title: Ambrose

texts:
<mask> of Milan (; ), venerated as Saint <mask>, was the Bishop of Milan, a theologian and statesman. He expressed himself prominently as a public figure, fiercely promoting the Latin Church against Arianism and paganism. He left a substantial collection of writings, of which the best known include the ethical commentary De officiis ministrorum (377–391), and the exegetical  (386–390). His preachings, his actions and his literary works, in addition to his innovative musical hymnography, made him one of the most influential ecclesiastical figures of the 4th century. <mask> was serving as the Roman governor of Aemilia-Liguria in Milan when he was unexpectedly made Bishop of Milan in 374 by popular acclamation. As bishop, he took a firm position against Arianism and attempted to mediate the conflict between the emperors Theodosius I and Magnus Maximus. Tradition credits <mask> with developing an antiphonal chant, known as Ambrosian chant, and for composing the "Te Deum" hymn, though modern scholars now reject both of these attributions.<mask>'s authorship on at least four hymns, including the well-known "Veni redemptor gentium", is secure; they form the core of the Ambrosian hymns, which includes others that are sometimes attributed to him. He also had notable influence on Augustine of Hippo (354–430), particularly in converting him to Christianity. Before the 16th century, Western Christianity identified <mask> as one of its four traditional Doctors of the Church. He is considered a saint by the Catholic Church, Eastern Orthodox Church, Anglican Communion, and various Lutheran denominations, and venerated as the patron saint of Milan and beekeepers. Life and background

Legends about <mask> had spread through the empire long before his biography was written, making it difficult for modern historians to understand his true character and fairly place his behavior within the context of antiquity. Most agree he was the personification of his era. As such, <mask> was a genuinely spiritual man who spoke up and defended his faith against opponents, an aristocrat who retained many of the attitudes and practices of a Roman governor, while also being an ascetic who served the poor.Early life

<mask> was born into a Roman Christian family in the year 339. <mask> himself wrote that he was 53 years old in his letter number 49 which has been dated to 392. He began life in Augusta Trevorum (modern Trier) the capitol of the Roman province of Gallia Belgica in what was then northeastern Gaul and is now modern Germany. Who exactly his father was is disagreed upon by scholars. His father is sometimes identified with Aurelius Ambrosius, a praetorian prefect of Gaul; but some scholars identify his father as an official named Uranius who received an imperial constitution dated 3 February 339 (addressed in a brief extract from one of the three emperors ruling in 339, Constantine II, Constantius II, or Constans, in the Codex Theodosianus, book XI.5). What does seem certain is that <mask> was born in Trier and his father was either the praetorian prefect or part of his administration. There is a legend about <mask> as an infant contending that a swarm of bees settled on his face while he lay in his cradle, leaving behind a drop of honey.His father is said to have considered this a sign of his future eloquence and honeyed tongue. For this reason, bees and beehives often appear in the saint's symbology. <mask>chi, and thus <mask> was cousin of the orator Quintus Aurelius Symmachus. The family had produced one martyr (the virgin Soteris) in its history. <mask> was the youngest of three children. His siblings were Satyrus, the subject of <mask>'s De excessu fratris Satyri,  and Marcellina, who made a profession of virginity sometime between 352 and 355; Pope Liberius himself conferred the veil upon her.Both <mask>'s siblings also became venerated as saints. Some time early in the life of <mask>, his father died, and at an unknown later date, his mother fled Trier with her three children, whereupon the family moved to Rome. There <mask> studied literature, law, and rhetoric. He then followed in his father's footsteps and entered public service. Praetorian Prefect Sextus Claudius Petronius Probus first gave him a place as his council, and then in about 372 made him governor of Liguria and Emilia, with headquarters at Milan. Bishop of Milan
In 374 the bishop of Milan, Auxentius, an Arian, died, and the Arians challenged the succession. <mask> went to the church where the election was to take place to prevent an uproar which was probable in this crisis.His address was interrupted by a call, "<mask>, bishop! ", which was taken up by the whole assembly. <mask> was known to be Nicene Christian in belief, but he was considered acceptable to Arians due to the charity he had shown in theological matters in this regard. At first he energetically refused the office, for which he felt he was in no way prepared: <mask> was a relatively new Christian who was not yet baptized nor formally trained in theology. <mask> fled to a colleague's home seeking to hide. Upon receiving a letter from the Emperor Gratian praising the appropriateness of Rome appointing individuals worthy of holy positions, <mask>'s host gave him up. Within a week, he was baptized, ordained and duly consecrated as the next bishop of Milan.This was the first time in the West that a member of the upper class of high officials had accepted the office of bishop. As bishop, he immediately adopted an ascetic lifestyle, apportioned his money to the poor, donating all of his land, making only provision for his sister Marcellina. This raised his popularity even further; it was his popularity with the people that gave him considerable political leverage throughout his career. Upon the unexpected appointment of <mask> to the episcopate, his brother Satyrus resigned a prefecture in order to move to Milan, where he took over managing the diocese's temporal affairs. Arianism
Arius was a Christian priest who asserted (around the year 300) that God the Father must have created the Son, making the Son a lesser being who was not eternal and of a different "essence" than God the Father was. This Christology was contrary to tradition, yet it quickly spread through Egypt and Libya and the other Roman provinces. Bishops engaged in "wordy warfare," and the people divided into parties, sometimes demonstrating in the streets in support of one side or the other.Arianism appealed to many high level leaders and clergy in both the Western and Eastern empires. Although the western Emperor Gratian supported orthodoxy, the younger Valentinian II, who became his colleague in the Empire, adhered to the Arian creed. <mask> sought to theologically refute Arian propositions, but <mask> did not sway the young prince's position. In the East, Emperor Theodosius I likewise professed the Nicene creed; but there were many adherents of Arianism throughout his dominions, especially among the higher clergy. In this state of religious ferment, two leaders of the Arians, bishops Palladius of Ratiaria and Secundianus of Singidunum, confident of numbers, prevailed upon Gratian to call a general council from all parts of the empire. This request appeared so equitable that he complied without hesitation. However, <mask> feared the consequences and prevailed upon the emperor to have the matter determined by a council of the Western bishops.Accordingly, a synod composed of thirty-two bishops was held at Aquileia in the year 381. <mask> was elected president and Palladius, being called upon to defend his opinions, declined. A vote was then taken and Palladius and his associate Secundianus were deposed from their episcopal offices. <mask> struggled with Arianism for over half of his life in the episcopate. Unifying the church was important to the church, but it was no less important to the state, and as a Roman, <mask> felt strongly about that. Judaism was more attractive for those seeking conversion than previous scholars have realized, and pagans were still in the majority, so the edition of heresy created an age of religious ferment comparable to the Reformation of the fourteenth and fifteenth centuries. Orthodox Christianity was determining how to define itself as it faced multiple challenges on both a theological and a practical level, and <mask> is seen as a crucial influence at a crucial time.Imperial relations
<mask> had good relations and varying levels of influence with the Roman emperors Gratian, Valentinian II and Theodosius I, but exactly how much influence, what kind of influence, and in what ways, when, has been debated in the scholarship of the late twentieth and early twenty-first centuries. Gratian
It has long been convention to see Gratian and <mask> as having a personal friendship, putting <mask> in the dominant role of spiritual guide, but modern scholars now find this view hard to support in the sources. The ancient Christian historian Sozomen is the only ancient source that shows <mask> and Gratian together in any personal interaction. In that interaction, Sozomen relates that, in the last year of Gratian's reign, <mask> crashed Gratian's private hunting party in order to appeal on behalf of a pagan senator sentenced to die. After years of acquaintance, this indicates <mask> could not take for granted that Gratian would see him, so instead, <mask> had to resort to such maneuverings to make his appeal. Gratian was personally devout long before meeting <mask>. Modern scholarship indicates Gratian's religious policies do not evidence capitulation to <mask> more than they evidence Gratian's own views.Gratian's devotion did lead <mask> to write a large number of books and letters of theology and spiritual commentary dedicated to the emperor. The sheer volume of these writings and the effusive praise they contain has led many historians to conclude that Gratian was dominated by <mask>, and it was that dominance that produced Gratian's anti-pagan actions. McLynn asserts that effusive praises were common in everyone's correspondence with the crown. He adds that Gratian's actions were determined by the constraints of the system as much as "by his own initiatives or <mask>'s influence". McLynn asserts that the largest influence on Gratian's policy was the profound change in political circumstances produced by the battle of Adrianople in 378. Gratian had become involved in fighting the Goths the previous year and had been on his way to the Balkans when his Uncle and the "cream of the eastern army" were destroyed at Adrianople. Gratian withdrew to Sirmium and set up his court there.Several rival groups, including the Arians, sought to secure benefits from the government at Sirmium. In an Arian attempt to undermine <mask>, whom Gratian had not yet met, Gratian was 'warned' that <mask>' faith was suspect. Gratian took steps to investigate by writing <mask> and asking him to explain his faith. <mask> and Gratian first met, after this, in 379 during a visit to Milan. The bishop made a good impression on Gratian and his court which was pervasively Christian and aristocratic much like <mask> himself. The emperor returned to Milan in 380 to find that <mask> had complied with his request for a statement of his faith – in two volumes – known as De Fide: a statement of orthodoxy, <mask>' political theology, and a polemic against the Arian heresy intended for public discussion. The emperor had not asked to be instructed by <mask>, and in De Fide <mask> states this clearly.Nor was he asked to refute the Arians. He was asked to justify his own position, but in the end, he did all three. By 382, it seems clear that <mask> had replaced Ausonius to become a major influence in Gratian's court. <mask> had not yet become the "conscience" of kings he would in the later 380's, but he did speak out against reinstating the Altar of Victory. In 382, Gratian was the first to divert public financial subsidies that had previously supported Rome's cults. Before that year, contributions in support of the ancient customs had continued unchallenged by the state. Valentinian II
Gratian, who was childless, had treated his younger brother Valentinian II like a son.<mask>, on the other hand, had incurred the lasting enmity of Valentinian II's mother, the Empress Justina, in the winter of 379 by helping to appoint a Nicene bishop in Sirmium. Not long after this, Valentinian II, his mother, and the court left Sirmium; Sirmium had come under Theodosius' control, so they went to Milan which was ruled by Gratian. In 383 Gratian was assassinated at Lyon, in Gaul (France) by Magnus Maximus. Valentinian was twelve years old, and it left his mother, Justina, in a position of something akin to a regent. In 385 (or 386) the emperor Valentinian II and his mother Justina, along with a considerable number of clergy, the laity, and the military, professed Arianism. Conflict between <mask> and Justina soon followed. The Arians demanded that Valentinian allocate to them two churches in Milan: one in the city (the Basilica of the Apostles), the other in the suburbs (St Victor's).<mask> refused to surrender the churches. He answered by saying that "What belongs to God, is outside the emperor's power". In this, <mask> called on an ancient Roman principle: a temple set apart to a god became the property of that god. <mask> now applied this ancient legal principle to the Christian churches, and the bishop, as his representative, was guardian of his god's property. Subsequently, while <mask> was performing the Liturgy of the Hours in the basilica, the prefect of the city came to persuade him to give it up the to the Arians. <mask> again refused. Certain deans (officers of the court) were sent to take possession of the basilica by hanging upon it imperial escutcheons.Instead, soldiers from the ranks the emperor had placed around the basilica began pouring into the church assuring <mask> of their fidelity. The escutcheons outside the church were removed, and legend says the children tore them to shreds. <mask> refused to surrender the basilica, and sent sharp answers back to his emperor: "If you demand my person, I am ready to submit: carry me to prison or to death, I will not resist; but I will never betray the church of Christ. I will not call upon the people to succour me; I will die at the foot of the altar rather than desert it. The tumult of the people I will not encourage: but God alone can appease it." By Thursday, the emperor gave in, bitterly responding: "Soon, if <mask> gives the orders, you will be sending me to him in chains." In 386, Justina and Valentinian II received the Arian bishop Auxentius the younger, and <mask> was again ordered to hand over a church in Milan for Arian usage.<mask> and his congregation barricaded themselves inside the church, and again the imperial order was rescinded. There was an attempted kidnapping, and another attempt to arrest him and force him to leave the city. Several accusations were made, but unlike John Chrysostum, no formal charges were brought. The emperor certainly had the power to do so, and probably didn't solely because of  <mask>' popularity with the people and what they might

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title: Ambrose

type: original

texts:
 do. When Magnus Maximus usurped power in Gaul, and was considering a descent upon Italy, Valentinian sent <mask> to dissuade him, and the embassy was successful. A second later embassy was unsuccessful. The enemy entered Italy and Milan was taken.Justina and her son fled, but <mask> remained, and had the plate of the church melted for the relief of the poor. After defeating the usurper Maximus at Aquileia in 388 Theodosius handed the western realm back to the young Valentinian II, the seventeen-year-old son of the forceful and hardy Pannonian general Valentinian I and his wife, the Arian Justina. Furthermore, the Eastern emperor remained in Italy for a considerable period to supervise affairs, returning to Constantinople in 391 and leaving behind the Frankish general Arbogast to keep an eye on the young emperor. By May of the following year Arbogast's ward was dead amidst rumours of both treachery and suicide...

Theodosius

While <mask> was writing De Fide, Theodosius published his own statement of faith in 381 in an edict establishing Catholic Christianity as the only legitimate faith. There is unanimity amongst scholars that this represents the emperor's own beliefs. The aftermath of Valen's death had left many questions for the church unresolved, and this edict can be seen as an effort to begin addressing those questions. Theodosius' natural generosity was tempered by his pressing need to establish himself and to publicly assert his personal piety.On 28 February 380, Theodosius issued the Edict of Thessalonica, a decree addressed to the city of Constantinople, determining that only Christians who did not support Arian views were catholic and could have their places of worship officially recognized as "churches". Liebeschuetz and Hill indicate that it wasn't until after 388, during Theodosius' stay in Milan following the defeat of Maximus, that Theodosius and <mask> first met. After the Massacre of Thessalonica in 390, Theodosius made an act of public penance at <mask> behest. <mask> was away from court during the events at Thessalonica, but after being informed of them, he wrote Theodosius a letter. In that still existing letter, <mask> presses for a semi-public demonstration of penitence from the emperor, telling him that, as his bishop, he will not give Theodosius communion until it is done. Wolf Liebeschuetz says "Theodosius duly complied and came to church without his imperial robes, until Christmas, when <mask> openly admitted him to communion". Some past scholars have credited <mask> with having an undue influence over the Emperor Theodosius I, from this period forward, prompting him toward major anti-pagan legislation beginning in February of 391.However, this interpretation has been heavily disputed since the late twentieth century. McLynn argues that Theodosius's anti-pagan legislation was too limited in scope for it to be of interest to the bishop. The fabled encounter at the door of the cathedral in Milan, with <mask> as the mitred prelate braced, blocking Theodosius from entering, which has sometimes been seen as evidence of <mask>' dominance over Theodosius, has been shown by modern historians to be "a pious fiction". There was no encounter at the church door. The story is a product of the imagination of Theodoret, a historian of the fifth century who wrote of the events of 390 "using his own ideology to fill the gaps in the historical record". The twenty-first century view is that <mask> was "not a power behind the throne". The two men did not meet each other frequently, and documents that reveal the relationship between the two are less about personal friendship than they are about negotiations between two formidable leaders of the powerful institutions they represent: the Roman State and the Italian Church.Cameron says there's no evidence <mask> was a significant influence on the emperor. For centuries after his death, Theodosius was regarded as a champion of Christian orthodoxy who decisively stamped out paganism. This view was recorded by Theodoret, who is recognized as an undependable historian, in the century following their deaths. Theodosius's predecessors Constantine, Constantius, and Valens had all been semi-Arians. Therefore, it fell to the orthodox Theodosius to receive from Christian literary tradition most of the credit for the final triumph of Christianity. Modern scholars see this as an interpretation of history by Christian writers more than as a representation of actual history. The view of a pious Theodosius submitting meekly to the authority of the church, represented by <mask>, is part of the myth that evolved within a generation of their deaths.Later years and death

In April 393 Arbogast, magister militum of the West and his puppet Emperor Eugenius, marched into Italy to consolidate their position in regard to Theodosius I and his son, Honorius, whom Theodosius had appointed Augustus to govern the western portion of the empire. Arbogast and Eugenius courted <mask>'s support by very obliging letters; but before they arrived at Milan, he had retired to Bologna, where he assisted at the translation of the relics of Saints Vitalis and Agricola. From there he went to Florence, where he remained until Eugenius withdrew from Milan to meet Theodosius in the Battle of the Frigidus in early September 394. Soon after acquiring the undisputed possession of the Roman Empire, Theodosius died at Milan in 395, and <mask> gave the eulogy. Two years later (4 April 397) <mask> also died. He was succeeded as bishop of Milan by Simplician. <mask>'s body may still be viewed in the church of Saint Ambrogio in Milan, where it has been continuously venerated –  along with the bodies identified in his time as being those of Saints Gervase and Protase.<mask> is remembered in the Church of England with a Lesser Festival on 7 December. Character
In 1960, Neil B. McLynn wrote a complex study of <mask> that focused on his politics and intended to "demonstrate that <mask> viewed community as a means to acquire personal political power". Subsequent studies of how <mask> handled his episcopal responsibilities, his Nicene theology and his dealings with the Arians in his episcopate, his pastoral care, his commitment to community, and his personal ascetism, have mitigated this view. All of <mask>' writings are works of advocacy of his religion, and even his political views and actions were closely related to his religion. He was rarely, if ever, concerned about simply recording what had happened; he did not write to reveal his inner thoughts and struggles; he wrote to advocate for his God. Boniface Ramsey writes that it is difficult "not to posit a deep spirituality in a man" who wrote on the mystical meanings of the Song of Songs and many extraordinary hymns. In spite of an abiding spirituality, <mask> had a generally straightforward manner, and a practical rather than a speculative tendency in his thinking.De Officiis is a utilitarian guide for his clergy in their daily ministry in the Milanese church rather than "an intellectual tour de force". Christian faith in the third century developed the monastic life-style which subsequently spread into the rest of Roman society in a general practice of virginity, voluntary poverty and self-denial for religious reasons. This life-style was embraced by many new converts, including <mask>, even though they did not become actual monks. The bishops of this era had heavy administrative responsibilities, and <mask> was also sometimes occupied with imperial affairs, but he still fulfilled his primary responsibility to care for the well-being of his flock. He preached and celebrated the Eucharist multiple times a week, sometimes daily, dealt directly with the needs of the poor, as well as widows and orphans, "virgins" (nuns), and his own clergy. He replied to letters personally, practiced hospitality, and made himself available to the people. <mask> had the ability to maintain good relationships with all kinds of people.Local church practices varied quite a bit from place to place at this time, and as the bishop, <mask> could have required that everyone adapt to his way of doing things. It was his place to keep the churches as united as possible in both ritual and belief. Instead, he respected local customs, adapting himself to whatever practices prevailed, instructing his mother to do the same. As bishop, <mask> undertook many different labors in an effort to unite people and "provide some stability during a period of religious, political, military, and social upheavals and transformations". Brown says <mask> "had the makings of a faction fighter". While he got along well with most people, <mask> was not averse to conflict and even opposed emperors with a fearlessness born of self-confidence and a clear conscience and not from any belief he would not suffer for his decisions. Having begun his life as a Roman aristocrat and a governor, it is clear that <mask> retained the attitude and practice of Roman governance even after becoming a bishop.His acts and writings show he was quite clear about the limits of imperial power over the church's internal affairs including doctrine, moral teaching, and governance. He wrote to Valentinian: "In matters of faith bishops are the judges of Christian emperors, not emperors of bishops." (Epistle 21.4). He also famously told to the Arian bishop chosen by the emperor, "The emperor is in the church, not over the church." (Sermon Against Auxentius, 36). <mask>'s acts and writings "created a sort of model which was to remain valid in the Latin West for the relations of the Church and the Christian State. Both powers stood in a basically positive relationship to each other, but the innermost sphere of the Church's life--faith, the moral order, ecclesiastical discipline--remained withdrawn from the State's influence."<mask> was also well aware of the limits of his power. At the height of his career as a venerable, respected and well loved bishop in 396, imperial agents marched into his church, pushing past him and his clergy who had crowded the altar to protect a political suspect from arrest, and dragged the man from the church in front of <mask> who could do nothing to stop it. "When it came to the central functions of the Roman state, even the vivid <mask> was a lightweight". Attitude towards Jews
The most notorious example of <mask>'s anti-Jewish animus occurred in 388, when Emperor Theodosius the Great was informed that a crowd of Christians had retaliated against the local Jewish community by destroying the synagogue at Callinicum on the Euphrates. The synagogue most likely existed within the fortified town to service the soldiers serving there, and Theodosius ordered that the offenders be punished, and that the synagogue be rebuilt at the expense of the bishop. <mask> wrote to the Emperor arguing against this, basing his argument on two assertions: first, if the bishop obeyed the order, it would be a betrayal of his faith. Second, if the bishop instead refused to obey the order, he would become a martyr and create a scandal for the emperor.<mask>, referring to a prior incident where Magnus Maximus issued an edict censuring Christians in Rome for burning down a Jewish synagogue, warned Theodosius that the people in turn exclaimed "the emperor has become a Jew", implying Theodosius would receive the same lack of support from the people. Theodosius rescinded the order concerning the bishop. That was not enough for <mask>, and when Theodosius next visited Milan, <mask> confronted him directly in an effort to get the emperor to drop the entire case. McLynn argues that <mask> failed to win the emperor's sympathy and was mostly excluded from his counsels thereafter. The Callinicum affair was not an isolated incident. Generally speaking, <mask> presents a strong anti-Jewish polemic. While McLynn says this makes <mask> look like a bully and a bigot to modern eyes, scholars also agree <mask>' attitudes toward the Jews cannot be fairly summarized in one sentence, as not all of <mask>' attitudes toward Jews were negative.<mask> makes extensive and appreciative use of the works of Philo of Alexandria - a Jew - in <mask>' own writings, treating Philo as one of the "faithful interpreters of the Scriptures". Philo was an educated man of some standing and a prolific writer during the era of Second Temple Judaism. Forty–three of his treatises have been preserved, and these by Christians, rather than Jews. Philo became foundational in forming the Christian literary view on the six days of creation through Basil's Hexaemeron. Eusebius, the Cappadocian Fathers, and Didymus the Blind appropriated material from Philo as well, but none did so more than <mask>. As a result of this extensive referencing, Philo was accepted into the Christian tradition as an honorary Church Father. "In fact, one Byzantine catena even refers to him as 'Bishop Philo'.This high regard for Philo even led to a number of legends of his conversion to Christianity, although this assertion stands on very dubious evidence". <mask> also used Josephus, Maccabees, and other Jewish sources for his writings. He praises some individual Jews. <mask> tended to write negatively of all non-Nicenes as if they were all one category. This served a rhetorical purpose in his writing and should be considered accordingly. Attitude towards pagans

Modern scholarship indicates paganism was a lesser concern than heresy for Christians in the fourth and fifth centuries, which was the case for <mask>, but it was still a concern. Writings of this period were commonly hostile and often contemptuous toward a paganism Christianity saw as already defeated in heaven.The great Christian writers of the third to fifth centuries attempted to discredit continuation in these "defeated practices" by searching pagan writings, "particularly those of Varro, for everything that could be regarded by Christian standards as repulsive and irreligious." <mask>' work reflects this triumphalism. {{efn|These Christian sources have had great influence on perceptions of this period by creating an impression of overt and continuous conflict that has been assumed on an empire-wide scale, while archaeological evidence indicates that, outside of violent rhetoric, the decline of paganism away from the imperial court was relatively non-confrontational. {{sfnm|Trombley|2001|1loc=Vol I|1pp=166-168|Trombley|2001|2loc=Vol II|2pp=335-336}}}}

Throughout his time in the episcopate, <mask> was active in his opposition to any state sponsorship of pagan cults. When Gratian ordered the Altar of Victory to be removed, it roused the aristocracy of Rome to send a delegation to the emperor to appeal the decision, but Pope Damasus I got the Christian senators to petition against it, and <mask> blocked the delegates from getting an audience with the emperor. Under Valentinian II, an effort was made to restore the Altar of Victory to its ancient station in the hall of the Roman Senate and to again provide support for the seven Vestal Virgins. The pagan party was led by the refined senator Quintus Aurelius Symmachus, who used all his prodigious skill and artistry to create a marvelous document full of

masks: Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose


title: Ambrose

texts:
 the maiestas  populi  Romani.Hans Lietzmann writes that  "Pagans and Christians alike were stirred by the solemn earnestness of an admonition which called all men of goodwill to the aid of a glorious history, to render all worthy honor to a world that was fading away". Then <mask> wrote Valentinian II a letter asserting that the emperor was a soldier of God, not simply a personal believer but one bound by his position to serve the faith; under no circumstances could he agree to something that would promote the worship of idols. <mask> held up the example of Valentinian's brother, Gratian, reminding Valentinian that the commandment of God must take precedence. The bishop's intervention led to the failure of Symmachus' appeal. In 389, <mask> intervened against a pagan senatorial delegation who wished to see the emperor Theodosius I. Although Theodosius refused their requests, he was irritated at the bishop's presumption and refused to see him for several days. Later, <mask> wrote a letter to the emperor Eugenius complaining that some gifts the latter had bestowed on pagan senators could be used for funding pagan cults.Theology

<mask> joins Augustine, Jerome, and Gregory the Great as one of the Latin Doctors of the Church. Theologians compare him with Hilary, who they claim fell short of <mask>'s administrative excellence but demonstrated greater theological ability. He succeeded as a theologian despite his juridical training and his comparatively late handling of Biblical and doctrinal subjects. <mask>'s intense episcopal consciousness furthered the growing doctrine of the Church and its sacerdotal ministry, while the prevalent asceticism of the day, continuing the Stoic and Ciceronian training of his youth, enabled him to promulgate a lofty standard of Christian ethics. Thus we have the De officiis ministrorum, De viduis, De virginitate and De paenitentia. <mask> displayed a kind of liturgical flexibility that kept in mind that liturgy was a tool to serve people in worshiping God, and ought not to become a rigid entity that is invariable from place to place. His advice to Augustine of Hippo on this point was to follow local liturgical custom."When I am at Rome, I fast on a Saturday; when I am at Milan, I do not. Follow the custom of the church where you are." Thus <mask> refused to be drawn into a false conflict over which particular local church had the "right" liturgical form where there was no substantial problem. His advice has remained in the English language as the saying, "When in Rome, do as the Romans do." One interpretation of <mask>'s writings is that he was a Christian universalist. It has been noted that <mask>'s theology was significantly influenced by that of Origen and Didymus the Blind, two other early Christian universalists. One quotation cited in favor of this belief is:

One could interpret this passage as being another example of the mainstream Christian belief in a general resurrection (that both those in heaven and in hell undergo a bodily resurrection), or an allusion to purgatory (that some destined for heaven must first undergo a phase of purification).Several other works by <mask> clearly teach the mainstream view of salvation. For example: "The Jews feared to believe in manhood taken up into God, and therefore have lost the grace of redemption, because they reject that on which salvation depends." Giving to the poor
In De Officiis, the most influential of his surviving works, and one of the most important texts of patristic literature, he reveals his views connecting justice and generosity by asserting these practices are of mutual benefit to the participants. <mask> draws heavily on Cicero and the biblical book of Genesis for this concept of mutual inter-dependence in society. In the bishop's view, it is concern for one another's interests that binds society together. <mask> asserts that avarice leads to a breakdown in this mutuality, therefore avarice leads to a breakdown in society itself. In the late 380s, the bishop took the lead in opposing the greed of the elite landowners in Milan by starting a series of pointed sermons directed at his wealthy constituents on the need for the rich to care for the poor.Some scholars have suggested <mask>' endeavors to lead his people as both a Roman and a Christian caused him to strive for what a modern context would describe as a type of communism or socialism. He was not just interested in the church but was also interested in the condition of contemporary Italian society. <mask> considered the poor not a distinct group of outsiders, but a part of a united people to be stood with in solidarity. Giving to the poor was not to be considered an act of generosity towards the fringes of society but a repayment of resources that God had originally bestowed on everyone equally and that the rich had usurped. He defines justice as providing for the poor whom he describes as our "brothers and sisters" because they "share our common humanity". Mariology
The theological treatises of <mask> of Milan would come to influence Popes Damasus, Siricius and Leo XIII. Central to <mask> is the virginity of Mary and her role as Mother of God.The virgin birth is worthy of God. Which human birth would have been more worthy of God, than the one in which the Immaculate Son of God maintained the purity of his immaculate origin while becoming human? We confess that Christ the Lord was born from a virgin, and therefore we reject the natural order of things. Because she conceived not from a man but from the Holy Spirit. Christ is not divided but one. If we adore him as the Son of God, we do not deny his birth from the virgin. ...But nobody shall extend this to Mary. Mary was the temple of God but not God in the temple. Therefore, only the one who was in the temple can be worshiped. Yes, truly blessed for having surpassed the priest (Zechariah). While the priest denied, the Virgin rectified the error. No wonder that the Lord, wishing to rescue the world, began his work with Mary. Thus she, through whom salvation was being prepared for all people, would be the first to receive the promised fruit of salvation.<mask> viewed celibacy as superior to marriage and saw Mary as the model of virginity. Augustine
<mask> studied theology with Simplician, a presbyter of Rome. Using his excellent knowledge of Greek, which was then rare in the West, <mask> studied the Old Testament and Greek authors like Philo, Origen, Athanasius, and Basil of Caesarea, with whom he was also exchanging letters. <mask> became a famous rhetorician whom Augustine came to hear speak. Augustine wrote in his Confessions that Faustus, the Manichean rhetorician, was a more impressive speaker, but the content of <mask>'s sermons began to affect Augustine's faith. Augustine sought guidance from <mask>, and again records in his Confessions that <mask> was too busy to answer his questions. In a passage of Augustine's Confessions in which Augustine wonders why he could not share his burden with <mask>, he comments: "<mask> himself I esteemed a happy man, as the world counted happiness, because great personages held him in honor.Only his celibacy appeared to me a painful burden." Simplician regularly met with Augustine, however, and Augustine writes of Simplician's "fatherly affection" for him. It was Simplician who introduced Augustine to Christian Neoplatonism. It is commonly understood in the Christian Tradition that <mask> baptized Augustine. In this same passage of Augustine's Confessions is an anecdote which bears on the history of reading:

This is a celebrated passage in modern scholarly discussion. The practice of reading to oneself without vocalizing the text was less common in antiquity than it has since become. In a culture that set a high value on oratory and public performances of all kinds, in which the production of books was very labor-intensive, the majority of the population was illiterate, and where those with the leisure to enjoy literary works also had slaves to read for them, written texts were more likely to be seen as scripts for recitation than as vehicles of silent reflection.However, there is also evidence that silent reading did occur in antiquity and that it was not generally regarded as unusual. Music

<mask>'s writings extend past literature and into music, where he was an important innovator in early Christian hymnography. His contributions include the "successful invention of Christian Latin hymnody", while the hymnologist Guido Maria Dreves designated him to be "The Father of church hymnody". He was not the first to write Latin hymns; the Bishop Hilary of Poitiers had done so a few decades before. However, the hymns of Hilary are thought to have been largely inaccessible by-way of their complexity and length. Only fragments of hymns from Hilary's Liber hymnorum exist, making those of <mask> the earliest extant complete Latin hymns. The assembling of <mask>'s surviving oeuvre remains controversial; the almost immediate popularity of his style quickly prompted imitations, some which may even date from his lifetime.There are four hymns for which <mask>'s authorship is universally accepted, as they are attributed to him by Augustine:

 "Aeterne rerum conditor"
 "Deus creator omnium"
 "Iam surgit hora tertia"
 "Veni redemptor gentium" (also known as "Intende qui regis Israel")

Each of these hymns has 8 four-line stanzas and is written in strict iambic tetrameter (that is 4 × 2 syllables, each iamb being two syllables). Marked by dignified simplicity, they served as a fruitful model for later times. Scholars such as the theologian Brian P. Dunkle have argued for the authenticity of as many as thirteen other hymns, while the musicologist James McKinnon contends that further attributions could include "perhaps some ten others". <mask> is traditionally credited but not actually known to have composed any of the repertory of Ambrosian chant also known simply as "antiphonal chant", a method of chanting where one side of the choir alternately responds to the other. (The later pope Gregory I the Great is not known to have composed any Gregorian chant, the plainsong or "Romish chant".) However, Ambrosian chant was named in his honor due to his contributions to the music of the Church; he is credited with introducing hymnody from the Eastern Church into the West. With Augustine, <mask> was traditionally credited with composing the hymn "Te Deum".Since the hymnologist Guido Maria Dreves in 1893, however, scholars have dismissed this attribution. Writings

Source: All works are originally in Latin. Following each is where it may be found in a standard compilation of <mask>'s writings. His first work was probably De paradiso (377–378). Most have approximate dates, and works such as De Helia et ieiunio (377–391), Expositio evangelii secundum Lucam (377–389) and De officiis ministrorum (377–391) have been given a wide variety of datings by scholars. His best known work is probably De officiis ministrorum (377–391), while the  (386–390) and De obitu Theodosii (395) are among his most noted works. In matters of exegesis he is, like Hilary, an Alexandrian.In dogma he follows Basil of Caesarea and other Greek authors, but nevertheless gives a distinctly Western cast to the speculations of which he treats. This is particularly manifest in the weightier emphasis which he lays upon human sin and divine grace, and in the place which he assigns to faith in the individual Christian life. Exegesis
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Sermons
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Others
 91 letters
 Ambrosiaster or the "pseudo-<mask>" is a brief commentary on Paul's Epistles, which was long attributed to <mask>. Editions

Standard editions
  Based on an edition published in Paris by Jacques Du Frische and Denis-Nicolas Le Nourry.  }} Based on an edition published in Paris by Jacques Du Frische and Denis-Nicolas Le Nourry. Latin
 Hexameron, De paradiso, De Cain, De Noe, De Abraham, De Isaac, De bono mortis – ed. C. Schenkl 1896, Vol.32/1 (In Latin)
 De Iacob, De Ioseph, De patriarchis, De fuga saeculi, De interpellatione Iob et David, De apologia prophetae David, De Helia, De Nabuthae, De Tobia – ed. C. Schenkl 1897, Vol. 32/2
 Expositio evangelii secundum Lucam – ed. C. Schenkl 1902, Vol. 32/4
 Expositio de psalmo CXVIII – ed. M. Petschenig 1913, Vol. 62; editio altera supplementis aucta – cur.M. Zelzer 1999
 Explanatio super psalmos XII – ed. M. Petschenig 1919, Vol. 64; editio altera supplementis aucta – cur. M. Zelzer 1999
 Explanatio symboli, De sacramentis, De mysteriis, De paenitentia, De excessu fratris Satyri, De obitu Valentiniani, De obitu Theodosii – ed. Otto Faller 1955, Vol. 73
 De fide ad Gratianum Augustum – ed. Otto Faller 1962, Vol.78
 De spiritu sancto, De incarnationis dominicae sacramento – ed. Otto Faller 1964, Vol. 79
 Epistulae et acta – ed. Otto Faller (Vol. 82/1: lib. 1–6, 1968); Otto Faller, M. Zelzer ( Vol. 82/2: lib.7–9, 1982); M. Zelzer ( Vol. 82/3: lib. 10, epp. extra collectionem. gesta concilii Aquileiensis, 1990); Indices et addenda – comp. M. Zelzer, 1996, Vol. Several of <mask>'s works have recently been published in the bilingual Latin-German Fontes Christiani series (currently edited by Brepols).See also

 Ambrosian hymnography
 Ambrosian Liturgy and Rite
 Saint Ambrose Basilica, Milan
 Church Fathers
 St. Ambrose Cathedral, Linares
 Saint Ambrose University, Davenport, Iowa
 Ambrose University College, Calgary, Alberta

 References
 Notes

Citations

 Works cited

Further reading

 External links

 Christian Classics Ethereal Library, Works of <mask> of Milan
 Hymni Ambrosii (Latin)
 EarlyChurch.org.uk Extensive bibliography
 <mask>'s works: text, concordances and frequency list
 <mask> at The Online Library of Liberty''
 Opera Omnia
 <mask> in Anglo-Saxon England, with Pseudo-<mask> and Ambrosiaster, Contributions to Sources of Anglo-Saxon Literary Culture, by Dabney Anderson Bankert, Jessica Wegmann, and Charles D. Wright. "Saint <mask>" at the Christian Iconography website
 Forum about the "ambrosian rite"
 "Of St. <mask>" from the Caxton translation of the Golden Legend
 Augustine's account of the penitence of Theodosius

Ambrosius
340s births
397 deaths
4th-century Italian bishops
4th-century Christian saints
4th-century Christian theologians
4th-century Gallo-Roman people
4th-century Latin writers
4th-century philosophers
4th-century Romans
Bishops of Milan
Burials at the Basilica of Sant'Ambrogio
Catholic Mariology
Catholic philosophers
Christian ethicists
Christian hymnwriters
Church Fathers
Doctors of the Church
Gallo-Roman saints
Hymnographers
Insects in religion
Latin letter writers
People from Trier
Roman Empire hymnwriters
Roman-era poets
Anglican saints
Religion in

masks: Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose Ambrose


title: Tony Mills (musician)

texts:
<mask> (7 July 1962  – 18 September 2019) was an English rock singer, best known for his work with Shy and TNT. Early life and career
<mask> was born in Birmingham, England. In 1983 he joined the band Shy. He recorded eight albums with the AOR/glam metal band, including the Excess All Areas. He also toured with Shy, supporting Gary Moore, Meatloaf, Twisted Sister, Bon Jovi, Magnum, Manowar, Badlands, Enuff Z Nuff, Sleeze Beez, UFO, and the Ian Hunter/Mick Ronson outfit with whom he performed on stage in Brighton, just prior to Ronson's death. The tours spanned the whole of Europe and North America, it was here that <mask> provided backup vocals to the Philadelphia-based band Cinderella on their debut album, Night Songs. Co-writing sessions came about with Don Dokken (Dokken), Michael Bolton, Michael Des Barres (Power Station), John Parker (Chicago), Jeff Paris and Bob Kulick.Solo career and reunion with Shy
<mask> left Shy in 1991 when MCA picked him up as a solo artist to record his first album in Manchester with engineer Andy Macpherson and guitarist Bob Maxim along with various members of 10CC and Sad Cafe. Later, forming another band, Siam, he wrote and sang on two albums, Prayer and The Language of Menace. After working as a session vocalist through the 1990s with Slade, Simon Harrison, Dave Saylor and Cozy Powell (unreleased) in conjunction with his recording and touring work with Siam, the band eventually folded in 1996 and <mask> spent a year fronting a Rush tribute band, YYZ. In 2000 he reunited with Shy for two more albums, Unfinished Business and Sunset and Vine. At the turn of the millennium, he also released two solo albums, Cruiser and Freeway to the Afterlife. There followed a Danish tour with The Sweet, as bassist and lead vocalist, but this did not work out, and he returned to Shy. TNT
In 2006 he was asked to join TNT in Oslo, Norway to replace their long-time vocalist <mask> who had decided to leave the band for both personal and professional reasons.The following year <mask> Osbourne, Skid Row and Motorhead. Lasse Dale was also a progressive metal guitarist from Tromso in Norway, that enlisted <mask> to write and record his debut album, Screaming For Silence. <mask> worked for many European artists between 2006 and 2010, namely Michael Voss and his 'Voices of Rock' project, Liberty 'n' Justice in the U.S., Torben Enevoldsen in Denmark, Frederic Hugues and Blackstone and Tor Talle in Norway. Charity involvement for the Autistic Foundation for Children in North Trondelag, also saw the release of a single, "Keep The Dream Alive", along with its associated video through NRK with vocalist, Siv-Anita Strickhert. In 2007, <mask> also performed backing vocals on the debut album by the British band, Crimes of Passion. He has numerous credits for, and is in regular demand for, provision of backing vocals, and other recent outputs include The Andersson-Mills Project, China Blue, and backing vocals for Dante Fox in the UK and Norwegian rock outfit Winterstrain, appearing on their debut album Return to the Mirror as well as Shifting Sands.In 2008, <mask> released a more metal oriented solo album Vital Designs, which featured bass by Morty Black, Oddvar Krogstad and Victor Borge (TNT), guitars by Neil Hibbs, keyboards by Shy's keyboard player Joe Basketts and drums by Shy's drummer Bob Richards. Also appearing on the album was TNT member Dag Stokke and Erik Ragno from China Blue. In the same year, he also began work with Ronni Le Tekrø on their second TNT collaboration, which resulted in the album Atlantis, featuring the songs "Tango Girl" and "Hello, Hello", which became regular tracks in their setlist for the following tour. In the winter of 2008, <mask> joined the band Serpentine, replacing former singer Greg Flores. In March 2010, Serpentine released their CD A Touch of Heaven on AOR/Metal Heaven in Europe and Marquee Avalon in Japan, gaining a glowing 92% review in rock magazine Burrn! as well as hitting number 72 in the HMV Japan chart. Around the same period, <mask> was commissioned to write and record an album for AOR Metal Heaven records in Germany, entitled, State of Rock, with Robby Boebel from Nuremberg act, Frontline.Work was also completed on a more rock oriented TNT release for the end of the year, A Farewell To Arms, which returned to the classic sound of the band and was well received by fans and critics alike. Just after the summer, it was reported that <mask> had suffered a heart attack at an airport in Norway, which prompted the singer to announce his departure from Serpentine before the completion of his second album with the band. The album has since been completed. Serpentine moved quickly to recruit 24-year-old British vocalist Matt Black as his replacement, to allow the band to commence touring to support the A Touch of Heaven album. The band's follow up, Living and Dying in High Definition also received great support from the media during its late 2010 release. After a full recovery from his heart condition, at the opening of 2011, <mask> had relocated to Norway to embrace the release of the latest TNT album and began touring to promote A Farewell To Arms, which in Scandinavia, was titled Engine. The change of album title for different territories was inextricably linked to his heart failure and consequent recovery.He consequently set to writing tracks toward a rock opera with Trondheim writer Andreas Nergard whilst touring Europe with TNT. <mask> was also be part of the Norwegian artist force supporting relief aid in Japan for their recent tragedies. After increasing unrest in the Norway camp, <mask> quit TNT in August 2013, after over seven years, to satisfy his own artistic integrity and produce more solo material. Later career
The onset of 2013 saw <mask> writing new solo material including a single, "Girls in Norway" and two new albums; an AOR album for existing fans in Europe and Japan and a final album for the SIAM project involving members from the band's history and his new connections in Norway. Attempts to fire up Siam again were futile, so <mask> reverted to the solo plan intent on recreating the same atmosphere that existed in the Siam days. As the writing had clearly split into two different projects, he focussed on the heavier album and finally completed it at the beginning of 2015, over two years later. The album, Over My Dead Body was released through Battlegod Productions on 23 February 2015.It was co-written by Robert Sall, Henning Ramseth, Paul Sabu and Douglas R. Docker. It was produced by <mask> and mixed by his old colleague from the Shy era, Neil Kernon. Ongoing projects at that time, included a new solo album, Streets of Chance, co written with Pete Newdeck, Tommy Denander, Robert Sall and Robby Boebel, and the co-writing of a new album by Italian metal stars, Crying Steel for 2017. In 2012, <mask> was featured on Douglas R. Docker's progressive rock space opera, Docker's Guild. He sang on three songs for the debut album The Mystic Technocracy - Season 1: The Age of Ignorance: "Legion of Aliens", "The Gem of Love," and "The Secret of DNA". He further contributed to projects such as Nergard, Guild, China Blue and Serpentine. Personal life
<mask> married Linda Kristine in 2016, and lived in Tjøme off the south coast of Norway.Death
In April 2019, <mask> announced that he was diagnosed with terminal cancer. Beyond the Law became his last album. He died on 18 September 2019 at the age of 57.

masks:
Anthony Paul Mills
Mills
Mills
Mills
Mills
Tony Harnell
Millszy
Mills
Mills
Mills
Mills
Mills
Mills
Mills
Mills
Mills
Mills
Mills
Mills
Mills
Mills
Mills
Mills


title: Michel Legrand

texts:
<mask> (; 24 February 1932 – 26 January 2019) was a French musical composer, arranger, conductor, and jazz pianist. Legrand was a prolific composer, having written over 200 film and television scores, in addition to many songs. His scores for two of the films of French New Wave director Jacques Demy, The Umbrellas of Cherbourg (1964) and The Young Girls of Rochefort (1967), earned Legrand his first Academy Award nominations. Legrand won his first Oscar for the song "The Windmills of Your Mind" from The Thomas Crown Affair (1968). Life and career
Legrand was born in Paris to his father, <mask>, who was himself a conductor and composer, and his mother, Marcelle Ter-Mikaëlian, who was the sister of conductor Jacques Hélian. Raymond and Marcelle were married in 1929. His maternal grandfather was Armenian.Legrand composed more than two hundred film and television scores. He won three Oscars and five Grammys. He studied music at the Conservatoire de Paris from age 11, working with, among others, Nadia Boulanger and graduated with top honors as both a composer and a pianist. He burst upon the international music scene at 22 when his album I Love Paris became a surprise hit. He established his name in the United States by working with such jazz stars as Miles Davis and Stan Getz. His sister Christiane Legrand was a member of The Swingle Singers and his niece <mask> is a member of the dream pop band Beach House. Legrand composed music for Jacques Demy's films The Umbrellas of Cherbourg (1964) and The Young Girls of Rochefort (1966), and appeared and performed in Agnès Varda's Cléo from 5 to 7 (1961).He also composed music for Joseph Losey's Eva (1962), The Thomas Crown Affair (1968) (which features "The Windmills of Your Mind"), Ice Station Zebra (1968), The Picasso Summer (1969), The Lady in the Car with Glasses and a Gun (1970), The Go-Between (1971), Summer of '42 (1971), Clint Eastwood's Breezy (1973), The Three Musketeers (1973), Orson Welles's last-completed film F for Fake (1974) and would later compose the score for Welles's posthumously-released movie The Other Side of the Wind (2018). He also composed the score for Yentl (1983), as well as the film score for Louis Malle's film Atlantic City (1980). His instrumental version of the theme from Brian's Song charted 56th in 1972 on the Billboard's pop chart. Legrand died of sepsis, during the night of 25–26 January 2019, at the American Hospital of Paris in Neuilly-sur-Seine, where he had been hospitalized for two weeks for a pulmonary infection. His funeral was held in Paris at the Alexander Nevsky Cathedral on 1 February 2019. He was interred at the Père Lachaise Cemetery. He remained active until his death and had concerts scheduled to take place in the spring.Musical theatre
In 1997, Legrand composed the score for the musical Le Passe-muraille, with a book by Didier Van Cauwelaert. It premiered on Broadway in 2002 as Amour and was translated into English by Jeremy Sams and was directed by James Lapine. This musical was his Broadway debut and he was nominated for a Tony Award in 2003 for Best Score. Later he recorded Legrand Affair with Melissa Errico, a 100-piece symphony orchestra that included songs with lyrics by Alan and Marilyn Bergman. The world premiere of the new musical Marguerite from Alain Boublil and Claude-<mask>, the creators of Les Misérables and Miss Saigon, included music by <mask> and lyrics by Herbert Kretzmer. Marguerite is set during World War II in occupied Paris, and was inspired by the romantic novel La Dame aux Camélias by Alexandre Dumas fils. It premiered in May 2008 at the Haymarket Theatre, London and was directed by Jonathan Kent.Discography

Awards

<mask> has won three Oscars (from 13 nominations), five Grammys, and was nominated for an Emmy. His first Academy Award win was in 1969 for the song "The Windmills of Your Mind", followed with the Academy Award for his music for Summer of ’42 in 1972 and for Yentl in 1984. Following are a selection of the awards and nominations with which <mask>'s works have been honored:

Academy Award awards and nominations
Source: AllMovie

 Best Original Score, Substantially Original Score: The Umbrellas of Cherbourg (1965) - nominated
 Best Original Score for a Motion Picture (not a Musical): The Thomas Crown Affair (1968)  - nominated
 Best Original Song Score and Its Adaptation or Best Adaptation Score: The Young Girls of Rochefort (1968) - nominated
 Best Original Dramatic Score: Summer of '42 (1971) - won
 Best Original Song Score and Its Adaptation or Best Adaptation Score: Yentl (1983) - won
 Best Original Song:
 "I Will Wait for You" from The Umbrellas of Cherbourg (1965) - nominated
 "The Windmills of Your Mind" from The Thomas Crown Affair (1968) - won
 "What Are You Doing the Rest of Your Life?" from The Happy Ending (1969) - nominated
 "Pieces of Dreams" from Pieces of Dreams (1970) - nominated
 "How Do You Keep the Music Playing?" from Best Friends (1982) - nominated
 "Papa, Can You Hear Me?" from Yentl (1983) - nominated
"The Way He Makes Me Feel" from Yentl (1983) - nominated

Golden Globe awards and nominations
Source: All Movie

 Original Score:
 The Thomas Crown Affair (1968)
 The Happy Ending (1969)
 Wuthering Heights (1970)
 Le Mans (1971)
 Summer of '42 (1971)
 Lady Sings the Blues (1972)
 Breezy (1973)
 Yentl (1983)
 Original Song:
 "The Windmills of Your Mind" from The Thomas Crown Affair (1968) (won)
 "What are You Doing the Rest of Your Life?" from The Happy Ending (1969)
 "Pieces of Dreams" from Pieces of Dreams (1970)
 "Breezy's Song" from Breezy (1973)
 "Yesterday's Dreams" from Falling in Love Again (1980)
 "The Way He Makes Me Feel" from Yentl (1983)

Grammy Award awards and nominations
Source: Grammy.com

Best Instrumental Composition: "Theme from Summer of '42 (The Summer Knows)" (1971) - win
Best Instrumental Arrangement: "Theme From Summer Of '42" (1971) - nomination
Best Pop Instrumental Performance: "Theme From Summer Of '42" (1971) - nomination
 Best arrangement accompanying vocalist: What Are You Doing the Rest of Your Life?Documentary
"<mask>nd, let the music play", directed by Gregory Monro in 2018

References

External links

 <mask> at the British Film Institute

 Interview with <mask> at the Press Launch for Margeruite in London UK

1932 births
2019 deaths
20th-century French conductors (music)
20th-century French male musicians
21st-century French conductors (music)
21st-century French male musicians
Best Original Music Score Academy Award winners
Best Original Music BAFTA Award winners
Best Original Song Academy Award-winning songwriters
Burials at Père Lachaise Cemetery
Broadway composers and lyricists
Columbia Records artists
Conservatoire de Paris alumni
Deaths from sepsis
Easy listening musicians
French expatriates in the United States
French film score composers
French jazz composers
French jazz pianists
French male conductors (music)
French male pianists
French music arrangers
French musical theatre composers
French people of Armenian descent
Golden Globe Award-winning musicians
Grammy Award winners
Jazz arrangers
French male film score composers
Male jazz composers
Musicians from Paris
Philips Records artists
Prix Benois de la Danse winners
RCA Victor artists

masks:
Michel Jean Legrand
Raymond Legrand
Victoria Legrand
Michel Schönberg
Michel Legrand
Legrand
Legrand
Michel Legra
Michel Legrand
Michel Legrand


title: Julio Lugo

texts:
<mask> (November 16, 1975 – November 15, 2021) was a Dominican professional baseball shortstop. He played 12 seasons in Major League Baseball (MLB) for the Houston Astros, Tampa Bay Devil Rays, Los Angeles Dodgers, Boston Red Sox, St. Louis Cardinals, Baltimore Orioles, and Atlanta Braves. He was the elder brother of pitcher <mask>. Baseball career
<mask> was born in the Dominican Republic and at age 13 moved to Sunset Park, Brooklyn, where he attended Fort Hamilton High School. In addition to playing baseball for Fort Hamilton, he played in the Youth Service League in Brooklyn; alumni of that program include Manny Ramírez and Shawon Dunston. He went on to play college baseball at Connors State College in Oklahoma. Houston Astros
The Houston Astros selected <mask> in the 43rd round of the 1994 MLB draft, although he did not sign with the team until May 1995.He made his professional debut in 1995 with the Auburn Astros, a Class A Short Season team in the New York–Penn League; appearing in 59 games, he had a .291 batting average with one home run and 16 runs batted in (RBIs). He advanced through the Houston farm system, reaching the Triple-A level in 2000 with the New Orleans Zephyrs. Early that season, <mask> was promoted to the major-league Astros, and made his MLB debut on April 15, 2000. <mask> played in 116 games for the Astros that year, batting .283 with 10 home runs and 40 RBIs. He made appearances at shortstop, second base, all three outfield positions, and designated hitter. In 2001, <mask> played in 140 games, batting .263 with 10 home runs and 37 RBIs. The following season, he batted .261 with eight home runs and 35 RBIs in 88 games.In mid-August, <mask>'s left arm was broken when he was hit by a pitch from Kerry Wood of the Chicago Cubs, ending his 2002 season. On April 30, 2003, <mask> was arrested after a game at Minute Maid Park and charged with assaulting his wife. He was designated for assignment and subsequently released by the Astros. <mask> had appeared with 22 games that season with Houston. Overall, <mask> appeared in 366 games for the Astros, batting .268 with 28 home runs and 114 RBIs. He appeared in one postseason series with Houston, the 2001 National League Division Series, batting 0-for-8 in three games. Tampa Bay Devil Rays
In mid-May 2003, <mask> signed with the Tampa Bay Devil Rays.In mid-July, he was acquitted of the assault charges after his then-wife (the couple had filed for divorce) testified that she had instigated the incident and he did not intend to hurt her. <mask> appeared in 117 games with the Rays through the end of the season, batting .275 with 15 home runs and 53 RBIs. He hit home runs in four consecutive games against the Toronto Blue Jays during September 22–25. In 2004, <mask> batted .275 with seven home runs and 75 RBIs in 157 games. The following season, he played 158 games while batting .295 with six home runs and 57 RBIs. <mask> spent the first half of 2006 with the Devil Rays, playing in 73 games with 12 home runs, 27 RBIs, and a .308 average. Two of his home runs came in a single inning, the fifth, of a home game against the Baltimore Orioles on July 22.Overall with Tampa Bay in parts of four seasons, <mask> had a .287 average with 40 home runs and 212 RBIs in 505 games. Los Angeles Dodgers

<mask> was traded at the 2006 trade deadline to the Los Angeles Dodgers for infielder Joel Guzmán and minor-league outfielder Sergio Pedroza. He appeared in 49 games with the Dodgers through the end of the regular season, batting .219 with no home runs and 10 RBIs. In the 2006 National League Division Series, <mask> batted 1-for-4 in two games as the Dodgers lost to the New York Mets. At the end of October, he became a free agent. Boston Red Sox

On December 5, 2006, <mask> signed a four-year, $36 million contract with the Boston Red Sox. <mask> was brought on to bat leadoff, but was moved by manager Terry Francona to the bottom part of the order primarily due to his inability to consistently get on base.During the 2007 season, from June 15 through July 2, inclusive, <mask> went 0–31 at the plate. At that time, Lugo had a .189 batting average. Since 1996, only Greg Vaughn—who had a .163 average with Tampa Bay on June 27, 2002—had a lower batting average with more than 250 at bats 80 games into a season. After the first week of July, <mask> turned his hitting performance around, compiling a 14-game hitting streak on July 25. He was 24-for-54 (.444) during the career-best streak, raising his average from .189 to .226. He had a streak of 20 consecutive stolen bases that ended on July 2, setting a club record. <mask> ended the regular season with a .237 average with eight home runs and 73 RBIs in 147 games.The Red Sox advanced to the World Series where they swept the Colorado Rockies in four games; <mask> played in 14 postseason games with Boston, while batting .385 (5-for-13) in the World Series. During 2008, <mask> committed 16 errors through July 5, nearly one-third of the 50 errors made by the Red Sox as a team to that point in the season. Six days later, <mask> injured his left quad running out a hit; he was placed on the disabled list and missed the rest of the season. In 82 games, he batted .268 with one home run and 22 RBIs. On March 17, 2009, <mask> underwent arthroscopic surgery on his right knee to repair a torn meniscus cartilage. He returned to the team in late April, batting .284 in 37 games through early July, while committing seven errors. On July 17, <mask> was designated for assignment by the Red Sox.Overall during 2007–2009 with the Red Sox, <mask> appeared in 266 games while batting .251 with 10 home runs and 103 RBIs. Later career
On July 22, 2009, <mask> was traded to the St. Louis Cardinals for Chris Duncan and cash considerations. In 51 games with the Cardinals through the end of the season, <mask> batted .277 with two home runs and 13 RBIs. Defensively, he split time between shortstop (24 appearances) and second base (30 appearances). He batted 2-for-5 in three games of the 2009 National League Division Series, which the Cardinals lost to the Dodgers. On April 1, 2010, <mask> was traded to the Baltimore Orioles for a player to be named later. He batted .249 in 93 games with no home runs and 20 RBIs during the season.He was used primarily at second base (59 appearances) while also seeing time at shortstop, third base, left field, and designated hitter. <mask> signed a minor-league contract with the Atlanta Braves on May 23, 2011. He was added to the Braves' major-league roster when they purchased his contract on June 21. In 22 games with Atlanta, <mask> batted .136 (6-for-44) with no home runs and three RBIs. The Braves released <mask> on September 2. On January 21, 2012, <mask> agreed to a minor league contract with the Cleveland Indians with an invitation to spring training. On January 30, the deal was reported to have fallen apart and he remained a free agent.<mask> did not play professionally during the 2012 regular season. His final season was in 2013, as a member of the Peoria Explorers of the Freedom Pro Baseball League, an independent baseball league. In 1352 MLB games over 12 seasons, <mask> batted .269 with 80 home runs and 475 RBIs; he stole 198 bases. In eight minor-league seasons, he batted .294 with 39 home runs and 250 RBIs in 570 games. He also played three seasons in the Dominican Winter League for Leones del Escogido, and played for the Dominican Republic three times in the Caribbean Series. Personal life
<mask> and his wife had one son and two daughters; he also had an older son with his former spouse. In 2013, <mask> was inducted to the Connors State College athletic hall of fame.In 2015, <mask> was arrested in the Dominican Republic for kidnapping a couple and holding them at gun pointe. In 2018, the Boston Red Sox held their first alumni game since 1993; <mask> hit a two-run homer off of Pedro Martínez for the only runs in the game. <mask> died of a heart attack on November 15, 2021, just one day before his 46th birthday. References

External links

<mask> homers twice in the 5th inning from MLB via YouTube

1975 births
2021 deaths
People from Barahona Province
Dominican Republic expatriate baseball players in the United States
Major League Baseball players from the Dominican Republic
Major League Baseball shortstops
Atlanta Braves players
Baltimore Orioles players
Boston Red Sox players
Houston Astros players
Los Angeles Dodgers players
St. Louis Cardinals players
Tampa Bay Devil Rays players
Fort Hamilton High School alumni
Connors State Cowboys baseball players
Auburn Astros players
Gwinnett Braves players
Jackson Generals (Texas League) players
Kissimmee Cobras players
New Orleans Zephyrs players
Pawtucket Red Sox players
Quad Cities River Bandits players
Leones del Escogido players

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title: Jacques-Louis David

texts:
Jacques-<mask> (; 30 August 174829 December 1825) was a French painter in the Neoclassical style, considered to be the preeminent painter of the era. In the 1780s his cerebral brand of history painting marked a change in taste away from Rococo frivolity toward classical austerity and severity and heightened feeling, harmonizing with the moral climate of the final years of the Ancien Régime. <mask> later became an active supporter of the French Revolution and friend of Maximilien Robespierre (1758–1794), and was effectively a dictator of the arts under the French Republic. Imprisoned after Robespierre's fall from power, he aligned himself with yet another political regime upon his release: that of Napoleon, the First Consul of France. At this time he developed his Empire style, notable for its use of warm Venetian colours. After Napoleon's fall from Imperial power and the Bourbon revival, <mask> exiled himself to Brussels, then in the United Kingdom of the Netherlands, where he remained until his death. <mask> had many pupils, making him the strongest influence in French art of the early 19th century, especially academic Salon painting.Early life

Jacques-<mask> was born into a prosperous French family in Paris on 30 August 1748. When he was about nine his father was killed in a duel and his mother left him with his well-off architect uncles. They saw to it that he received an excellent education at the Collège des Quatre-Nations, University of Paris, but he was never a good student—he had a facial tumor that impeded his speech, and he was always preoccupied with drawing. He covered his notebooks with drawings, and he once said, "I was always hiding behind the instructor's chair, drawing for the duration of the class". Soon, he desired to be a painter, but his uncles and mother wanted him to be an architect. He overcame the opposition, and went to learn from François Boucher (1703–1770), the leading painter of the time, who was also a distant relative. Boucher was a Rococo painter, but tastes were changing, and the fashion for Rococo was giving way to a more classical style.Boucher decided that instead of taking over <mask>'s tutelage, he would send <mask> to his friend, Joseph-Marie Vien (1716–1809), a painter who embraced the classical reaction to Rococo. There, <mask> attended the Royal Academy, based in what is now the Louvre. Each year the Academy awarded an outstanding student the prestigious Prix de Rome, which funded a 3- to 5-year stay in Rome. Since artists were now revisiting classical styles, the trip provided its winners the opportunity to study the remains of classical antiquity and the works of the Italian Renaissance masters at first hand. Called pensionnaire they were housed in the French Academy's Rome outpost, which from the years 1737 to 1793 was the Palazzo Mancini in the Via del Corso. <mask> Fighting Mars, Diana and Apollo Killing Niobe's Children and The Death of Seneca) with each failure allegedly contributing to his lifelong grudge against the institution. After his second loss in 1772, <mask> went on a hunger strike, which lasted two and a half days before the faculty encouraged him to continue painting.Confident he now had the support and backing needed to win the prize, he resumed his studies with great zeal—only to fail to win the Prix de Rome again the following year. Finally, in 1774, <mask> was awarded the Prix de Rome on the strength of his painting of Erasistratus Discovering the Cause of Antiochus' Disease, a subject set by the judges. In October 1775 he made the journey to Italy with his mentor, Joseph-Marie Vien, who had just been appointed director of the French Academy at Rome. While in Italy, <mask> mostly studied the works of 17th-century masters such as Poussin, Caravaggio, and the Carracci. Although he declared, "the Antique will not seduce me, it lacks animation, it does not move", <mask> filled twelve sketchbooks with drawings that he and his studio used as model books for the rest of his life. He was introduced to the painter Raphael Mengs (1728–1779), who opposed the Rococo tendency to sweeten and trivialize ancient subjects, advocating instead the rigorous study of classical sources and close adherence to ancient models. Mengs' principled, historicizing approach to the representation of classical subjects profoundly influenced <mask>'s pre-revolutionary painting, such as The Vestal Virgin, probably from the 1780s.Mengs also introduced <mask> to the theoretical writings on ancient sculpture by Johann Joachim Winckelmann (1717–1768), the German scholar held to be the founder of modern art history. As part of the Prix de Rome, <mask> toured the newly excavated ruins of Pompeii in 1779, which deepened his belief that the persistence of classical culture was an index of its eternal conceptual and formal power. During the trip <mask> also assiduously studied the High Renaissance painters, Raphael making a profound and lasting impression on the young French artist. Early work

Although <mask>'s fellow students at the academy found him difficult to get along with, they recognized his genius. <mask>'s stay at the French Academy in Rome was extended by a year. In July 1780, he returned to Paris. There, he found people ready to use their influence for him, and he was made an official member of the Royal Academy.He sent the Academy two paintings, and both were included in the Salon of 1781, a high honor. He was praised by his famous contemporary painters, but the administration of the Royal Academy was very hostile to this young upstart. After the Salon, the King granted <mask> lodging in the Louvre, an ancient and much desired privilege of great artists. When the contractor of the King's buildings, M. Pécoul, was arranging with <mask>, he asked the artist to marry his daughter, Marguerite Charlotte. This marriage brought him money and eventually four children. <mask> had about 50 of his own pupils and was commissioned by the government to paint "Horace defended by his Father", but he soon decided, "Only in Rome can I paint Romans." His father-in-law provided the money he needed for the trip, and <mask> headed for Rome with his wife and three of his students, one of whom, Jean-Germain Drouais (1763–1788), was the Prix de Rome winner of that year.In Rome, <mask> painted his famous Oath of the Horatii, 1784. In this piece, the artist references Enlightenment values while alluding to Rousseau's social contract. The republican ideal of the general became the central focus of the painting with all three sons positioned in compliance with the father. The Oath between the characters can be read as an act of unification of men to the binding of the state. The issue of gender roles also becomes apparent in this piece, as the women in Horatii greatly contrast the group of brothers. <mask> depicts the father with his back to the women, shutting them out of the oath. They also appear to be smaller in scale and physically isolated from the male figures.The masculine virility and discipline displayed by the men's rigid and confident stances is also severely contrasted to the slouching, swooning female softness created in the other half of the composition. Here we see the clear division of male-female attributes that confined the sexes to specific roles under Rousseau's popularized doctrine of "separate spheres". These revolutionary ideals are also apparent in the Distribution of Eagles. While Oath of the Horatii and The Tennis Court Oath stress the importance of masculine self-sacrifice for one's country and patriotism, the Distribution of Eagles would ask for self-sacrifice for one's Emperor (Napoleon) and the importance of battlefield glory. In 1787, <mask> did not become the Director of the French Academy in Rome, which was a position he wanted dearly. The Count in charge of the appointments said <mask> was too young, but said he would support him in 6 to 12 years. This situation would be one of many that would cause him to lash out at the Academy in years to come.For the Salon of 1787, <mask> exhibited his famous Death of Socrates. "Condemned to death, Socrates, strong, calm and at peace, discusses the immortality of the soul. Surrounded by Crito, his grieving friends and students, he is teaching, philosophizing, and in fact, thanking the God of Health, Asclepius, for the hemlock brew which will ensure a peaceful death... The wife of Socrates can be seen grieving alone outside the chamber, dismissed for her weakness. Plato is depicted as an old man seated at the end of the bed." Critics compared the Socrates with Michelangelo's Sistine Ceiling and Raphael's Stanze, and one, after ten visits to the Salon, described it as "in every sense perfect". Denis Diderot said it looked like he copied it from some ancient bas-relief.The painting was very much in tune with the political climate at the time. For this painting, <mask> was not honored by a royal "works of encouragement". For his next painting, <mask> created The Lictors Bring to Brutus the Bodies of His Sons. The work had tremendous appeal for the time. Before the opening of the Salon, the French Revolution had begun. The National Assembly had been established, and the Bastille had fallen. The royal court did not want propaganda agitating the people, so all paintings had to be checked before being hung.<mask>'s portrait of Lavoisier, who was a chemist and physicist as well as an active member of the Jacobin party, was banned by the authorities for such reasons. When the newspapers reported that the government had not allowed the showing of The Lictors Bring to Brutus the Bodies of His Sons, the people were outraged, and the royals were forced to give in. The painting was hung in the exhibition, protected by art students. The painting depicts Lucius Junius Brutus, the Roman leader, grieving for his sons. Brutus's sons had attempted to overthrow the government and restore the monarchy, so the father ordered their death to maintain the republic. Brutus was the heroic defender of the republic, sacrificing his own family for the good of the republic. On the right, the mother holds her two daughters, and the nurse is seen on the far right, in anguish.Brutus sits on the left, alone, brooding, seemingly dismissing the dead bodies of his sons. Knowing what he did was best for his country, but the tense posture of his feet and toes reveals his inner turmoil. The whole painting was a Republican symbol, and obviously had immense meaning during these times in France. It exemplified civic virtue, a value highly regarded during the Revolution. The French Revolution
In the beginning, <mask> was a supporter of the Revolution, a friend of Robespierre, and a member of the Jacobin Club. While others were leaving the country for new and greater opportunities, <mask> stayed behind to help destroy the old order; he was a regicide who voted in the National Convention for the Execution of Louis XVI. It is uncertain why he did this, as there were many more opportunities for him under the King than the new order; some people suggest <mask>'s love for the classical made him embrace everything about that period, including a republican government.Others believed that they found the key to the artist's revolutionary career in his personality. Undoubtedly, <mask>'s artistic sensibility, mercurial temperament, volatile emotions, ardent enthusiasm, and fierce independence might have been expected to help turn him against the established order but they did not fully explain his devotion to the republican regime. Nor did the vague statements of those who insisted upon his "powerful ambition...and unusual energy of will" actually account for his revolutionary connections. Those who knew him maintained that "generous ardor", high-minded idealism and well-meaning though sometimes fanatical enthusiasm, rather than opportunism and jealousy, motivated his activities during this period. Soon, <mask> turned his critical sights on the Royal Academy of Painting and Sculpture. This attack was probably caused primarily by the hypocrisy of the organization and their personal opposition to his work, as seen in previous episodes in <mask>'s life. The Royal Academy was controlled by royalists, who opposed <mask>'s attempts at reform; so the National Assembly finally ordered it to make changes to conform to the new constitution.<mask> then began work on something that would later hound him: propaganda for the new republic. <mask>'s painting of Brutus was shown during the play Brutus by Voltaire. In 1789, Jacques-<mask> attempted to leave his artistic mark on the historical beginnings of the French Revolution with his painting of The Oath of the Tennis Court. <mask> undertook this task not out of personal political conviction but rather because he was commissioned to do so. The painting was meant to commemorate the event of the same name but was never completed. A meeting of the Estates General was convened in May to address reforms of the monarchy. Dissent arose over whether the three estates would meet separately, as had been tradition, or as one body.The King's acquiescence with the demands of the upper orders led to the deputies of the Third Estate renaming themselves as the National Assembly on 17 June. They were locked out of the meeting hall three days later when they attempted to meet, and forced to reconvene to the royal indoor tennis court. Presided over by Jean-Sylvain Bailly, they made a 'solemn oath never to separate' until a national constitution had been created. In 1789 this event was seen as a symbol of the national unity against the ancien regime. Rejecting the current conditions, the oath signified a new transition in human history and ideology. <mask> was enlisted by the Society of Friends of the Constitution, the body that would eventually form the Jacobins, to enshrine this symbolic event. This instance is notable in more ways than one because it eventually led <mask> to finally become involved in politics as he joined the Jacobins.The picture was meant to be massive in scale; the figures in the foreground were to be life-sized portraits of the counterparts, including Jean-Sylvain Bailly, the President of the Constituent Assembly. Seeking additional funding, <mask> turned to the Society of Friends of the Constitution. The funding for the project was to come from over three thousand subscribers hoping to receive a print of the image. However, when the funding was insufficient, the state ended up financing the project. <mask> set out in 1790 to transform the contemporary event into a major historical picture which would appear at the Salon of 1791 as a large pen-and-ink drawing. As in the Oath of the Horatii, <mask> represents the unity of men in the service of a patriotic ideal. The outstretched arms which are prominent in both works betray <mask>'s deeply held belief that acts of republican virtue akin to those of the Romans were being played out in France.In what was essentially an act of intellect and reason, <mask> creates an air of drama in this work. The very power of the people appears to be "blowing" through the scene with the stormy weather, in a sense alluding to the storm that would be the revolution. Symbolism in this work of art closely represents the revolutionary events taking place at the time. The figure in the middle is raising his right arm making the oath that they will never disband until they have reached their goal of creating a "constitution of the realm fixed upon solid foundations". The importance of this symbol is highlighted by the fact that the crowd's arms are angled to his hand forming a triangular shape. Additionally, the open space in the top half contrasted to the commotion in the lower half serves to emphasize the magnitude of the Tennis Court Oath. In his attempt to depict political events of the Revolution in "real time", <mask> was venturing down a new and untrodden path in the art world.However, Thomas Crow argues that this path "proved to be less a way forward than a cul-de-sac for history painting". Essentially, the history of the demise of <mask>'s The Tennis Court Oath illustrates the difficulty of creating works of art that portray current and controversial political occurrences. Political circumstances in France proved too volatile to allow the

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