, medal art. Winner of Nikolai Ostrovsky Premium in 1986. Life

<mask> was born on 5 May 1936 in small village of Kustine, Sumy region, Ukrainian SSR (now Ukraine). Father <mask> (1896–1947) was a railroad worker, fought in the Red Army during World War II, was wounded and died shortly after the war ended. Mother – <mask> (Radchenko) (1898-19??). The family had six children. Two older brothers died during the Holodomor of the 1930s.The elder brother Danilo <mask>, went missing in November 1943. Prior to that he was awarded two medals "For Courage". After the war, the older sisters Galina, Maria and the youngest <mask> lived with their mother. Following his education at the Leningrad Vera Mukhina Higher School of Art and Design (1957-1963), <mask> <mask> worked as an art-designer of the "Ukrdipromebli" Institute and the Institute of Technical Aesthetics in Kyiv (1964–1967). <mask> was a chief artist of the "Ukrtorgreklama" (1966–1973). He has been the member of the Ukrainian Artists Union since 1967. <mask> is an author of the Khreshchatyk street holiday lighting (1967–1977).<mask> <mask> created a series of lamps for public institutions; musical instruments for Chernihiv and Zhytomyr musical

masks:
Mykola Lebid
Mykola Lebid
– Yakiv Lebid
Eudokia Lebid
Lebid
Mykola
Mykola
Lebid
Lebid
Mykola
Mykola
Lebid


title: Mykola Lebid

texts: factories (in particular, the famous piano "Ukraine"); children's wooden toys and souvenirs, which were produced in the 1960-1970s at the Chernihiv and Kyiv factories. Radio receivers "Olimpik", "Olimpik-401" are designed by <mask> <mask> (1977). <mask> is an author of cutlery made of gold and silver, souvenirs made by the "Ukrsamotsvity" jewelry factory, watch design, filmoscopes, loudspeakers, and other household products. They are copyrighted and produced since the 1970s, some were produced up to the 2000s. Since the 1980s, <mask> <mask> has been engaged in environmental and landscape design. Comprehensive presentation of Ukraine at the 12th World Festival of Youth and Students in Moscow, 1985 (M. Ostrovsky Prize, 1986). Small architectural forms and history museum in Varva (1986–1990).Memorial "Defenders of the Motherland" in Borova (1987). Belgorod Central Park (Russia, 1988), ukrainian-russian restaurant in Dubai (UAE, 1996), etc. In the field of graphics, M<mask> developed the corporate style of the "Science" club of the Academy of Sciences of Ukraine (1980–1983). He is an author of series of commemorative medals and badges for Kiev radio plant "Slavutich" (1982–1989). In 1992 <mask> <mask> received the honorary title of Honored Artist of Ukraine. In 1999 in tight competition M<mask> became the author of the state award Order "For Courage" and about twenty departmental

masks:
Mykola
Lebid
Lebid
Mykola
Lebid
. Lebid
Mykola
Lebid
. Lebid


title: Mykola Lebid

texts:
 awards. In 1999 he was nominated for the honorary title of People's Artist of Ukraine.Watercolor paintings of <mask> <mask> are among the best created in this technique by contemporary artists. Are written alla prima, extremely transparent, passionate and at the same time are in logical design, rhythm and composition. Both in painting and in design <mask> <mask> does not copy the objects of nature, but expresses the regularities by all means available. Watercolor paintings were exhibited at numerous personal and group exhibitions. Paintings by M<mask> can be found in private collections throughout the US, United Kingdom, Poland, Czech Republic, Slovakia, Canada, Ukraine, Germany, United Arab Emirates, Austria, Belgium, Netherlands, Russia and others. During last years of life, <mask> <mask> passed on his skills to students of the Institute of Interior Design and Landscape (National Academy of Government Managerial Staff of Culture and Arts). He died at his home in Kiev on 29 March 2007, surrounded by his family.Selected works

 a series of watercolor paintings in own exquisite technique. ;

Author of state and departmental awards of Ukraine

 Order "For Courage", 3 classes (1995, State Award of Ukraine)
 Honorary award of the Ministry of Internal Affairs of Ukraine (1995, Ministry of Internal Affairs)
 Honorary award "For achievement"  (1995, Ministry of Internal Affairs)

masks:
Mykola
Lebid
Mykola
Lebid
. Lebid
Mykola
Lebid


title: Leonard J. Fick

texts:
<mask><mask> (September 6, 1915 – February 4, 1990) was an American Roman Catholic priest, scholar and educator, college president, author in Ohio whose educational career spanned over fifty years. <mask> devoted more than sixty years to the Pontifical College Josephinum and is considered by many to be its most prominent 20th century graduate, scholar, administrator and leader having occupied more positions of responsibility and leadership than anyone else during that time. <mask>, as he preferred to be called, at both Ohio Dominican University, the Josephinum and other institutions and churches, in both the classroom and from the pulpit, inspired generations of English students with his witty insights into the intricacies of the English language – into writing, poetry, literature and theatre and in insights into the life of <mask> and his Church. Fick's critical and mentoring skills influenced a host of college-educated men and women who would go on to be priests, teachers, scholars and leaders in all walks of life. Childhood
<mask> was born in Rich Fountain, Missouri, on September 6, 1915. He was the oldest of the four sons of Herman and <mask>. His family were German-speaking Catholics.He graduated from Sacred Heart Elementary School in 1928. Seminary education
Because of his German background, when young <mask> decided that he wanted to study to become a Catholic priest, it was only natural that he would consider a seminary founded by a German and that was still conducting some classes in German, although the institution had grown into a Pontifical College with a growing international emphasis. This seminary was the Pontifical College Josephinum, a school founded by a German priest, <mask>; <mask>, raised in Germany, distinguished himself for bravery in fierce fighting for his country and eventually founded an orphanage in Ohio. Out of that orphanage grew a

masks:
Leonard J
. Fick
Fick
Father Fick
Jesus Christ
Leonard John Fick
Mary Kbba Fick
Leonard
Joseph Jessing
Jessing


title: Leonard J. Fick

texts:
 seminary; naturally, <mask> was attracted to the Josephinum. Beginning his high school studies in the fall of 1929, <mask> arrived at the Josephinum to begin his high school seminary studies. He would distinguish himself all the way through his training as a gifted scholar. Academic career
When he was ordained a Roman Catholic priest in 1941, the young priest was requested to stay on and join the teaching faculty at the Josephinum.So as a student, teacher and administrator, <mask> would be associated with the Josephinum for more than 61 years. After graduating from the Seminary College, <mask> went on to study English literature at St. Louis University, the University of California at Berkeley and the Ohio State University, where he completed his doctoral studies in 1951. In 1958 <mask> was appointed to the first level of Monsignorate by Rome. He would be appointed to the second level in 1967. For twenty-one years, 1948–1969, Monsignor <mask> also taught English at the College of St. Mary of the Springs, (now Ohio Dominican University). <mask> was immensely popular among students, introducing them to literary classics, creative writing, research and drama. A Monsignor <mask> literary committee still meets at Ohio Dominican in his honor.He was also a moderator of several literary clubs formed by graduates. He addressed the seminary section at meetings of the National Catholic Education Association and helped other seminaries as a member of various teams that were sent to inspect the status of vocational education by the US Bishops' Committee on Priestly Formation. <mask> was named chairman of the English Department of the College in 1952. In 1958 he was named academic dean. He served as Vice Rector of the combined schools of the Josephinum Campus from 1969 until 1989. Teaching
Because Fick had traveled much in his studies, he had the opportunity to meet

masks: Fick Fick Fick Fick Fick Fick Fick Fick Fick


title: Leonard J. Fick

texts: well-known American authors including William Faulkner whom he met in a coffee house favored by the literary set in New York City. Sometimes, to illustrate a point in the classroom, <mask> would make references to one of these encounters.When a student grew discouraged at the amounts of red ink expended on their term papers and essays, <mask> would typically tell the student to persist in his or her efforts, reminding the student that "Knowledge maketh a bloody entrance," or similar quips. As editor of The Josephinum Review, he had a standing bet with his students to pay a dollar if anyone could find a single grammatical mistake. Never one to mince words, in the midst of an attack on an alleged grammatical "mistake" in his magazine, he told one student that he "had the tact of a wet noodle." At times, vice rectors of the Josephinum (the apostolic delegate to the United States was the nominal rector) restricted students' access to "worldly literature." One such episode occurred after a visit of Bishop <mask> McShea of Allentown, Pennsylvania, that led to a new vice rector, Ralph Thompson, and strict new rules, among them a "book policy" that limited what students could read. Beyond spiritual and classroom books, students had to have a permission slip signed by a professor for any book in their college rooms. One college student went to see <mask> and asked him to sign a slip for <mask> Passos' trilogy "USA."With great sadness, <mask> told him that while he was greatly pleased that this student wanted to read such a great work of American literature in three volumes, he didn't want his signature on a permission slip for such an author given the repressive atmosphere then in place at the Josephinum. <mask> told the student to wait until summer, buy the book and read it during the vacation period. In addition to his regular classes, when Fick could generate enough

masks:
Fick
Fick
Joseph Mark
Fick
John Dos
Fick
Fick


title: Leonard J. Fick

texts:
 interest and time, he would offer a rare elective college course on the college level, World Literature. He limited the size of the class and required massive readings. Students recalled that they still referred to their notes for this class more than 40 years later for new things to read when they developed the literary version of the attitude <mask> warned them against with the German phrase, "Ich hab schon alles gesehen." (literally, "I have already all things seen"). As late as 2007, one former Fick student reported that next to his bedside table was Gösta Berling's Saga by Selma Lagerlöf, who in 1909 became the first woman and the first Swede to win the Nobel Prize for literature.Accreditation efforts for the Josephinum schools
At the Josephinum Schools, <mask> could see that the institution's future was tied to its stature academically both within Catholic as well as public educational accreditation institutions. To that end, <mask> undertook a long-term effort at attaining accreditation. As a direct result of his work, the Josephinum College was granted candidacy in 1972 in the North Central Association and full accreditation in 1976. This process took sixteen years of sustained and detailed effort including five self-studies and mountains of paperwork. When full accreditation was awarded it also included the Graduate School of Theology. Author and writer
Msgr <mask> authored numerous papers, articles and several books. In 1947 <mask> edited the school publication formerly named The Josephinum Weekly, that had been in print since 1916, and renamed it The Josephinum Review.<mask> was editor of this magazine for twenty years and authored the editorial column on the front page as well. <mask> wrote The Light Beyond: A Study of Hawthorne's Theology, , a book originally published in 1955 by The Newman Press and reprinted in 1975 by Norwood Editions. He also

masks: Fick Fick Fick Fick Fick Fick Fick


title: Leonard J. Fick

texts:
 authored a book on the German stigmatic, Therese Neumann, What about Therese Neumann: A concise background for and analysis of the critical reception accorded Hilda C. Graef's the case of Therese Neumann, The Newman Press, 1951 ASIN, B0007H5KMO   In November 1988, <mask> authored the definitive history of the Pontifical College Josephinum, The Jessing Legacy, 1888–1988: A Centennial History of the Pontifical College Josephinum. through the Kairos Press. Death in 1990
<mask> died from complications of heart disease in 1990. He was buried in the Josephinum Cemetery, on the grounds of the institution after a memorial service attended by over five hundred people including several bishops and over eighty priests. Legacy
Ohio Dominican University (ODU), where he taught for over twenty years, continues to sponsor the Ohio Dominican Literary Committee that <mask> started and hosts Ohio Dominican Literary events featuring guest speakers.ODU also started the Monsignor <mask> Scholarship Fund in his honor for ODU students majoring in English. The school holds an annual Monsignor <mask> Literary Brunch, which honors the late Ohio Dominican faculty member and raises funds for Literary events. At his beloved Josephinum, prior to his death and in recognition of his notable service to the Josephinum, the auditorium in the College's 1958 recreation building was named in his honor. See also
 <mask>
 Pontifical College Josephinum

References

External links
Selected Writings of <mask>. <mask>
 2006-2007 PCJ Catalog

1915 births
1990 deaths
Pontifical College Josephinum faculty
American religious writers
American Roman Catholic religious writers
Ohio State University alumni
Writers from Columbus, Ohio
Pontifical College Josephinum alumni
University of California, Berkeley alumni
20th-century American non-fiction writers
Catholics from Ohio
20th-century American Roman Catholic

masks:
Fick
Fick
Fick
Leonard Fick
Leonard Fick
Joseph Jessing
Leonard J
Fick


title: Gian Lorenzo Bernini

texts: <mask> (or <mask>) <mask> (, , ; Italian <mask>; 7 December 159828 November 1680) was an Italian sculptor and architect. While a major figure in the world of architecture, he was more prominently the leading sculptor of his age, credited with creating the Baroque style of sculpture. As one scholar has commented, "What Shakespeare is to drama, Bernini may be to sculpture: the first pan-European sculptor whose name is instantaneously identifiable with a particular manner and vision, and whose influence was inordinately powerful ..." In addition, he was a painter (mostly small canvases in oil) and a man of the theater: he wrote, directed and acted in plays (mostly Carnival satires), for which he designed stage sets and theatrical machinery. He produced designs as well for a wide variety of decorative art objects including lamps, tables, mirrors, and even coaches. As an architect and city planner, he designed secular buildings, churches, chapels, and public squares, as well as massive works combining both architecture and sculpture, especially elaborate public fountains and funerary monuments and a whole series of temporary structures (in stucco and wood) for funerals and festivals. His broad technical versatility, boundless compositional inventiveness and sheer skill in manipulating marble ensured that he would be considered a worthy successor of Michelangelo, far outshining other sculptors of his generation. His talent extended beyond the confines of sculpture to a consideration of the setting in which it would be situated; his ability to synthesize sculpture, painting, and architecture into a coherent conceptual and visual

masks:
Gian Lorenzo
Gianlorenzo
Bernini
Giovanni Lorenzo


title: Gian Lorenzo Bernini

texts:
 whole has been termed by the late art historian Irving Lavin the "unity of the visual arts".Biography

Youth

<mask> was born on 7 December 1598 in Naples to Angelica Galante, a Neapolitan, and Mannerist sculptor <mask>, originally from Florence. He was the sixth of their thirteen children. <mask> <mask> was the definition of childhood genius. He was "recognized as a prodigy when he was only eight years old, [and] he was consistently encouraged by his father, Pietro. His precocity earned him the admiration and favor of powerful patrons who hailed him as 'the Michelangelo of his century'”. More specifically, it was Pope Paul V, who after first attesting to the boy <mask>'s talent, famously remarked, 'This child will be the Michelangelo of his age,' later repeating that prophecy to Cardinal Maffeo Barberini (the future Pope Urban VIII), as <mask> reports in his biography of his father. In 1606 his father received a papal commission (to contribute a marble relief in the Cappella Paolina of Santa Maria Maggiore) and so moved from Naples to Rome, taking his entire family with him and continuing in earnest the training of his son <mask> <mask>.Several extant works, dating circa 1615–1620, are by general scholarly consensus, collaborative efforts by both father and son: they include the Faun Teased by Putti (c. 1615, Metropolitan Museum, NYC), Boy with a Dragon (c. 1616–17, Getty Museum, Los Angeles), the Aldobrandini Four Seasons (c. 1620, private collection), and the recently discovered Bust of the Savior (1615–16, New York, private collection). Sometime after the arrival of the <mask> family in Rome, word about the great

masks:
Bernini
Pietro Bernini
Gian
Lorenzo Bernini
Bernini
Domenico Bernini
Gian
Lorenzo
Bernini


title: Gian Lorenzo Bernini

texts: talent of the boy <mask> <mask> got around and he soon caught the attention of Cardinal Scipione Borghese, nephew to the reigning pope, Paul V, who spoke of the boy genius to his uncle. <mask> was therefore presented before Pope Paul V, curious to see if the stories about <mask> <mask>'s talent were true. The boy improvised a sketch of Saint Paul for the marveling pope, and this was the beginning of the pope's attention on this young talent. Once he was brought to Rome, he rarely left its walls, except (much against his will) for a five-month stay in Paris in the service of King Louis XIV and brief trips to nearby towns (including Civitavecchia, Tivoli and Castelgandolfo), mostly for work-related reasons. Rome was <mask>'s city: “'You are made for Rome,’ said Pope Urban VIII to him, 'and Rome for you'”. It was in this world of 17th-century Rome and the international religious-political power which resided there that <mask> created his greatest works.<mask>'s works are therefore often characterized as perfect expressions of the spirit of the assertive, triumphal but self-defensive Counter Reformation Roman Catholic Church. Certainly <mask> was a man of his times and deeply religious (at least later in life), but he and his artistic production should not be reduced simply to instruments of the papacy and its political-doctrinal programs, an impression that is at times communicated by the works of the three most eminent Bernini scholars of the previous generation, Rudolf Wittkower, Howard Hibbard, and Irving Lavin. As Tomaso Montanari's recent revisionist monograph, La libertà di Bernini (Turin: Einaudi, 2016) argues and

masks: Gian Lorenzo Bernini Gian Lorenzo Bernini Bernini Bernini Bernini


title: Gian Lorenzo Bernini

texts:
 Franco Mormando's anti-hagiographic biography, Bernini: His Life and His Rome (Chicago: University of Chicago Press, 2011), illustrates, <mask> and his artistic vision maintained a certain degree of freedom from the mindset and mores of Counter-Reformation Roman Catholicism. Partnership with Scipione Borghese

Under the patronage of the extravagantly wealthy and most powerful Cardinal Scipione Borghese, the young <mask> rapidly rose to prominence as a sculptor. Among his early works for the cardinal were decorative pieces for the garden of the Villa Borghese, such as The Goat Amalthea with the Infant Jupiter and a Faun. This marble sculpture (executed sometime before 1615) is generally considered by scholars to be the earliest work executed entirely by <mask> himself. Among <mask>'s earliest documented work is his collaboration on his father's commission of February 1618 from Cardinal Maffeo Barberini to create four marble putti for the Barberini family chapel in the church of Sant'Andrea della Valle, the contract stipulating that his son Gian <mask> would assist in the execution of the statues.Also dating to 1618 is a letter by Maffeo Barberini in Rome to his brother Carlo in Florence, which mentions that he (Maffeo) was thinking of asking the young <mask> <mask> to finish one of the statues left incomplete by Michelangelo, then in possession of Michelangelo's grandnephew which Maffeo was hoping to purchase, a remarkable attestation of the great skill that the young <mask> was already believed to possess. Although the Michelangelo statue-completion commission came to naught, the young <mask> was shortly thereafter (in

masks: Bernini Bernini Bernini Bernini Lorenzo Gian Lorenzo Bernini Bernini


title: Gian Lorenzo Bernini

texts: 1619) commissioned to repair and complete a famous work of antiquity, the sleeping Hermaphrodite owned by Cardinal Scipione Borghese (Galleria Borghese, Rome) and later (circa 1622) restored the so-called Ludovisi Ares (Palazzo Altemps, Rome). Also dating to this early period are the so-called Damned Soul and Blessed Soul of circa 1619, two small marble busts which may have been influenced by a set of prints by Pieter de Jode I or Karel van Mallery, but which were in fact unambiguously cataloged in the inventory of their first documented owner, Fernando de Botinete y Acevedo, as depicting a nymph and a satyr, a commonly paired duo in ancient sculpture (they were not commissioned by nor ever belonged to either Scipione Borghese or, as most scholarship erroneously claims, the Spanish cleric, Pedro Foix Montoya). By the time he was twenty-two, <mask> was considered talented enough to have been given a commission for a papal portrait, the Bust of Pope Paul V, now in the J. Paul Getty Museum. <mask>'s reputation, however, was definitively established by four masterpieces, executed between 1619 and 1625, all now displayed in the Galleria Borghese in Rome. To the art historian Rudolf Wittkower these four works—Aeneas, Anchises, and Ascanius (1619), The Rape of Proserpina (1621–22), Apollo and Daphne (1622–1625), and David (1623–24)—"inaugurated a new era in the history of European sculpture". It is a view repeated by other scholars, such as Howard Hibbard who proclaimed that, in all of the seventeenth century, "there were no sculptors or architects comparable to Bernini".Adapting the classical grandeur of Renaissance sculpture and

masks: Bernini Bernini


title: Gian Lorenzo Bernini

texts: the dynamic energy of the Mannerist period, <mask> forged a new, distinctly Baroque conception for religious and historical sculpture, powerfully imbued with dramatic realism, stirring emotion and dynamic, theatrical compositions. <mask>'s early sculpture groups and portraits manifest "a command of the human form in motion and a technical sophistication rivaled only by the greatest sculptors of classical antiquity." Moreover, <mask> possessed the ability to depict highly dramatic narratives with characters showing intense psychological states, but also to organize large-scale sculptural works that convey a magnificent grandeur. Unlike sculptures done by his predecessors, these focus on specific points of narrative tension in the stories they are trying to tell: Aeneas and his family fleeing the burning Troy; the instant that Pluto finally grasps the hunted Persephone; the precise moment that Apollo sees his beloved Daphne begin her transformation into a tree. They are transitory but dramatic powerful moments in each story. <mask>'s David is another stirring example of this. Michelangelo's motionless, idealized David shows the subject holding a rock in one hand and a sling in the other, contemplating the battle; similarly immobile versions by other Renaissance artists, including Donatello's, show the subject in his triumph after the battle with Goliath.<mask> illustrates David during his active combat with the giant, as he twists his body to catapult toward Goliath. To emphasize these moments, and to ensure that they were appreciated by the viewer, <mask> designed the sculptures with a specific viewpoint in mind. Their

masks: Bernini Bernini Bernini Bernini Bernini Bernini


title: Gian Lorenzo Bernini

texts:
 original placements within the Villa Borghese were against walls so that the viewers' first view was the dramatic moment of the narrative. The result of such an approach is to invest the sculptures with greater psychological energy. The viewer finds it easier to gauge the state of mind of the characters and therefore understands the larger story at work: Daphne's wide open mouth in fear and astonishment, David biting his lip in determined concentration, or Proserpina desperately struggling to free herself. In addition to portraying psychological realism, they show a greater concern for representing physical details. The tousled hair of Pluto, the pliant flesh of Proserpina, or the forest of leaves beginning to envelop Daphne all demonstrate <mask>'s exactitude and delight for representing complex real world textures in marble form.Papal artist: the pontificate of Urban VIII

In 1621 Pope Paul V Borghese was succeeded on the throne of St. Peter by another admiring friend of <mask>'s, Cardinal Alessandro Ludovisi, who became Pope Gregory XV: although his reign was very short (he died in 1623), Pope Gregory commissioned portraits of himself (both in marble and bronze) by Bernini. The pontiff also bestowed upon Bernini the honorific rank of 'Cavaliere,' the title with which for the rest of his life the artist was habitually referred. In 1623 came the ascent to the papal throne of his aforementioned friend and former tutor, Cardinal Maffeo Barberini, as Pope Urban VIII, and henceforth (until Urban's death in 1644) <mask> enjoyed near monopolistic patronage from the Barberini pope and family. The new Pope Urban is reported to

masks: Bernini Bernini Bernini


title: Gian Lorenzo Bernini

texts: have remarked, "It is a great fortune for you, O Cavaliere, to see Cardinal Maffeo Barberini made pope, but our fortune is even greater to have Cavalier <mask> alive in our pontificate." Although he did not fare as well during the reign (1644–55) of Innocent X, under Innocent's successor, Alexander VII (reigned 1655–67), <mask> once again gained pre-eminent artistic domination and continued in the successive pontificate to be held in high regard by Clement IX during his short reign (1667–69). Under Urban VIII's patronage, <mask>'s horizons rapidly and widely broadened: he was not just producing sculpture for private residences, but playing the most significant artistic (and engineering) role on the city stage, as sculptor, architect, and urban planner. His official appointments also testify to this—"curator of the papal art collection, director of the papal foundry at Castel Sant'Angelo, commissioner of the fountains of Piazza Navona".Such positions gave <mask> the opportunity to demonstrate his versatile skills throughout the city. To great protest from older, experienced master architects, he, with virtually no architectural training to his name, was appointed Chief Architect of St Peter's in 1629, upon the death of Carlo Maderno. From then on, <mask>'s work and artistic vision would be placed at the symbolic heart of Rome. <mask>'s artistic pre-eminence under Urban VIII and Alexander VII meant he was able to secure the most important commissions in the Rome of his day, namely, the various massive embellishment projects of the newly finished St. Peter's Basilica, completed under Pope Paul V with the addition of Maderno's


title: Gian Lorenzo Bernini

texts: nave and facade and finally re-consecrated by Pope Urban VIII on 18 November 1626, after 150 years of planning and building. Within the basilica he was responsible for the Baldacchino, the decoration of the four piers under the cupola, the Cathedra Petri or Chair of St. Peter in the apse, the tomb monument of Matilda of Tuscany, the chapel of the Blessed Sacrament in the right nave, and the decoration (floor, walls and arches) of the new nave. The St Peter's Baldacchino immediately became the visual centerpiece of the new St. Peter's. Designed as a massive spiraling gilded bronze canopy over the tomb of St Peter, <mask>'s four-pillared creation reached nearly  from the ground and cost around 200,000 Roman scudi (about 8 million US dollars in the currency of the early 21st century)."Quite simply", writes one art historian, "nothing like it had ever been seen before". Soon after the St Peter's Baldacchino, <mask> undertook the whole-scale embellishment of the four massive piers at crossing of the basilica (i.e., the structures supporting the cupola) including, most notably, four colossal, theatrically dramatic statues, among them, the majestic St. Longinus executed by <mask> himself (the other three are by other contemporary sculptors François Duquesnoy, Francesco Mochi, and <mask>'s disciple, Andrea Bolgi). In the basilica, <mask> also began work on the tomb for Urban VIII, completed only after Urban's death in 1644, one in a long, distinguished series of tombs and funerary monuments for which <mask> is famous and a traditional genre upon which his influence left an enduring mark, often copied by subsequent artists. Indeed,


title: Gian Lorenzo Bernini

texts: <mask>'s final and most original tomb monument, the Tomb of Pope Alexander VII, in St. Peter's Basilica, represents, according to Erwin Panofsky, the very pinnacle of European funerary art, whose creative inventiveness subsequent artists could not hope to surpass. Begun and largely completed during Alexander VII's reign, Bernini's design of the Piazza San Pietro in front of the Basilica is one of his most innovative and successful architectural designs, which transformed a formerly irregular, inchoate open space into an aesthetically unified, emotionally thrilling, and logistically efficient (for carriages and crowds), completely in harmony with the pre-existing buildings and adding to the majesty of the basilica. Despite this busy engagement with large works of public architecture, <mask> was still able to devote himself to his sculpture, especially portraits in marble, but also large statues such as the life-size Saint Bibiana (1624, Church of Santa Bibiana, Rome). Bernini's portraits show his ever increasing ability to capture the utterly distinctive personal characteristics of his sitters, as well as his ability to achieve in cold white marble almost painterly-like effects that render with convincing realism the various surfaces involved: human flesh, hair, fabric of varying type, metal, etc.These portraits included a number of busts of Urban VIII himself, the family bust of Francesco Barberini and most notably, the Two Busts of Scipione Borghese—the second of which had been rapidly created by <mask> once a flaw had been found in the marble of the first. The transitory nature of the expression on Scipione's face is


title: Gian Lorenzo Bernini

texts:
 often noted by art historians, iconic of the Baroque concern for representing fleeting movement in static artworks. To Rudolf Wittkower the "beholder feels that in the twinkle of an eye not only might the expression and attitude change but also the folds of the casually arranged mantle". Other marble portraits in this period include that of Costanza Bonarelli (executed around 1637), unusual in its more personal, intimate nature. (At the time of the sculpting of the portrait, <mask> was having an affair with Costanza, wife of one of his assistants, sculptor, Matteo.) Indeed, it would appear to be the first marble portrait of a non-aristocratic woman by a major artist in European history. Beginning in the late 1630s, now known in Europe as one of the most accomplished portraitists in marble, <mask> also began to receive royal commissions from outside Rome, for subjects such as Cardinal Richelieu of France, Francesco I d'Este the powerful Duke of Modena, Charles I of England and his wife, Queen Henrietta Maria.The sculpture of Charles I was produced in Rome from a triple portrait (oil on canvas) executed by Van Dyck, that survives today in the British Royal Collection. The bust of Charles was lost in the Whitehall Palace fire of 1698 (though its design is known through contemporary copies and drawings) and that of Henrietta Maria was not undertaken due to the outbreak of the English Civil War. Temporary eclipse and resurgence under Innocent X

In 1644, with the death of Pope Urban with whom <mask> had been so intimately connected and the ascent to power of the fierce Barberini-enemy Pope Innocent X Pamphilj, <mask>'s career

masks: Bernini Bernini Bernini Bernini


title: Gian Lorenzo Bernini

texts: suffered a major, unprecedented eclipse, which was to last four years. This had not only to do with Innocent's anti-Barberini politics but also to <mask>'s role in the disastrous project of the new bell towers for St. Peter's basilica, designed and supervised entirely by <mask>. The infamous bell tower affair was to be the biggest failure of his career, both professionally and financially. In 1636, eager to finally finish the exterior of St. Peter's, Pope Urban had ordered <mask> to design and build the two, long-intended bell towers for its facade: the foundations of the two towers had already been designed and constructed (namely, the last bays at either extremity of the facade) by Carlo Maderno (architect of the nave and the facade) decades earlier. Once the first tower was finished in 1641, cracks began to appear in the facade but, curiously enough, work nonetheless continued on the second tower and the first storey was completed.Despite the presence of the cracks, work only stopped in July 1642 once the papal treasury had been exhausted by the disastrous War of Castro. Knowing that <mask> could no longer depend on the protection of a favorable pope, his enemies (especially Francesco Borromini) raised a great alarm over the cracks, predicting a disaster for the whole basilica and placing the blame entirely on <mask>. The subsequent investigations, in fact, revealed the cause of the cracks as Maderno's defective foundations and not <mask>'s elaborate design, an exoneration later confirmed by the meticulous investigation conducted in 1680 under Pope Innocent XI. Nonetheless, <mask>'s opponents in Rome succeeded in

masks: Bernini Bernini Bernini Bernini Bernini Bernini Bernini


title: Gian Lorenzo Bernini

texts: seriously damaging the reputation of Urban's artist and in persuading Pope Innocent to order (in February 1646) the complete demolition of both towers, to <mask>'s great humiliation and indeed financial detriment (in the form of a substantial fine for the failure of the work). After this, one of the rare failures of his career, <mask> retreated into himself: according to his son, Domenico. his subsequent unfinished statue of 1647, Truth Unveiled by Time, was intended to be his self-consoling commentary on this affair, expressing his faith that eventually Time would reveal the actual Truth behind the story and exonerate him fully, as indeed did occur. Although he received no personal commissions from Innocent or the Pamphilj family in the early years of the new papacy, <mask> did not lose his former positions granted to him by previous popes.Innocent X maintained <mask> in all of the official roles given to him by Urban, including that of chief Architect of St. Peter's. Under <mask>'s design and direction, work continued on decorating the massive, recently completed but still entirely unadorned nave of St. Peter's, with the addition of an elaborate multi-colored marble flooring, marble facing on the walls and pilasters, and scores of stuccoed statues and reliefs. It is not without reason that Pope Alexander VII once quipped, 'If one were to remove from Saint Peter's everything that had been made by the Cavalier Bernini, that temple would be stripped bare.' Indeed, given all of his many and various works within the basilica over several decades, it is to Bernini that is due the lion's share of responsibility for the final and

masks: Bernini Bernini Bernini Bernini Bernini


title: Gian Lorenzo Bernini

texts: enduring aesthetic appearance and emotional impact of St. Peter's. He was also allowed to continue to work on Urban VIII's tomb, despite Innocent's antipathy for the Barberini. A few months after completing Urban's tomb, in 1648 <mask> won, in controversial circumstances, the Pamphilj commission for the prestigious Four Rivers Fountain on Piazza Navona, marking the end of his disgrace and the beginning a yet another glorious chapter in his life. If there had been doubts over <mask>'s position as Rome's preeminent artist, they were definitively removed by the unqualified success of the marvelously delightful and technically ingenious Four Rivers Fountain, featuring a heavy ancient obelisk placed over a void created by a cavelike rock formation placed in the center of an ocean of exotic sea creatures.<mask> continued to receive commissions from Pope Innocent X and other senior members of Rome's clergy and aristocracy, as well as from exalted patrons outside of Rome, such as Francesco d'Este. Recovering quickly form the humiliation of the bell tower, <mask>'s boundless creativity continued as before. New types of funerary monument were designed, such as, in the Church of Santa Maria sopra Minerva, the seemingly floating medallion, hovering in the air as it were, for the deceased nun Maria Raggi, while chapels he designed, such as the Raimondi Chapel in the church of San Pietro in Montorio, illustrated how <mask> could use hidden lighting to help suggest divine intervention within the narratives he was depicting. One of the most accomplished and celebrated works to come from <mask>'s hand in this period was the Cornaro Family


title: Gian Lorenzo Bernini

texts: Chapel in the small Carmelite church of Santa Maria della Vittoria, Rome. The Cornaro Chapel (inaugurated in 1651) showcased <mask>'s ability to integrate sculpture, architecture, fresco, stucco, and lighting into "a marvelous whole" (bel composto, to use early biographer Filippo Baldinucci's term to describe his approach to architecture) and thus create what scholar Irving Lavin has called the "unified work of art". The central focus of the Cornaro Chapel is the Ecstasy of Saint Teresa, depicting the so-called "transverberation" of Spanish nun and saint-mystic, Teresa of Avila. <mask> presents the spectator with a theatrically vivid portrait, in gleaming white marble, of the swooning Teresa and the quietly smiling angel, who delicately grips the arrow piercing the saint's heart.On either side of the chapel the artist places (in what can only strike the viewer as theater boxes), portraits in relief of various members of the Cornaro family – the Venetian family memorialized in the chapel, including Cardinal Federico Cornaro who commissioned the chapel from <mask> – who are in animated conversation among themselves, presumably about the event taking place before them. The result is a complex but subtly orchestrated architectural environment providing the spiritual context (a heavenly setting with a hidden source of light) that suggests to viewers the ultimate nature of this miraculous event. Nonetheless, during <mask>'s lifetime and in the centuries following till this very day, <mask>'s Saint Teresa has been accused of crossing a line of decency by sexualizing the visual depiction of the saint's experience, to a degree that


title: Gian Lorenzo Bernini

texts:
 no artist, before or after Bernini, dared to do: in depicting her at an impossibly young chronological age, as an idealized delicate beauty, in a semi-prostrate position with her mouth open and her legs splayed-apart, her wimple coming undone, with prominently displayed bare feet (Discalced Carmelites, for modesty, always wore sandals with heavy stockings) and with the seraph "undressing" her by (unnecessarily) parting her mantle to penetrate her heart with his arrow. Matters of decorum aside, Bernini's Teresa was still an artistic tour de force that incorporates all of the multiple forms of visual art and technique that <mask> had at his disposal, including hidden lighting, thin gilded beams, recessive architectural space, secret lens, and over twenty diverse types of colored marble: these all combine to create the final artwork—"a perfected, highly dramatic and deeply satisfying seamless ensemble". Embellishment of Rome under Alexander VII
Upon his accession to the Chair of St Peter, Pope Alexander VII Chigi (1655–1667) began to implement his extremely ambitious plan to transform Rome into a magnificent world capital by means of systematic, bold (and costly) urban planning. In so doing, he brought to fruition the long, slow recreation of the urban glory of Rome—the "renovatio Romae"—that had begun in the fifteenth century under the Renaissance popes. Over the course of his pontificate Alexander commissioned many large-scale architectural changes in the city—indeed, some of the most significant ones in the city's recent history and for years to come—chosing Bernini as his principal collaborator (though other architects,


title: Gian Lorenzo Bernini

texts: especially Pietro da Cortona, were also involved).Thus did commence another extraordinarily prolific and successful chapter in <mask>'s career. <mask>'s major commissions during this period include the piazza in front of St Peter's basilica. In a previously broad, irregular, and completely unstructured space, he created two massive semi-circular colonnades, each row of which was formed of four white columns. This resulted in an oval shape that formed an inclusive arena within which any gathering of citizens, pilgrims and visitors could witness the appearance of the pope—either as he appeared on the loggia on the facade of St Peter's or on balconies on the neighboring Vatican palaces. Often likened to two arms reaching out from the church to embrace the waiting crowd, <mask>'s creation extended the symbolic greatness of the Vatican area, creating an "exhilarating expanse" that was, architecturally, an "unequivocal success". Elsewhere within the Vatican, <mask> created systematic rearrangements and majestic embellishment of either empty or aesthetically undistinguished space that exist as he designed them to the present day and have become indelible icons of the splendor of the papal precincts. Within the hitherto unadorned apse of the basilica, the Cathedra Petri, the symbolic throne of St Peter, was rearranged as a monumental gilded bronze extravagance that matched the Baldacchino created earlier in the century.<mask>'s complete reconstruction of the Scala Regia, the stately papal stairway between St. Peters's and the Vatican Palace, was slightly less ostentatious in appearance but still taxed <mask>'s creative powers


title: Gian Lorenzo Bernini

texts:
 (employing, for example, clever tricks of optical illusion) to create a seemingly uniform, totally functional, but nonetheless regally impressive stairway to connect two irregular buildings within an even more irregular space. Not all works during this era were on such a large scale. Indeed, the commission <mask> received to build the church of Sant'Andrea al Quirinale for the Jesuits was relatively modest in physical size (though great in its interior chromatic splendor), which <mask> executed completely free of charge. Sant'Andrea shared with the St. Peter's piazza—unlike the complex geometries of his rival Francesco Borromini—a focus on basic geometric shapes, circles and ovals to create spiritually intense buildings. Equally, <mask> moderated the presence of colour and decoration within these buildings, focussing visitors' attention on these simple forms that underpinned the building. Sculptural decoration was never eliminated, but its use was more minimal. He also designed the church of Santa Maria dell'Assunzione in the town of Ariccia with its circular outline, rounded dome and three-arched portico.Visit to France and service to King Louis XIV

At the end of April 1665, and still considered the most important artist in Rome, if indeed not in all of Europe, <mask> was forced by political pressure (from both the French court and Pope Alexander VII) to travel to Paris to work for King Louis XIV, who required an architect to complete work on the royal palace of the Louvre. <mask> would remain in Paris until mid-October. Louis XIV assigned a member of his court to serve as <mask>'s translator, tourist guide, and overall


title: Gian Lorenzo Bernini

texts: companion, Paul Fréart de Chantelou, who kept a Journal of Bernini's visit that records much of <mask>'s behaviour and utterances in Paris. The writer Charles Perrault, who was serving at this time as an assistant to the French Finance Minister Jean-Baptiste Colbert, also provided a first-hand account of <mask>'s visit. <mask>'s popularity was such that on his walks in Paris the streets were lined with admiring crowds. But things soon turned sour. <mask> presented finished designs for the east front (i.e., the all-important principal facade of the entire palace) of the Louvre, which were ultimately rejected, albeit formally not until 1667, well after his departure from Paris (indeed, the already constructed foundations for <mask>'s Louvre addition were inaugurated in October 1665 in an elaborate ceremony, with both <mask> and King Louis in attendance).It is often stated in the scholarship on <mask> that his Louvre designs were turned down because Louis and his financial advisor Jean-Baptiste Colbert considered them too Italianate or too Baroque in style. In fact, as Franco Mormando points out, "aesthetics are never mentioned in any of [the] ... surviving memos" by Colbert or any of the artistic advisors at the French court. The explicit reasons for the rejections were utilitarian, namely, on the level of physical security and comfort (e.g., location of the latrines). It is also indisputable that there was an interpersonal conflict between <mask> and the young French king, each one feeling insufficiently respected by the other. Though his design for the Louvre went unbuilt, it circulated widely throughout Europe by means of

masks: Bernini Bernini Bernini Bernini Bernini Bernini Bernini Bernini


title: Gian Lorenzo Bernini

texts:
 engravings and its direct influence can be seen in subsequent stately residences such as Chatsworth House, Derbyshire, England, seat of the Dukes of Devonshire. Other projects in Paris suffered a similar fate. With the exception of Chantelou, <mask> failed to forge significant friendships at the French court.His frequent negative comments on various aspects of French culture, especially its art and architecture, did not go down well, particularly in juxtaposition to his praise for the art and architecture of Italy (especially Rome); he said that a painting by Guido Reni was worth more than all of Paris. The sole work remaining from his time in Paris is the Bust of Louis XIV although he also contributed a great deal to the execution of the Christ Child Playing with a Nail marble relief (now in the Louvre) by his son Paolo as a gift to the Queen of France. Back in Rome, <mask> created a monumental equestrian statue of Louis XIV; when it finally reached Paris (in 1685, five years after the artist's death), the French king found it extremely repugnant and wanted it destroyed; it was instead re-carved into a representation of the ancient Roman hero Marcus Curtius. Later years and death

<mask> remained physically and mentally vigorous and active in his profession until just two weeks before his death that came as a result of a stroke. The pontificate of his old friend, Clement IX, was too short (barely two years) to accomplish more than the dramatic refurbishment by <mask> of the Ponte Sant'Angelo, while the artist's elaborate plan, under Clement, for a new apse for the basilica of Santa Maria Maggiore came to an unpleasant end


title: Gian Lorenzo Bernini

texts: in the midst of public uproar over its cost and the destruction of ancient mosaics that it entailed. The last two popes of <mask>'s life, Clement X and Innocent XI, were both not especially close or sympathetic to <mask> and not particularly interested in financing works of art and architecture, especially given the disastrous conditions of the papal treasury. The most important commission by <mask>, executed entirely by him in just six months in 1674, under Clement X was the statue of the Blessed Ludovica Albertoni, another nun-mystic.The work, reminiscent of <mask>'s Ecstasy of Saint Teresa, is located in the chapel dedicated to Ludovica remodeled under <mask>'s supervision in the Trastevere church of San Francesco in Ripa, whose facade was designed by <mask>'s disciple, Mattia de' Rossi. In his last two years, <mask> also carved (supposedly for Queen Christina) the bust of the Savior (Basilica of San Sebastiano fuori le Mura, Rome) and supervised the restoration of the historic Palazzo della Cancelleria as per papal commission under Innocent XI. The latter commission is outstanding confirmation of both <mask>'s continuing professional reputation and good health of mind and body even in advanced old age, inasmuch as the pope had chosen him over any number of talented younger architects plentiful in Rome, for this prestigious and most difficult assignment since, as his son Domenico points out, "deterioration of the palace had advanced to such an extent that the threat of its imminent collapse was quite apparent." Shortly after the completion of the latter project, <mask> died in his home on 28 November 1680 and was buried,

masks: Bernini Bernini Bernini Bernini Bernini Bernini Bernini Bernini Bernini


title: Gian Lorenzo Bernini

texts:
 with little public fanfare, in the simple, unadorned Bernini family vault, along with his parents, in the Basilica di Santa Maria Maggiore. Though an elaborate funerary monument had once been planned (documented by a single extant sketch of circa 1670 by disciple Ludovico Gimignani), it was never built and <mask> remained with no permanent public acknowledgement of his life and career in Rome until 1898 when, on the anniversary of his birth, a simple plaque and small bust was affixed to the face of his home on the Via della Mercede, proclaiming "Here lived and died <mask> <mask>, a sovereign of art, before whom reverently bowed popes, princes, and a multitude of peoples." Personal life
In the 1630s, Bernini had an affair with a married woman named Costanza (wife of his workshop assistant, Matteo Bonucelli, also called Bonarelli) and sculpted a bust of her (now in the Bargello, Florence) during the height of their romance. Costanza later had an affair with Bernini's younger brother, Luigi, who was Bernini's right-hand man in his studio.When <mask> found out about Costanza and his brother, in a fit of mad fury, he chased Luigi through the streets of Rome and into the basilica of Santa Maria Maggiore, threatening his life. To punish his unfaithful mistress, <mask> had a servant go to the house of Costanza, where the servant slashed her face several times with a razor. The servant was later jailed, while Costanza herself was jailed for adultery. <mask> himself, instead, was exonerated by the pope, even though he had committed a crime in ordering the face-slashing. Soon after, in May 1639, at age forty-one, <mask> wed a

masks: Bernini Giannzo Bernini Bernini Bernini Bernini Bernini


title: Gian Lorenzo Bernini

texts:
 twenty-two-year-old Roman woman, Caterina Tezio, in an arranged marriage, under orders from Pope Urban. She bore him eleven children, including youngest son <mask>, who would later be his first biographer. After his never-repeated fit of passion and bloody rage and his subsequent marriage, <mask> turned more sincerely to the practice of his faith, according to his early official biographers, whereas brother Luigi was to once again, in 1670, bring great grief and scandal to his family by his sodomitic rape of a young Bernini workshop assistant at the construction site of the 'Constantine' memorial in St. Peter's Basilica.Architecture
<mask>'s architectural works include sacred and secular buildings and sometimes their urban settings and interiors. He made adjustments to existing buildings and designed new constructions. Among his most well known works are the Piazza San Pietro (1656–67), the piazza and colonnades in front of St. Peter's Basilica and the interior decoration of the Basilica. Among his secular works are a number of Roman palaces: following the death of Carlo Maderno, he took over the supervision of the building works at the Palazzo Barberini from 1630 on which he worked with Borromini; the Palazzo Ludovisi (now Palazzo Montecitorio, started 1650); and the Palazzo Chigi (now Palazzo Chigi-Odescalchi, started 1664). His first architectural projects were the façade and refurbishment of the church of Santa Bibiana (1624–26) and the St. Peter's baldachin (1624–33), the bronze columned canopy over the high altar of St. Peter's Basilica. In 1629, and before St. Peter's Baldachin was complete, Urban VIII put him in

masks:
Domenico Bernini
Bernini
Bernini


title: Gian Lorenzo Bernini

texts: charge of all the ongoing architectural works at St Peter's. However, <mask> fell out of favor during the papacy of Innocent X Pamphili: one reason was the pope's animosity towards the Barberini and hence towards their clients including <mask>.Another reason was the failure of the belltowers designed and built by <mask> for St. Peter's Basilica, commencing during the reign of Urban VIII. The completed north tower and the only partially completed south tower were ordered demolished by Innocent in 1646 because their excessive weight had caused cracks in the basilica's facade and threatened to do more calamitous damage. Professional opinion at the time was in fact divided over the true gravity of the situation (with <mask>'s rival Borromini spreading an extreme, anti-Bernini catastrophic view of the problem) and over the question of responsibility for the damage: Who was to blame? <mask>? Pope Urban VIII who forced <mask> to design over-elaborate towers? Deceased Architect of St. Peter's, Carlo Maderno who built the weak foundations for the towers? Official papal investigations in 1680 in fact completely exonerated <mask>, while inculpating Maderno.Never wholly without patronage during the Pamphili years, after Innocent's death in 1655 <mask> regained a major role in the decoration of St. Peter's with the Pope Alexander VII Chigi, leading to his design of the piazza and colonnade in front of St. Peter's. Further significant works by Bernini at the Vatican include the Scala Regia (1663–66), the monumental grand stairway entrance to the Vatican Palace, and the Cathedra Petri, the Chair of Saint Peter, in the apse of St. Peter's,


title: Gian Lorenzo Bernini

texts: in addition to the Chapel of the Blessed Sacrament in the nave. <mask> did not build many churches from scratch; rather, his efforts were concentrated on pre-existing structures, such as the restored church of Santa Bibiana and in particular St. Peter's. He fulfilled three commissions for new churches in Rome and nearby small towns. Best known is the small but richly ornamented oval church of Sant'Andrea al Quirinale, done (beginning in 1658) for the Jesuit novitiate, representing one of the rare works of his hand with which <mask>'s son, Domenico, reports that his father was truly and very pleased. <mask> also designed churches in Castelgandolfo (San Tommaso da Villanova, 1658–1661) and Ariccia (Santa Maria Assunta, 1662–1664), and was responsible for the re-modeling of the Santuario della Madonna di Galloro (just outside of Ariccia), endowing it with a majestic new facade. When <mask> was invited to Paris in 1665 to prepare works for Louis XIV, he presented designs for the east facade of the Louvre Palace, but his projects were ultimately turned down in favor of the more sober and classic proposals of a committee consisting of three Frenchmen: Louis Le Vau, Charles Le Brun, and the doctor and amateur architect Claude Perrault, signaling the waning influence of Italian artistic hegemony in France.<mask>'s projects were essentially rooted in the Italian Baroque urbanist tradition of relating public buildings to their settings, often leading to innovative architectural expression in urban spaces like piazze or squares. However, by this time, the French absolutist monarchy now preferred the classicizing monumental severity of


title: Gian Lorenzo Bernini

texts:
 the Louvre's facade, no doubt with the added political bonus that it had been designed by a Frenchmen. The final version did, however, include <mask>'s feature of a flat roof behind a Palladian balustrade. Personal residences
During his lifetime <mask> lived in various residences throughout the city: principal among them, a palazzo right across from Santa Maria Maggiore and still extant at Via Liberiana 24, while his father was still alive; after his father's death in 1629, <mask> moved the clan to the long-ago-demolished Santa Marta neighborhood behind the apse of St. Peter's Basilica, which afforded him more convenient access to the Vatican Foundry and to his working studio also on the Vatican premises. In 1639, <mask> bought property on the corner of the via della Mercede and the via del Collegio di Propaganda Fide in Rome. This gave him the distinction of being the only one of two artists (the other is Pietro da Cortona) to be proprietor of his own large palatial (though not sumptuous) residence, furnished as well with its own water supply. <mask> refurbished and expanded the existing palazzo on the Via della Mercede site, at what are now Nos.11 and 12. (The building is sometimes referred to as "Palazzo Bernini," but that title more properly pertains to the <mask> family's later and larger home on Via del Corso, to which they moved in the early nineteenth century, now known as the Palazzo Manfroni-Bernini.) <mask> lived at No. 11 (extensively remodeled in the 19th century), where his working studio was located, as well as a large collection of works of art, his own and those of other artists. It is imagined that it must


title: Gian Lorenzo Bernini

texts:
 have been galling for <mask> to witness through the windows of his dwelling, the construction of the tower and dome of Sant'Andrea delle Fratte by his rival, Borromini, and also the demolition of the chapel that he, <mask>, had designed at the Collegio di Propaganda Fide to see it replaced by Borromini's chapel. The construction of Sant'Andrea, however, was completed by <mask>'s close disciple, Mattia de' Rossi, and it contains (to this day) the marble originals of two of <mask>'s own angels executed by the master for the Ponte Sant'Angelo. Fountains

True to the decorative dynamism of Baroque which loved the aesthetic pleasure and emotional delight afforded by the sight and sound of water in motion, among <mask>'s most gifted and applauded creations were his Roman fountains, which were both utilitarian public works and personal monuments to their patrons, papal or otherwise.His first fountain, the 'Barcaccia' (commissioned in 1627, finished 1629) at the foot of the Spanish Steps, cleverly surmounted a challenge that <mask> was to face in several other fountain commissions, the low water pressure in many parts of Rome (Roman fountains were all driven by gravity alone), creating a low-lying flat boat that was able to take greatest advantage of the small amount of water available. Another example is the long-ago dismantled "Woman Drying Her Hair" fountain that <mask> created for the no-longer-extant Villa Barberini ai Bastioni on the edge of the Janiculum Hill overlooking St. Peter's Basilica. His other fountains include the Fountain of the Triton, or Fontana del Tritone, and the Barberini Fountain of the Bees, the Fontana


title: Gian Lorenzo Bernini

texts:
 delle Api. The Fountain of the Four Rivers, or Fontana dei Quattro Fiumi, in the Piazza Navona is an exhilarating masterpiece of spectacle and political allegory in which <mask> again brilliantly overcame the problem of the piazza's low water pressure creating the illusion of an abundance of water that in reality did not exist. An oft-repeated, but false, anecdote tells that one of the <mask>'s river gods defers his gaze in disapproval of the facade of Sant'Agnese in Agone (designed by the talented, but less politically successful, rival Francesco Borromini), impossible because the fountain was built several years before the façade of the church was completed. <mask> was also the artist of the statue of the Moor in La Fontana del Moro in Piazza Navona (1653). <mask>'s Triton Fountain is depicted musically in the second section of Ottorino Respighi's Fountains of Rome.Tomb monuments and other works
Another major category of <mask>'s activity was that of the tomb monument, a genre on which his distinctive new style exercised a decisive and long-enduring influence; included in this category are his tombs for Popes Urban VIII and Alexander VII (both in St. Peter's Basilica), Cardinal Domenico Pimental (Santa Maria sopra Minerva, Rome, design only), and Matilda of Canossa (St. Peter's Basilica). Related to the tomb monument is the funerary memorial, of which <mask> executed several (including that, most notably, of Maria Raggi [Santa Maria sopra Minerva, Rome] also of greatly innovative style and long enduring influence. Among his smaller commissions, although not mentioned by either of his earliest biographers, Baldinucci or


title: Gian Lorenzo Bernini

texts: <mask>, the Elephant and Obelisk is a sculpture located near the Pantheon, in the Piazza della Minerva, in front of the Dominican church of Santa Maria sopra Minerva. Pope Alexander VII decided that he wanted a small ancient Egyptian obelisk (that was discovered beneath the piazza) to be erected on the same site, and in 1665 he commissioned <mask> to create a sculpture to support the obelisk. The sculpture of an elephant bearing the obelisk on its back was executed by one of <mask>'s students, Ercole Ferrata, upon a design by his master, and finished in 1667. An inscription on the base relates the Egyptian goddess Isis and the Roman goddess Minerva to the Virgin Mary, who supposedly supplanted those pagan goddesses and to whom the church is dedicated. A popular anecdote concerns the elephant's smile.To find out why it is smiling, legend has it, the viewer must examine the rear end of the animal and notice that its muscles are tensed and its tail is shifted to the left as if it were defecating. The animal's rear is pointed directly at one of the headquarters of the Dominican Order, housing the offices of its Inquisitors as well as the office of Father Giuseppe Paglia, a Dominican friar who was one of the main antagonists of <mask>, as a final salute and last word. Among his minor commissions for non-Roman patrons or venues, in 1677 <mask> worked along with Ercole Ferrata to create a fountain for the Lisbon palace of the Portuguese nobleman, the Count of Ericeira: copying his earlier fountains, <mask> supplied the design of the fountain sculpted by Ferrata, featuring Neptune with four tritons around a basin. The fountain has

masks:
Domenico Bernini
Bernini
Bernini
Bernini
Bernini
Bernini


title: Gian Lorenzo Bernini

texts:
 survived and since 1945 has been outside the precincts of the gardens of the Palacio Nacional de Queluz, several miles outside of Lisbon. Paintings and drawings
<mask> would have studied painting as a normal part of his artistic training begun in early adolescence under the guidance of his father, Pietro, in addition to some further training in the studio of the Florentine painter, Cigoli. His earliest activity as a painter was probably no more than a sporadic diversion practiced mainly in his youth, until the mid-1620s, that is, the beginning of the pontificate of Pope Urban VIII (reigned 1623–1644) who ordered <mask> to study painting in greater earnest because the pontiff wanted him to decorate the Benediction Loggia of St. Peter's. The latter commission was never executed most likely because the required large-scale narrative compositions were simply beyond <mask>'s ability as a painter.According to his early biographers, Baldinucci and <mask>, <mask> completed at least 150 canvases, mostly in the decades of the 1620s and 30s, but currently there are no more than 35–40 surviving paintings that can be confidently attributed to his hand. The extant, securely attributed works are mostly portraits, seen close up and set against an empty background, employing a confident, indeed brilliant, painterly brushstroke (similar to that of his Spanish contemporary Velasquez), free from any trace of pedantry, and a very limited palette of mostly warm, subdued colors with deep chiaroscuro. His work was immediately sought after by major collectors. Most noteworthy among these extant works are several, vividly penetrating self portraits

masks:
Bernini
Bernini
Bernini
Domenico Bernini
Bernini