#marie adelaide of savoy

[comtessezouboff]

Paintings from Buckingham Palace: part II

A retexture by La Comtesse Zouboff — Original Mesh by @thejim07

Spread among 13 occupied and historic royal residences in the United Kingdom, the collection is owned by King Charles III and overseen by the Royal Collection Trust. The British monarch owns some of the collection in right of the Crown and some as a private individual. It is made up of over one million objects, including 7,000 paintings, over 150,000 works on paper, this including 30,000 watercolours and drawings, and about 450,000 photographs, as well as around 700,000 works of art, including tapestries, furniture, ceramics, textiles, carriages, weapons, armour, jewellery, clocks, musical instruments, tableware, plants, manuscripts, books, and sculptures.

Some of the buildings which house the collection, such as Hampton Court Palace, are open to the public and not lived in by the Royal Family, whilst others, such as Windsor Castle, Kensington Palace and the most remarkable of them, Buckingham Palace are both residences and open to the public.

About 3,000 objects are on loan to museums throughout the world, and many others are lent on a temporary basis to exhibitions.

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The second part includes paintings displayed in the Ball Supper Room, the Ballroom, the Ballroom Annexe, the Bow Room, the East Gallery, the Grand Entrance and Marble Hall, the Minister's Landing & Staircase, the Vestibule, the Chinese Dining Room and the Balcony Room.

This set contains 57 paintings and tapestries with the original frame swatches, fully recolourable. They are:

Ball Supper Room (BSR):

Portrait of King George III of the United Kingdom (Benjamin West)

Ballroom (BR):

The Story of Jason: The Battle of the Soldiers born of The Serpent's Teeth (the Gobelins)

The Story of Jason: Medea Departs for Athens after Setting Fire to Corinth (the Gobelins)

Ballroom Annexe (BAX):

The Apotheosis of Prince Octavius (Benjamin West)

Bow Room (BWR):

Portrait of Princess Mary Adelaide of Cambridge (William Corden the Younger)

Portrait of Princess Augusta of Cambridge, Grand Duchess of Mecklenburg-Strelitz (Alexander Melville)

Portrait or George, Duke of Cambridge (William Corden the Younger)

Portrait of Frederick William, Grand Duke of Mecklenburg-Strelitz (Franz Xaver Winterhalter)

Portrait of Augusta of Saxe-Weimar, Princess of Prussia, later Queen of Prussia and German Empress (Franz Xaver Winterhalter)

Portrait of Prince Leopold, Later Duke of Albany (Franz Xaver Winterhalter)

Portrait of Ernest, Prince of Hohenlohe-Langeburg (Franz Xaver Winterhalter)

Portrait of Ferdinand of Savoy, Duke of Genoa (Eliseo Sala)

Portrait of Marie Alexandrina of Saxe-Altenburg, Queen Consort of Hanover (Carl Ferdinand Sohn)

Portrait of Leopold, Duke of Brabant, Later Leopold II, King of the Belgians (Nicaise de Keyser)

Portrait of Marie Henriette, Archduchess of Austria and Duchess of Brabant, Later Queen of the Belgians (Nicaise de Keyser)

East Gallery (EG):

Portrait of Leopold I, King of the Belgians (Franz Xaver Winterhalter)

Portrait of Victoria, Queen of England in Coronation Robes (Sir George Hayter)

Portrait of Louis-Philippe d'Orléans, King of the French (Franz Xaver Winterhalter)

Portrait of Charlotte of Mecklenburg-Strelitz, Consort Queen of England with her Children at Windsor Castle (Benjamin West)

Portrait of Prince Adolphus, later Duke of Cambridge, With Princess Mary and Princess Sophia at Kew (Benjamin West)

The Coronation of Queen Victoria in Westminster Abbey, 28 June, 1838. (Sir George Hayter)

The Christening of Edward, Prince of Wales 25 January, 1842 (Sir George Hayter)

The Marriage of Queen Victoria, 10 February, 1840 (Sir George Hayter)

Portrait of the Royal Family in 1846 (Franz Xaver Winterhalter)

Portrait of Queen Victoria and Prince Albert as King Edward III and Queen Philippa of Hainault at the Ball Costumé of 12 May, 1842 (Sir Edwin Landseer)

Grand Entrance and Marble Hall (GEMH):

Portrait of Edward, Duke of Kent (John Hoppner)

Portrait of Ernest I, Duke of Saxe-Coburg-Gotha (George Dawe)

Portrait of Victoria of Saxe-Coburg-Saafeld, Dowager Duchess of Kent (Franz Xaver Winterhalter)

Portrait of Albert, Prince Consort of the United Kingdom (Franz Xaver Winterhalter)

Portrait of Victoria, Queen Consort of the United Kingdom in State Robes (Franz Xaver Winterhalter)

Portrait of Louise d'Orléans, Consort Queen of the Belgians, with her Son Leopold, Duke of Brabant (Franz Xaver Winterhalter)

Portrait of Feodora of Leiningen, Princess of Hohenlohe-Langeburg, with her Daughter, Princess Adelheid (Sir George Hayter)

Portrait of George, Prince of Wales, Later King George IV (Mather Byles Brown)

Portrait of Victoire of Saxe-Coburg-Gotha, Duchess of Nemours (Franz Xaver Winterhalter)

Portrait of Augustus, Duke of Sussex (Domenico Pellegrini)

Portrait of Leopold I, King of the Belgians (William Corden the Younger)

Minister's Landing and Staircase (MLS):

Portrait of George, Prince of Wales in Garther Robes (John Hoppner)

The Loves of the Gods: The Rape of Europa (the Gobelins)

The Loves of the Gods: The Rape of Proserpine (The Gobelins)

Vestibule (VL):

Portrait of Prince Albert of Saxe-Coburg-Gotha, the Prince Consort (Unknown Artist from the German School)

Portrait of Princess Alice of the United Kingdom, Later Grand Duchess of Hesse (Franz Xaver Winterhalter)

Portrait of Princess Helena of the United Kingdom, Later Princess Christian of Schleswig-Holstein (Franz Xaver Winterhalter)

Portrait of Princess Louise of the United Kingdom, Later Duchess of Argyll (Franz Xaver Winterhalter)

Portrait of Princess Victoria of the United Kingdom, Later Empress Frederick of Germany (Franz Xaver Winterhalter)

Portrait of Victoria Mary of Teck, Duchess of York (Edward Hughes)

Chinese Dining Room or Pavilion Breakfast Room(CDR):

Set of Four Painted Chinoiserie Wall panels I (Robert Jones)

Set of Four Painted Chinoiserie Wall panels II (Robert Jones)

Set of Four Painted Chinoiserie Wall panels III (Robert Jones)

Set of Four Painted Chinoiserie Wall panels IV (Robert Jones)

Balcony Room or Centre Room (BR):

Chinoiserie Painted Panel I (Robert Jones)

Chinoiserie Painted Panel II (Robert Jones)

Chinoiserie Painted Panel III (Robert Jones)

Chinoiserie Painted Panel IV (Robert Jones)

EXTRAS! (E):

I decided to add the rest of the tapestries from the story of Jason (wich hangs in the Grand Reception Room at Windsor Castle) and (with Jim's permission) added the original mesh for paintings number 2,3,4 & 5 from the Vestibule (seen here and here) wich was never published. These items are:

The Story of Jason: Jason Pledges his Faith to Medea (the Gobelins)

The Story of Jason: Jason Marries Glauce, Daughter of Creon, King of Thebes (the Gobelins)

The Story of Jason: The Capture of the Golden Fleece (the Gobelins)

The Story of Jason: The Poisoning of Glauce and Creon by Medea's Magic Robe (the Gobelins)

Sea Melodies (Herbert James Draper) (made by TheJim07)

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Found under decor > paintings for:

500§ (BWR: 1,2,3,4,5,6, & 8 |VL: 1)

570§ (VL: 2,3,4 & 5 |E: 5)

1850§ (GEMH: 1 & 3)

2090§ (GEMH: 2,6,7, 9 & 11)

3560§ (GEMH: 4,5 & 10 |BSR: 1 |EG: 1,2,3,4 & 5 |MLS: 1 |BAX: 1)

3900§ (CDR: 1,2,3 & 4 |BR: 1,2,3 & 4 |EG: 10 |VL: 6 |GEMH: 8)

4470§ (MLS: 2 |E: 1)

6520§ (BR 1 & 2| MLS: 3 |EG: 6,7,8 & 9 |BR: 1 & 2 |E: 2,3 & 4)

Retextured from:

"Saint Mary Magdalene" (BWR: 1,2,3,4,5,6, & 8 |VL: 1) found here.

"Sea Melodies" (VL: 2,3,4 & 5 |E: 5)

"The virgin of the Rosary" (GEMH: 1 & 3) found here.

"Length Portrait of Mrs.D" (GEMH: 4,5 & 10 |BSR: 1 |EG: 1,2,3,4 & 5 |MLS: 1 |BAX: 1) found here

"Portrait of Maria Theresa of Austria and her Son, le Grand Dauphin" (CDR: 1,2,3 & 4 |BR: 1,2,3 & 4 |EG: 10 |VL: 6 |GEMH: 8) found here

"Sacrifice to Jupiter" (MLS: 2 |E: 1) found here

"Vulcan's Forge" (BR 1 & 2| MLS: 3 |EG: 6,7,8 & 9 |BR: 1 & 2 |E: 2,3 & 4) found here

(you can just search for "Buckingham Palace" using the catalog search mod to find the entire set much easier!)

Disclaimer!

Some paintings in the previews look blurry but in the game they're very high definition, it's just because I had to add multiple preview pictures in one picture to be able to upload them all! Also sizes shown in previews are not accurate to the objects' actual sizes in most cases.

Drive

(Sims3pack | Package)

(Useful tags below)

@joojconverts @ts3history @ts3historicalccfinds @deniisu-sims @katsujiiccfinds @gifappels-stuff

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[classic-art-favourites]

Marie Adelaide of Savoy by Jean-Baptiste Santerre, 1709.

[palecleverdoll]

Wives and Daughters of Holy Roman Emperors: Age at First Marriage

I have only included women whose birth dates and dates of marriage are known within at least 1-2 years, therefore, this is not a comprehensive list.

This list does not include women who died before their husbands were crowned Emperor. It spans between the beginning of the reign of Otto I (962 CE) and the end of the reign of Francis II (1806 CE).

The average age at first marriage among these women was 17. The sample size was 91 women. The youngest bride, Bianca Maria Sforza, was just 2 years old when she wed her first husband, who was himself 9. The oldest bride, Constance of Sicily, was 32 years old.

Adelaide of Italy, wife of Otto I, HRE: age 15 when she married Lothair II, King of Italy, in 947 CE

Liutgarde of Saxony, daughter of Otto I, HRE: age 15 when she married Conrad the Red, Duke of Lorraine, in 947 CE

Theophanu, wife of Otto II, HRE: age 17 when she married Otto in 972 CE

Cunigunde of Luxembourg, wife of Henry II, HRE: age 24 when she married Henry in 999 CE

Gisela of Swabia, wife of Conrad II, HRE: age 12 when she married Brun I of Brunswick in 1002 CE

Agnes of Poitou, wife of Henry III, HRE: age 18 when she married Henry in 1043 CE

Matilda of Germany, daughter of Henry III, HRE: age 11 when she married Rudolf of Rheinfelden in 1059 CE

Judith of Swabia, daughter of Henry III, HRE: age 9 when she married Solomon, King of Hungary in 1063 CE

Bertha of Savoy, wife of Henry IV, HRE: age 15 when she married Henry in 1066 CE

Agnes of Waiblingen, daughter of Henry IV, HRE: age 14 when she married Frederick I, Duke of Swabia in 1086 CE

Empress Matilda, wife of Henry V, HRE: age 12 when she married Henry in 1114 CE

Beatrice I, Countess of Burgundy, wife of Frederick I, HRE: age 13 when she married Frederick in 1156 CE

Beatrice, daughter of Frederick I, HRE: age 10 when she married Guillaume II, Count of Chalon in 1173 CE

Constance, Queen of Sicily, wife of Henry IV, HRE: age 32 when she married Henry IV in 1186 CE

Beatrice of Swabia, first wife of Otto IV, HRE: age 14 when she married Otto in 1212 CE

Maria of Brabant, second wife of Otto IV, HRE: age 24 when she married Otto in 1214 CE

Constance of Aragon, first wife of Frederick II, HRE: age 19 when she married Emeric of Hungary in 1198 CE

Isabella II of Jerusalem, second wife of Frederick II, HRE: age 13 when she married Frederick in 1225 CE

Isabella of England, third wife of Frederick II, HRE: age 21 when she married Frederick in 1235 CE

Margaret of Sicily, daughter of Frederick II, HRE: age 14 when she married Albert II, Margrave of Meissen in 1255 CE

Anna of Hohenstaufen, daughter of Frederick II, HRE: age 14 when she married John III Doukas Vatatzes in 1244 CE

Marie of Luxembourg, daughter of Henry VII, HRE: age 18 when she married Charles IV of France in 1322 CE

Beatrice of Luxembourg, daughter of Henry VII, HRE: age 13 when she married Charles I of Hungary in 1318 CE

Margaret II, Countess of Hainaut, wife of Louis IV, HRE: age 13 when she married Louis in 1324 CE

Matilda of Bavaria, daughter of Louis IV, HRE: age 10 when she married Frederick II, Margrave of Meissen in 1323 CE

Beatrice of Bavaria, daughter of Louis IV, HRE: age 12 when she married Eric XII of Sweden in 1356 CE

Anna von Schweidnitz, wife of Charles IV, HRE: age 14 when she married Charles in 1353 CE

Elizabeth of Pomerania, wife of Charles IV, HRE: age 16 when she married Charles in 1378 CE

Margaret of Bohemia, daughter of Charles IV, HRE: age 7 when she married Louis I of Hungary in 1342 CE

Catherine of Bohemia, daughter of Charles IV, HRE: age 14 when she married Rudolf IV, Duke of Austria in 1356 CE

Elisabeth of Bohemia, daughter of Charles IV, HRE: age 8 when she married Albert III, Duke of Austria in 1366 CE

Anne of Bohemia, daughter of Charles IV, HRE: age 16 when she married Richard II of England in 1382 CE

Margaret of Bohemia, daughter of Charles IV, HRE: age 8 when she married John III, Burgrave of Nuremburg in 1381 CE

Barbara of Cilli, wife of Sigismund, HRE: age 13 when she married Sigismund in 1405 CE

Elizabeth of Luxembourg, daughter of Sigismund, HRE: age 13 when she married Albert II of Germany in 1422 CE

Eleanor of Portugal, wife of Frederick III, HRE: age 18 when she married Frederick in 1452 CE

Kunigunde of Austria, daughter of Frederick III, HRE: age 22 when she married Albert IV, Duke of Bavaria in 1487 CE

Bianca Maria Sforza, wife of Maximilian I, HRE: age 2 when she married Philibert I, Duke of Savoy in 1474 CE

Margaret of Austria, daughter of Maximilian I, HRE: age 17 when she married John, Prince of Asturias in 1497 CE

Barbara von Rattal, daughter of Maximilian I, HRE: age 15 when she married Siegmund von Dietrichstein in 1515 CE

Dorothea of Austria, daughter of Maximilian I, HRE: age 22 when she married Johan I of East Frisia in 1538 CE

Isabella of Portugal, wife of Charles V, HRE: age 23 when she married Charles in 1526 CE

Maria of Austria, daughter of Charles V, HRE: age 20 when she married Maximilian II, HRE in 1548 CE

Joanna of Austria, daughter of Charles V, HRE: age 17 when she married John Manuel, Prince of Portugal in 1552 CE

Margaret of Parma, daughter of Charles V, HRE: age 14 when she married Alessandro de’ Medici, Duke of Florence, in 1536 CE

Elizabeth of Austria, daughter of Ferdinand I, HRE: age 16 when she married Sigismund II Augustus of Poland in 1543 CE

Anna of Austria, daughter of Ferdinand I, HRE: age 17 when she married Albert V, Duke of Bavaria in 1546 CE

Maria of Austria, daughter of Ferdinand I, HRE: age 15 when she married William of Julich-Cleves-Berg in 1546 CE

Catherine of Austria, daughter of Ferdinand I, HRE: age 16 when she married Francesco III Gonzaga in 1559 CE

Eleanor of Austria, daughter of Ferdinand I, HRE: age 27 when she married William I, Duke of Mantua in 1561 CE

Barbara of Austria, daughter of Ferdinand I, HRE: age 26 when she married Alfonso II d’Este in 1565 CE

Joanna of Austria, daughter of Ferdinand I, HRE: age 18 when she married Francesco I de’ Medici in 1565 CE

Anna of Austria, daughter of Maximilian II, HRE: age 21 when she married Philip II of Spain in 1570 CE

Elisabeth of Austria, daughter of Maximilian II, HRE: age 16 when she married Charles IX of France in 1570 CE

Anna of Tyrol, wife of Matthias, HRE: age 26 when she married Matthias in 1611 CE

Eleonora Gonzaga the Elder, wife of Ferdinand II, HRE: age 24 when she married Ferdinand in 1622 CE

Maria Anna of Austria, daughter of Ferdinand II, HRE: age 25 when she married Maximilian I, Elector of Bavaria in 1635 CE

Cecilia Renata of Austria, daughter of Ferdinand II, HRE: age 26 when she married Władysław IV of Poland in 1637 CE

Maria Anna of Spain, wife of Ferdinand III, HRE: age 25 when she married Ferdinand in 1631 CE

Maria Leopoldine of Austria, wife of Ferdinand III, HRE: age 16 when she married Ferdinand in 1648 CE

Eleonora Gonzaga the Younger, wife of Ferdinand III, HRE: age 21 when she married Ferdinand in 1651 CE

Mariana of Austria, daughter of Ferdinand III, HRE: age 15 when she married Philip IV of Spain in 1649 CE

Eleonore of Austria, daughter of Ferdinand III, HRE: age 17 when she married Michael I of Poland in 1670 CE

Maria Anna Josepha of Austria, daughter of Ferdinand III, HRE: age 24 when she married Johann Wilhelm II, Elector Palatine in 1678 CE

Margaret Theresa of Spain, wife of Leopold I, HRE: age 15 when she married Leopold in 1666 CE

Claudia Felicitas of Spain, wife of Leopold I, HRE: age 20 when she married Leopold in 1673 CE

Eleonore Magdalene of Neuberg, wife of Leopold I, HRE: age 21 when she married Leopold in 1676 CE

Maria Antonia of Austria, daughter of Leopold I, HRE: age 16 when she married Maximilian II Emanuel, Elector of Bavaria in 1685 CE

Maria Anna of Austria, daughter of Leopold I, HRE: age 25 when she married John V of Portugal in 1708 CE

Wilhelmine Amalie of Brunswick, wife of Joseph I, HRE: age 26 when she married Joseph in 1699 CE

Maria Josepha of Austria, daughter of Joseph I, HRE: age 20 when she married Augustus III of Poland in 1719 CE

Maria Amalia of Austria, daughter of Joseph I, HRE: age 21 when she married Charles VII, HRE in 1722 CE

Elisabeth Christine of Brunswick, wife of Charles VI, HRE: age 17 when she married Charles in 1708 CE

Maria Theresa of Austria, daughter of Charles VI, HRE: age 19 when she married Francis I, HRE in 1736 CE

Maria Anna of Austria, daughter of Charles VI, HRE: age 26 when she married Charles Alexander of Lorraine in 1744 CE

Maria Antonia of Bavaria, daughter of Charles VII, HRE: age 23 when she married Frederick Christian, Elector of Saxony in 1747 CE

Maria Anna Josepha of Bavaria, daughter of Charles VII, HRE: age 20 when she married Louis George of Baden-Baden in 1755 CE

Maria Josepha of Bavaria, daughter of Charles VII, HRE: age 26 when she married Joseph II, HRE in 1765 CE

Maria Christina, daughter of Francis I, HRE: age 24 when she married Albert Casimir, Duke of Teschen in 1766 CE

Maria Amalia, daughter of Francis I, HRE: age 23 when she married Ferdinand I, Duke of Parma in 1769 CE

Maria Carolina, daughter of Francis I, HRE: age 16 when she married Ferdinand IV & III of Sicily in 1768 CE

Maria Antonia, daughter of Francis I, HRE: age 14 when she married Louis XVI of France in 1770 CE

Maria Josepha of Bavaria, wife of Joseph II, HRE: age 26 when she married Joseph in 1765 CE

Maria Luisa of Spain, wife of Leopold II, HRE: age 19 when she married Leopold in 1764 CE

Maria Theresa of Austria, daughter of Leopold II, HRE: age 20 when she married Anthony of Saxony in 1787 CE

Maria Clementina of Austria, daughter of Leopold II, HRE: age 20 when she married Francis I of Sicily in 1797 CE

Maria Theresa of Naples, wife of Francis II, HRE: age 18 when she married Francis in 1790 CE

Marie Louise, daughter of Francis II, HRE: age 19 when she married Napoleon I of France in 1810 CE

Maria Leopoldina, daughter of Francis II, HRE: age 20 when she married Pedro I of Brazil and IV of Portugal in 1817 CE

Clementina, daughter of Francis II, HRE: age 18 when she married Leopold of Salerno in 1816 CE Marie Caroline, daughter of Francis II, HRE: age 18 when she married Frederick Augustus of Saxony in 1819 CE

[tiny-librarian]

Royal Birthdays for today, December 6th:

Ferdinand IV, King of Castile and Leon, 1285

Henry VI, King of England, 1421

Barbara Radziwiłł, Queen of Poland, 1520

Marie Adelaide of Savoy, Dauphine of France, 1685

William II, King of the Netherlands, 1792

Maria Josepha Amalia of Saxony, Queen of Spain, 1803

Sofia, Duchess of Varmland, 1984

Nikolaus Sebastian of Liechtenstein, Count of Rietberg, 2000

Don Pablo Urdangarín y de Borbón, Spanish Royal, 2000

[royal-confessions]

“c: I really wish there was more out there about Marie Adelaide of Savoy. I find her so fascinating- and there’s more than enough about Marie Antoinette” - Submitted by Anonymous

[shorthistory]

Marie-Adélaïde de Savoie, mother of Louis XV

Marie-Adélaïde, Princess of Savoy, Duchess of Burgundy and Dauphine of France who was the wife of the grandson of the Sun King, the mother of Louis XV and who lit up Versailles with his Youth and Grace.

She was born on December 6, 1685. She is the eldest daughter of Anne-Marie d'Orléans and Victor-Amédée II of Savoy.

Louis XIV reached an agreement with Savoy and asked for the princess's hand for his eldest grandson Louis Duke of Burgundy born in 1682. Thus, Marie-Adélaïde vicariously married the heir to the crown on September 15, 1696 and in person December 7, 1697 just after having crossed the legal age to marry (12 years). Very quickly, the little duchess of Burgundy becomes the coqueluge of Versailles which she animates because of the advanced age of Louis XIV. He adores his granddaughter who often jumps on his knees even when he works and does not hesitate to touch everything she finds. Marie-Adelaide calls Madame de Maintenon "my aunt" and allows herself a thousand familiarities with her father-in-law, the Grand Dauphin. Some say she is a spoiled child, others that she is the sunbeam of the king and Versailles.

Her husband, the Duke of Burgundy, will devote her a real passion of love while she takes lovers when the young Louis is at war and rarely responds to his letters. Marie-Adélaïde attracts the remonstrances of Mme de Maintenon but she complains that her husband is too serious and always begs. However, after the military humiliation of the Duke of Burgundy, his wife began to truly love him and to support him in public.

Marie-Adélaïde nevertheless leads an infernal lifestyle by going to bed sometimes at dawn for having spent the night having fun and illuminate Versailles.

Soon the duchess becomes mother. On June 25, 1704, at first, she gave to Louis XIV her first great-grandson, the Duke of Brittany. Although she is very young and entirely delegate her "duty" of mother to the nanny of the child, she shows a real sorrow when her son died of convulsions on April 13, 1705. On January 8, 1707, she puts in the world a second duke of Brittany then on February 15, 1710 the little duke of Anjou (future Louis XV). Marie-Adélaïde becomes Dauphine at the brutal death of the Grand Dauphin on April 14, 1711 and finds herself on the front of the stage with her husband who is already preparing to reign. Became the first lady of the kingdom, she is very jealous of the illegitimate girls of Louis XIV the Princess of Conti and the duchesses of Bourbon and Orleans. The Dauphine does not care, she keeps repeating "I would be theirs queen »

However, Marie-Adélaïde will never become queen of France. She died sudden on February 12, 1712 leaving an inconsolable husband who also victim of the disease is let die and follows in death on February 18. The duchess once asked her husband who he would marry if she died before him. The Duke of Burgundy would have responded to Marie-Adelaide that he would not remarry because he also died within eight days ... he kept his promise.

The death of the Dauphine was the greatest sorrow of Louis XIV. But the death that fell on his family was not over because on March 8 of the same year the Duke of Britain baptized Louis also succumbed.

All that was left of the young Dauphine was a frail 2-year-old, who was also sick and no one would ever bet he could be king one day. With the death of Marie-Adélaïde of Burgundy, Princess of Savoy, it is all the joy and the celebrations that left Versailles to return only under Louis XV.

[dolcesostenuto]

Marie-Adelaide de Savoie, (1685-1712) par Pierre Gobert

[drosera-nepenthes]

A Royal Recluse: Princess Clotilde

Just at the time when, in consequence of the weakness and folly of the republican government, certain French Monarchists are looking to Prince Victor Napoleon Bonaparte as the possible savior of their country, the Prince, whose marriage to Princess Clementina of Belgium recently brought him before the public, was watching by the deathbed of his mother, Princess Clotilde of Savoy, who breathed her last on June 25. The story of this royal lady is a pathetic one and, apart from the interest that is attached to her as the mother of the imperial candidate to the French throne, her personal character was one of rare beauty.

She was the daughter of Victor Emmanuel II, first King of Italy, and of Adelaide, Archduchess of Austria, and was born at Turin on March 2, 1843. Her mother died in 1855, leaving five young children, of whom Clotilde was the eldest, the others being Humbert, the future King of Italy ; Amadeo, Duke of Aosta ; Maria Pia, the queen dowager of Portugal, and a son who died in childhood. The Queen of Sardinia (Victor Emmanuel had not at that time laid violent hands on the independent states of Italy) was an exemplary wife and mother, and her orphan daughters were carefully educated by the attendants whom she had placed about them.

Never was a princess more ruthlessly sacrificed to political interests than the eldest princess of Savoy. When a mere child of sixteen, Clotilde was chosen to cement the alliance between France and Sardinia, and was promised in marriage to Prince Napoleon Jerome, nephew of Napoleon I and first cousin Napoleon III, the reigning sovereign. Princess Clotilde was connected with the Bourbons, her very name was French and was given to her in memory of the French Princess Marie Clotilde, sister of Louis XVI, who married a King of Sardinia ; but allied as she was by close ties of blood to the Bourbons, she had nothing in common with the Bonapartes who occupied their place, and a more ill-assorted couple never existed than the middle-aged, violent, cynical and free-thinking Prince Napoleon and the daughter of the most ancient royal house in Europe, who traditions and surroundings were strictly conservative and religious. Their marriage took place at Turin on January 30, 1859. The bride was sixteen and the bridegroom thirty-seven. He had a handsome presence and was intelligent and well informed and well informed, but neither his private life nor his freely expressed opinions on public matters made him estimable or lovable. His attitude with regard to his cousin, the Emperor, was one of constant opposition, and it was reported that his anti-religious views led him to take part in the banquets organized by a group of free thinkers on Good Friday. Under the Second Empire the French Government was officially Catholic, and Prince Napoleon's hostile and aggressive attitude was pronounced ill-bred, if not worse. Throughout France he was distinctly unpopular.

The young bride, married to this unsympathetic nephew of the great Napoleon, probably had few illusions as to the sum of happiness that awaited her in her new home. There are still some old men living who remember her when she took possession of the Palais Royal, Prince Napoleon's Paris house.: a slight, pale girl, with fluffy, fair hair and bright eyes, not pretty but singularly attractive. Her high breeding stood her in good stead in the somewhat parvenu atmosphere of the Court of the Tuileries, she had a royal dignity all her own, and her simplicity of heart was combined with much quiet firmness. From the first she ordered her life according to the principles in which she had been educated. An early riser, even at the Palais Royal, she gave much time to prayer and to works of mercy, but her piety, says M. Emile Ollivier, a former minister of Napoleon II, “never made her tiresome or intolerant. She believed that the most useful sermon was the practice of the virtues that are taught by faith.” Her husband, although so widely apart from her, acknowledged her goodness. “Clotilde is a saint,” he sometimes said ; “if there were many like her, I believe I myself should end by becoming devout.”

When the disastrous war of 1870 brought terror and shame upon France, the Princess was in Paris. During that fatal month of August every day came news of a fresh defeat, and the revolution that was to break out on the 4th of September was already distinctly perceptible; the infuriated and terrified people made the imperial government responsible for the reverses that so keenly wounded their patriotic pride.

Princess Clotilde was alone at the Palais Royal ; her husband was with the army, her three children she sent to Switzerland, where Prince Napoleon had an estate; but she steadily refused to leave Paris while the Empress Eugénie remained at the Tuileries. There was not much personal sympathy between the two; it was Princess Clotilde's feeling of loyalty that chained her to the post danger as long as there was a semblance of imperial government in Paris.

In vain her husband wrote imperious messages bidding her join her children at Prangins; in vain her father sent the Marquis Spinela to Paris to escort her ; the Princess so yielding in everyday life, was unbending in her decision to remain at the palace as long as the lonely woman at the Tuileries was the nominal ruler of France ; she had shared the splendors of the Empire, and it went against her noble spirit to desert the Empress.

The letter this young woman, a stranger in a strange land, wrote to her father on August 25, 1870, has been quoted by the French papers. It is a right royal letter worthy of the daughter of kings:

“I am a French woman,” she says. “I cannot desert my country. When I married although so young, I knew what I was doing and if I did it, it was because I wished to do so. The interest of my husband, of my children and of my country require that I should remain here. The honor of my name, your honor, my dear father, and that of my country also demand it. Nothing will make me fail in what I believe to be my duty to the end... You know that the house of Savoy and fear have never gone together, and you would not wish that they should meet in my person.”

At last, when the Empress was driven from her palace by the mob, the Princess considered that she was free to follow, but how different was the departure of the two women!

The brilliant and beautiful sovereign, closely disguised, was only able to leave Paris owing to the assistance of her American dentist, Dr. Evans; her young cousin made her exit as a princess. In an open carriage, accompanied by her lady in waiting, she drove to the railway station in broad daylight. The excited people, awed by her courage and dignity, saluted her as she passed out of their sight, a truly royal and saintly figure.

Princess Clotilde lived for some years at Prangins, near Geneva, where she devoted herself to the education of her three children; then, when her husband was allowed to return to France, the difficulties of her married life were such that by mutual consent she retired to the Castle of Moncalieri, near Turin, with her young daughter. Here, in the home of her childhood, she spent nearly forty years. They were years of peace, largely marked by sorrow. Four times only did she emerge from her retreat, once in January 1878, when she heard that her father lay dangerously ill in Rome. She had suffered cruelly from the spoliation of the Holy See by the house of Savoy, and the remembrance of her father's part in the matter prompted her to fly to his bedside. On the way she heard that he was dead, and she sadly returned to Moncalieri. In 1891, she again started for Rome, this time to visit her husband, who lay dying at the Hotel de Russie. Those who saw the Princess during those solemn days can never forget her sweetness, earnestness and gentle patience. What passed between her and Prince Napoleon none can tell, but Cardinal Mermillod a frequent visitor to the sick room, professed himself satisfied, after two private interviews, that the dying man was fully conscious. The Princess, whose married life, it is well known, had been a via crucis, remained near him to the end, praying incessantly for the soul that probably owes its salvation to her intercession. Again in 1903 and in 1904, she left Moncalieri to visit her sister-in-law, Princess Mathilde Bonaparte, whose deathbed she attended.

Her life, as it neared the end became more and more that of a recluse. Her sons lived their own lives in Brussels and in Russia; her daughter, having married a Prince of Savoy, was near to her, and their visits, occasionally brought an element of joy into the silent castle. Last autumn, Prince Victor Napoleon's marriage to the Princess Clémentine of Belgium gladdened his mother's heart. It was celebrated at Moncalieri, and to those who attended the ceremony the most striking figure present was the slight, gray-haired lady, plainly dressed in black, whose eyes had the far-away look of those who are nearing the eternal shore. Even in the days of her youth Princess Clotilde's spirituality struck M. Emile Ollivier. It gave her, he says a singular insight into all questions that touch on right and wrong; she possessed the gifts of the true mystics, “who judge human affairs with a clearness and rectitude born of detachment.” Her chief link with the outer world during the long, silent years of old age was her love for the poor, to whom she gave royally, with a loving kindness that made her gifts more precious. Their grief was great when they heard of her death, and their prayers will follow her remains to the royal mausoleum of La Superga, near Turin, where the daughter of the Sardinian Kings sleeps with her ancestors.

America. United States, America Press, 1911.

[shewhoworshipscarlin]

Marie Adelaide de Savoie, 1704.

[mary-tudor]

“Elisabeth-Charlotte, who married in 1671 Monsieur, brother of Louis XIV, was born at Heidelberg in 1652. Her father, Charles-Louis, was that Elector of the Palatinate who was restored to his States by the Peace of Westphalia. From childhood Elisabeth-Charlotte was noted for her lively mind, and her frank, open, vigorous nature. Domestic peace had never reigned about the hearth of the Elector-Palatine; he had a mistress, whom he married by the left hand, and the mother of Ehsabeth-Charlotte is accused of having caused the separation by her crabbed temper. 

The young girl was confided to the care of her aunt Sophia, Electress of Hanover, a person of merit, for whom she always retained the feelings and gratitude of a loving daughter. To her she addressed her longest and most confidential letters, which would certainly surpass in interest those that are published, but M.Menzel states that it is not known what became of them. 

All that part of the life and youth of Madame would be curious and very useful to recover. "I was too old," she says, "when I came to France to change my character; the foundations were laid." While subjecting herself with courage and resolution to the duties of her new position she kept her German tastes; she confesses them and proclaims them before all Versailles and all Marly; and the Court, then the arbiter of Europe, to which it set the tone, would certainly have been shocked if it had not preferred to smile. 

From Marly after forty-three years' residence in France, Madame writes (November 22, 1714): "I cannot endure coffee, chocolate, or tea, and I do not understand how anyone can like tliem ; a good dish of sauerkraut and smoked sausages is, to my mind, a feast for a king, to which nothing is preferable; cabbage soup with lard suits me much better than all the delicacies they dote on here." In the commonest and most every-day things she finds another and a poorer taste than in Germany.

She loved nature, the country, a free life, even a wild one; the impressions of her childhood returned to her in whiffs of freshness. Apropos of Heidelberg, rebuilt after the disasters, and of a convent of Jesuits, or Franciscans, established on the heights.

"Mon Dieu! " she cries, "how many times I have eaten cherries on that mountain, with a good bit of bread, at five in the morning! I was gayer then than I am to-day." 

The brisk air of Heidelberg is with her after fifty years' absence; and she speaks of it a few months before her death to the half-sister Louise, to whom she writes: "There is not in all the world a better air than that of Heidelberg; above all, about the chateau where my apartment is; nothing better can be found."

In Germany, on the banks of the IsTeckar and the Rhine, Elisabeth-Charlotte enjoyed the picturesque sites, her rambles through the forests, Nature left to herself, and also the spots of bourgeois plenty amid the wilder environment. 

"I love trees and fields more than the finest palaces, in a word, all that is natural is infinitely more to my taste than works of art or magnificence; the latter only please at first sight; as soon as one is accustomed to them they fatigue, and we care no more about them." 

In France she was particularly fond of residing at Saint-Cloud, where she enjoyed Nature with greater liberty. At Fontainebleau she often walked out on foot and went a league through the forest. On her arrival in France and first appearance at Court, she told her physician when presented to her that "she did not need him; she had never been bled or purged, and when she did not feel well she always walked six miles on foot, which cured her." Mme.de Sévigné, who relates this, seems to conclude, with the majority of the Court, that the new Madame was overcome with her grandeur and spoke like a person who is not accustomed to such surroundings. Mme.de Sévigné is mistaken; Madame was in no degree overcome by her greatness. She felt herself born for the high rank of Monsieur's wife, and would have felt in her right place if higher still.

The role that Madame conceived for herself in France was that of preserving her native country from the horrors of war, and of being useful to it in the different schemes which agitated the Court of France and might in the end overthrow it.  In this she failed; and the failure was to her a poignant grief. She was even made the innocent cause of fresh disasters to the land she loved when, on the death of her father and her brother (who left no children), Louis XIV. set up a claim to the Palatinate on her account.

Instead of bringing pledges and guarantees of peace, she found herself a pretext and a means for war. The devastation and the too famous incendiarism of the Palatinate which the struggles of ambition brought about caused her inexpressible grief. 

"When I think of those flames, shudders run over me. Every time I try to go to sleep I see Heidelberg on fire, and I start up in bed, so that I am almost ill in consequence." She speaks of this incessantly, and bleeds and weeps for it after many years.”

[...] When she arrived in France at the age of nineteen no one expected all this. The Court was filled with memories and regrets for the late Madame, the amiable Henrietta, snatched away in the bloom of her charm and grace.

"Alas!" cries Mme. de Sévigné, speaking of the new-comer, "alas ! if this Madame could only represent to us her whom we have lost!"

In place of a blithesome fairy and a being of enchantment, what was it that suddenly appeared before them?

"Madame," says Saint-Simon, "was a princess of the olden time; attached to honour, virtue, rank, grandeur, and inexorable as to their observances. She was not without intellect; and what she saw she saw very well. A good and faithful friend, trusty, true, and upright ; easy to prejudice and shock; very difficult to bring back from prejudice; coarse, and dangerous in her public outbursts; very German in her habits; frank, indifferent to all propriety and all delicacy for herself and for others; sober, solitary, and full of notions. She loved dogs and horses, hunting and theatres passionately, and was never seen except in full dress or in a man's wig and riding-habit." 

He concludes his portrait admirably in these words: "The figure and rusticity of a Swiss, but capable with all of a tender and inviolable friendship."

Introduced at Court by her aunt, the illustrious Princess Palatine, Anne of Gonzaga, in nothing was she in keeping with it,— neither in spirit, nor in the gifts of insinuation and conciliatory conduct, nor in caution. Succeeding the first Madame, she seemed even farther aloof from it, more completely a contrast in manners, in the quality and turn of her thoughts, in delicacy, in short, in everything.

Madame, throughout her life, was, and must necessarily have been, the contrary of many things and many persons about her; she was original, at any rate, and in all ways herself.”

Introduction.  “The correspondence of Madame, Princess Palatine, mother of the regent; Marie-Adelaide de Savoie, duchesse de Bourgogne and of Madame de Maintenon, in relation to saint-eve.”  Contains introductions made by C.-A Sainte-Beuve. Selected and translated by Katherine Prescott Wormeley. 1899.

[palecleverdoll]

Ages of French Queens at First Marriage

I have only included women whose birth dates and dates of marriage are known within at least 1-2 years, therefore, this is not a comprehensive list.

This list is composed of Queens of France until the end of the House of Bourbon; it does not include Bourbon claimants or descendants after 1792.

The average age at first marriage among these women was 20.

Ermentrude of Orléans, first wife of Charles the Bald: age 19 when she married Charles in 842 CE

Richilde of Provence, second wife of Charles the Bald: age 25 when she married Charles in 870 CE

Richardis of Swabia, wife of Charles the Fat: age 22 when she married Charles in 862 CE

Théodrate of Troyes, wife of Odo: age 14 or 15 when she married Odo in 882 or 883 CE

Frederuna, wife of Charles III: age 20 when she married Charles in 907 CE

Beatrice of Vermandois, second wife of Robert I: age 10 when she married Robert in 990 CE

Emma of France, wife of Rudolph: age 27 when she married Rudolph in 921 CE

Gerberga of Saxony, wife of Gilbert, Duke of Lorraine, and later of Louis IV: age 16 when she married Gilbert in 929 CE

Emma of Italy, wife of Lothair: age 17 when she married Lothair in 965 CE

Adelaide-Blanche of Anjou, wife of Stephen, Viscount of Gévaudan, Raymond III, Count of Toulouse, and later Louis V: age 15 when she married Stephen in 955 CE

Bertha of Burgundy, wife of Odo I, Count of Blois, and later Robert II: age 19 when she married Odo in 984 CE

Constance of Arles, third wife of Robert II: age 17 when she married Robert in 1003 CE

Anne of Kiev, wife of Henry I: age 21 when she married Henry in 1051 CE

Bertha of Holland, first wife of Philip I: age 17 when she married Philip in 1072 CE

Bertrade of Montfort, wife of Fulk IV, Count of Anjou, and second wife of Philip I: age 19 when she married Fulk in 1089 CE

Adelaide of Maurienne, second wife of Louis VI: age 23 when she married Louis in 1115 CE

Eleanor of Aquitaine, first wife of Louis VII and later Henry II of England: age 15 when she married Louis in 1137 CE

Adela of Champagne, third wife of Louis VII: age 20 when she married Louis in `1160 CE

Isabella of Hainault, first wife of Philip II: age 10 when she married Philip in 1180 CE

Ingeborg of Denmark, second wife of Philip II: age 19 when she married Philip in 1193 CE

Agnes of Merania, third wife of Philip II: age 21 when she married Philip in 1195 CE

Blanche of Castile, wife of Louis VIII: age 12 when she married Louis in 1200 CE

Margaret of Provence, wife of Louis IX: age 13 when she married Louis in 1234 CE

Isabella of Aragon, first wife of Philip III: age 14 when she married Philip in 1262 CE

Marie of Brabant, second wife of Philip III: age 20 when she married Philip in 1274 CE

Joan I of Navarre, wife of Philip IV: age 11 when she married Philip in 1284 CE

Margaret of Burgundy, wife of Louis X; age 15 when she married Louis in 1305 CE

Clementia of Hungary, second wife of Louis X: age 22 when she married Louis in 1315 CE

Joan II, Countess of Burgundy, wife of Philip V: age 15 when she married Philip in 1307 CE

Blanche of Burgundy, first wife of Charles IV: age 12 when she married Charles in 1308 CE

Marie of Luxembourg, second wife of Charles IV: age 18 when she married Charles in 1322 CE

Joan of Évreux, third wife of Charles IV: age 14 when she married Charles in 1324 CE

Bonne of Luxembourg, first wife of John II: age 17 when she married John in 1332 CE

Joan I, Countess of Auvergne, wife of Philip of Burgundy, and later John II: age 12 when she married Philip in 1338 CE

Joanna of Bourbon, wife of Charles V: age 12 when she married Charles in 1350 CE

Isabeau of Bavaria, wife of Charles VI: age 15 when she married Charles in 1385 CE

Marie of Anjou, wife of Charles VII: age 18 when she married Charles in 1422 CE

Charlotte of Savoy, second wife of Louis XI: age 9 when she married Louis in 1451 CE

Anne of Brittany, wife of Maximilian I, HRE, Charles VIII and later Louis XII: age 13 when she married Maximilian in 1490 CE

Joan of France, first wife of Louis XII: age 12 when she married Louis in 1476 CE

Mary Tudor, third wife of Louis XII: age 18 when she married Louis in 1514 CE

Claude of France, first wife of Francis I: age 15 when she married Francis in 1514 CE

Eleanor of Austria, wife of Manuel I of Portugal and later second wife of Francis I: age 20 when she married Manuel in 1518 CE

Catherine de' Medici, wife of Henry II: age 14 when she married Henry in 1533 CE

Mary, Queen of Scots, wife of Francis II: age 16 when she married Francis in 1558 CE

Elisabeth of Austria, wife of Charles IX: age 16 when she married Charles in 1570 CE

Louise of Lorraine, wife of Henry III: age 22 when she married Henry in 1575 CE

Margaret of Valois, first wife of Henry IV: age 19 when she married Henry in 1572 CE

Marie de' Medici, second wife of Henry IV: age 25 when she married Henry in 1600 CE

Anne of Austria, wife of Louis XIII: age 14 when she married Louis in 1615 CE

Maria Theresa of Spain, wife of Louis XIV: age 22 when she married Louis in 1660 CE

Marie Leszczyńska, wife of Louis XV: age 22 when she married Louis in 1725 CE

Marie Antoinette, wife of Louis XVI: age 15 when she married Louis in 1770 CE

[apho-sappho]

1. favourite colour: PINK

2. currently reading: Sifting through a lot of books rn but I'm trying to pay attention to reading The Lady In The Tower by Alison Weir

3. last song: Pray For Me from Queens: A New Musical

4. last series: The Tudors

5. last movie: The Other Boleyn Girl

6. sweet, spicy, savoury: sweet

7. craving: More information about Adelaide of France, Marie Lesczyznska, Josephine of Savoy and Marie Therese of Savoy. And also death to Louis XV and Cardinal Fleury

8. currently working on: A drawing of Marie Antoinette of Austria, Marie Josephine of Savoy, and Marie Therese of Savoy

@the-month-of-may @weirdbutdecentart @thespianlesbian100 @super-nova5045

the post was getting a bit long but thank you for tagging me @therichardcameron <33 here’s my 8 for 8 :)

1. favourite colour: yellow

2. currently reading: for uni: roxanne by daniel defoe, frankenstein by mary shelley and mrs dalloway by virginia woolf; for pleasure: first term at malory towers by enid blyton and war and peace by leo tolstoy

3. last song: please leave a light on when you go - brittain ashford and dave malloy

4. last series: cw the new season of big mouth and s2 of new girl

5. last movie: possession (for english class)

6. sweet, spicy, savoury: savoury

7. craving: a fucking break

8. currently working on: staying on top of uni work, getting my adult shit together, recording for @laftheclown and @atarev ‘s hadestown fan album, not losing my last remaining marble

no pressure tags: @theprayersthataremadeoutofgrass @irreplaceable-ecstasyy @melnonny @thelei-kanenas-pasteli @thepeggyofthegroup123 @peaked-in-third-grade @notahero-notamoviestar @romanticprometheus

[isadomna]

María Luisa Gabriella of Savoy (1688 - 1714)

She was daughter of Victor Amadeus II, Duke of Savoy, and his wife Anne Marie d’Orléans, the youngest daughter of Philippe of France and Henrietta of England. Throughout her life, Maria Luisa remained close to her older sister Maria Adelaide who later married Louis, Duke of Burgundy, the eldest grandson of Louis XIV. In her youth, Maria Luisa was described as playful and fun loving and had received a good education. At the age of just thirteen, Maria Luisa married Philip V of Spain, to whom she was deeply devoted and who passionately loved her.The princesse des Ursins was a member of the household of the Queen. She would maintain great influence over Maria Luisa as her Camarera mayor de Palacio, chief of the household to the young queen, who was still a child.  

A weak and ineffectual King, Maria Luisa held great influence over her husband. She is described as remarkably mature for her age, politically savvy, articulate and hardworking, and she has been credited with giving the normally passive Philip V the energy he needed to participate in warfare. In 1702, Philip V was obliged to leave Spain to fight in Naples as part of the ongoing War of Spanish Succession. During her husband’s absence, Maria Luisa acted as Regent from Madrid. 

She was praised as an effective ruler, having successfully implemented various changes in government and insisted upon all complaints being investigated and reports made direct to her. Her leadership encouraged the reorganization in the junta and, in doing this, inspiring people and their cities to make donations towards the war effort. During her tenure as regent, she presided daily at the committee of government, gave audiences to ambassadors, worked for hours with ministers, corresponded with Philip, read war dispatches to her people from a balcony, and worked with preventing Savoy from joining the enemy. She offered her jewels for the defense of the Andalusian coast.The patriotism she displayed and the care she showed toward the people made her popularity soar and the population adored her.

After her husband's return, Maria Luisa resumed her role as queen consort. In 1704, the Princesse des Ursins was exiled at the order of Louis XIV, devastating Maria Luisa. However, in 1705, the Princesse returned to Madrid, much to the joy of the young queen. During the peace negotiations in 1711 and 1712, Maria Luisa stubbornly resisted any dismemberment of the Spanish Empire. The Queen gave birth to four sons, two of whom would survive infancy. Maria Luisa was mother of two Kings of Spain, Louis I and Ferdinand VI. 

Weakened by childbirth, war, and tuberculosis, Maria Luisa failed despite the care of the best physician sent by Louis XIV from Paris. With a pious composure, she died on 14 February 1714 at the Royal Alcázar in Madrid, in her 25th year. Her husband, who had to be restrained from intercourse with her the day before she died, grieved deeply for her, but went hunting the day of her funeral. She was buried at San Lorenzo de El Escorial. In December, just months after Queen Maria Luisa’s death, her widower Philip V remarried, to Elisabeth Farnese, the only child and heiress of the Duke of Parma.

(x)(x)

[tiny-librarian]

With the demise of the Sun King’s son, the title of dauphin passed to the grandson of a reigning French monarch for the first time. Some time earlier, Louis XIV had looked at his son (the grand dauphin), grandson (the duc de Bourgogne), and great-grandson (the duc de Bretagne) and remarked that never before had the French succession been so secure. The seventy-three-year-old king soon buried all three, each dauphins of France in turn, within eleven months of each other, as they and Marie Adelaide, wife of the popular duc de Bourgogne, succumbed to smallpox (Louis) or measles (the others). Louis was succeeded by his sole surviving great-grandson, the duc d’Anjou, who became Louis XV. The future king’s life may have been saved by his governess, who removed him from the contaminated palace. 

The Greatest Killer: Smallpox in History - Donald R Hopkins

[blackkudos]

Charlie Parker

Charles "Charlie" Parker, Jr. (August 29, 1920 – March 12, 1955), also known as Yardbird and Bird, was an American jazz saxophonist and composer.

Parker was a highly influential jazz soloist and a leading figure in the development of bebop, a form of jazz characterized by fast tempos, virtuosic technique and advanced harmonies. Parker was a blazingly fast virtuoso, and he introduced revolutionary harmonic ideas including rapid passing chords, new variants of altered chords, and chord substitutions. His tone ranged from clean and penetrating to sweet and somber. Parker acquired the nickname "Yardbird" early in his career. This, and the shortened form "Bird", continued to be used for the rest of his life, inspiring the titles of a number of Parker compositions, such as "Yardbird Suite", "Ornithology", "Bird Gets the Worm", and "Bird of Paradise". Parker was an icon for the hipster subculture and later the Beat Generation, personifying the jazz musician as an uncompromising artist and intellectual rather than just an entertainer.

Childhood

Charles Parker, Jr. was born in Kansas City, Kansas, and raised in Kansas City, Missouri, the only child of Adelaide "Addie" (Bailey) and Charles Parker. He attended Lincoln High School in September 1934, but withdrew in December 1935, just before joining the local musicians' union.

Parker began playing the saxophone at age 11, and at age 14 he joined his school's band using a rented school instrument. His father, Charles, was often absent but provided some musical influence; he was a pianist, dancer and singer on the T.O.B.A. circuit. He later became a Pullman waiter or chef on the railways. Parker's mother Addie worked nights at the local Western Union office. His biggest influence at that time was a young trombone player who taught him the basics of improvisation.

Career

Early career

In the late 1930s Parker began to practice diligently. During this period he mastered improvisation and developed some of the ideas that led to bebop. In an interview with Paul Desmond, he said that he spent three to four years practicing up to 15 hours a day.

Bands led by Count Basie and Bennie Moten certainly influenced Parker. He played with local bands in jazz clubs around Kansas City, Missouri, where he perfected his technique, with the assistance of Buster Smith, whose dynamic transitions to double and triple time influenced Parker's developing style.

In 1937, Parker played at a jam session at the Reno Club in Kansas City. His attempt to improvise failed when he lost track of the chord changes. This prompted Jo Jones, the drummer for Count Basie's Orchestra, to contemptuously throw a cymbal at his feet as a signal to leave the stage. However, rather than discouraging Parker, the incident caused him to vow to practice harder, and turned out to be a seminal moment in the young musician's career when he returned as a new man a year later.

In 1938 Parker joined pianist Jay McShann's territory band. The band toured nightclubs and other venues of the southwest, as well as Chicago and New York City. Parker made his professional recording debut with McShann's band.

As a teenager, Parker developed a morphine addiction while hospitalized after an automobile accident, and subsequently became addicted to heroin. He continued using heroin throughout his life, and it ultimately contributed to his death.

New York City

In 1939 Parker moved to New York City, to pursue a career in music. He held several other jobs as well. He worked for nine dollars a week as a dishwasher at Jimmie's Chicken Shack, where pianist Art Tatum performed.

In 1942 Parker left McShann's band and played for one year with Earl Hines, whose band included Dizzy Gillespie, who later played with Parker as a duo. This period is virtually undocumented, due to the strike of 1942–1943 by the American Federation of Musicians, during which time few professional recordings were made. Parker joined a group of young musicians, and played in after-hours clubs in Harlem, such as [[Clark Monroe's Uptown House. These young iconoclasts included Gillespie, pianist Thelonious Monk, guitarist Charlie Christian, and drummer Kenny Clarke. The beboppers' attitude was summed up in a famous quotation attributed to Monk by Mary Lou Williams: "We wanted a music that they couldn't play" – "they" referring to white bandleaders who had usurped and profited from swing music. The group played in venues on 52nd Street, including Three Deuces and the Onyx. While in New York City, Parker studied with his music teacher, Maury Deutsch.

Bebop

According to an interview Parker gave in the 1950s, one night in 1939 he was playing "Cherokee" in a jam session with guitarist William "Biddy" Fleet when he hit upon a method for developing his solos that enabled one of his main musical innovations. He realized that the 12 semitones of the chromatic scale can lead melodically to any key, breaking some of the confines of simpler jazz soloing.

Early in its development, this new type of jazz was rejected by many of the established, traditional jazz musicians who disdained their younger counterparts. The beboppers responded by calling these traditionalists "moldy figs". However, some musicians, such as Coleman Hawkins and Tatum, were more positive about its development, and participated in jam sessions and recording dates in the new approach with its adherents.

Because of the two-year Musicians' Union ban of all commercial recordings from 1942 to 1944, much of bebop's early development was not captured for posterity. As a result, it gained limited radio exposure. Bebop musicians had a difficult time gaining widespread recognition. It was not until 1945, when the recording ban was lifted, that Parker's collaborations with Dizzy Gillespie, Max Roach, Bud Powell and others had a substantial effect on the jazz world. (One of their first small-group performances together was rediscovered and issued in 2005: a concert in New York's Town Hall on June 22, 1945.) Bebop soon gained wider appeal among musicians and fans alike.

On November 26, 1945, Parker led a record date for the Savoy label, marketed as the "greatest Jazz session ever." Recording as Charlie Parker's Reboppers, Parker enlisted such sidemen as Gillespie and Miles Davis on trumpet, Curly Russell on bass and Roach on drums. The tracks recorded during this session include "Ko-Ko", "Billie's Bounce" and "Now's the Time".

Shortly afterward, the Parker/Gillespie band traveled to an unsuccessful engagement at Billy Berg's club in Los Angeles. Most of the group returned to New York, but Parker remained in California, cashing in his return ticket to buy heroin. He experienced great hardship in California, eventually being committed to Camarillo State Mental Hospital for a six-month period.

Charlie Parker with Strings

A longstanding desire of Parker's was to perform with a string section. He was a keen student of classical music, and contemporaries reported he was most interested in the music and formal innovations of Igor Stravinsky and longed to engage in a project akin to what later became known as Third Stream, a new kind of music, incorporating both jazz and classical elements as opposed to merely incorporating a string section into performance of jazz standards. On November 30, 1949, Norman Granz arranged for Parker to record an album of ballads with a mixed group of jazz and chamber orchestra musicians. Six master takes from this session comprised the album Charlie Parker with Strings: "Just Friends", "Everything Happens to Me", "April in Paris", "Summertime", "I Didn't Know What Time It Was", and "If I Should Lose You".

Jazz at Massey Hall

In 1953, Parker performed at Massey Hall in Toronto, Canada, joined by Gillespie, Mingus, Powell and Roach. Unfortunately, the concert happened at the same time as a televised heavyweight boxing match between Rocky Marciano and Jersey Joe Walcott, so the musical event was poorly attended. Mingus recorded the concert, resulting in the album Jazz at Massey Hall. At this concert, Parker played a plastic Grafton saxophone. At this point in his career he was experimenting with new sounds and materials. Parker himself explained the purpose of the plastic saxophone in a May 9, 1953 broadcast from Birdland and did so again in a subsequent May 1953 broadcast. Parker is known to have played several saxophones, including the Conn 6M, the Martin Handicraft and Selmer Model 22. He is also known to have performed with a King "Super 20" saxophone. Parker's King Super 20 saxophone was made specially for him in 1947.

Personal life

Addiction

Parker's addiction to heroin caused him to miss performances and be considered unemployable. He frequently resorted to busking, receiving loans from fellow musicians and admirers, and pawning his saxophones for drug money. Heroin use was rampant in the jazz scene, and users could acquire it with little difficulty.

Although he produced many brilliant recordings during this period, Parker's behavior became increasingly erratic. Heroin was difficult to obtain once he moved to California, where the drug was less abundant, so he used alcohol as a substitute. A recording for the Dial label from July 29, 1946, provides evidence of his condition. Before this session, Parker drank a quart of whiskey. According to the liner notes of Charlie Parker on Dial Volume 1, Parker missed most of the first two bars of his first chorus on the track, "Max Making Wax". When he finally did come in, he swayed wildly and once spun all the way around, away from his microphone. On the next tune, "Lover Man", producer Ross Russell physically supported Parker. On "Bebop" (the final track Parker recorded that evening) he begins a solo with a solid first eight bars; on his second eight bars, however, he begins to struggle, and a desperate Howard McGhee, the trumpeter on this session, shouts, "Blow!" at him. Charles Mingus considered this version of "Lover Man" to be among Parker's greatest recordings, despite its flaws. Nevertheless, Parker hated the recording and never forgave Ross Russell for releasing it. He re-recorded the tune in 1951 for Verve.

When Parker received his discharge from the hospital, he was clean and healthy. Before leaving California, he recorded "Relaxin' at Camarillo" in reference to his hospital stay. He returned to New York, resumed his addiction to heroin and recorded dozens of sides for the Savoy and Dial labels, which remain some of the high points of his recorded output. Many of these were with his so-called "classic quintet" including Davis and Roach.

Death

Parker died on March 12, 1955, in the suite of his friend and patroness Baroness Pannonica de Koenigswarter at the Stanhope Hotel in New York City, while watching The Dorsey Brothers' Stage Show on television. The official causes of death were lobar pneumonia and a bleeding ulcer, but Parker also had an advanced case of cirrhosis and had suffered a heart attack. The coroner who performed his autopsy mistakenly estimated Parker's 34-year-old body to be between 50 and 60 years of age.

Since 1950, Parker had been living with Chan Berg, the mother of his son Baird (who lived until 2014) and his daughter Pree (who died as an infant of cystic fibrosis). He considered Chan his wife although he never married her, nor did he divorce his previous wife, Doris, whom he had married in 1948. His marital status complicated the settling of Parker's estate and would ultimately serve to frustrate his wish to be quietly interred in New York City.

Dizzy Gillespie paid for the funeral arrangements and organized a lying-in-state, a Harlem procession officiated by Congressman and Reverend Adam Clayton Powell, Jr., as well as a memorial concert. Parker's body was flown back to Missouri, in accordance with his mother's wishes. Parker's widow criticized the dead man's family for giving him a Christian funeral even though they knew he was a confirmed atheist. Parker was buried at Lincoln Cemetery in Missouri, in a hamlet known as Blue Summit, located close to I-435 and East Truman Road.

Parker's estate is managed by CMG Worldwide.

Music

Parker's style of composition involved interpolation of original melodies over existing jazz forms and standards, a practice known as contrafact and still common in jazz today. Examples include "Ornithology" (which borrows the chord progression of jazz standard "How High the Moon" and is said to be co-written with trumpet player Little Benny Harris), and "Moose The Mooche" (one of many Parker compositions based on the chord progression of "I Got Rhythm"). The practice was not uncommon prior to bebop, but it became a signature of the movement as artists began to move away from arranging popular standards and toward composing their own material.

While tunes such as "Now's The Time", "Billie's Bounce", "Au Privave", "Barbados", "Relaxin' at Camarillo", "Bloomdido", and "Cool Blues" were based on conventional 12-bar blues changes, Parker also created a unique version of the 12-bar blues for tunes such as "Blues for Alice", "Laird Baird", and "Si Si." These unique chords are known popularly as "Bird Changes". Like his solos, some of his compositions are characterized by long, complex melodic lines and a minimum of repetition although he did employ the use of repetition in some tunes, most notably "Now's The Time".

Parker contributed greatly to the modern jazz solo, one in which triplets and pick-up notes were used in unorthodox ways to lead into chord tones, affording the soloist with more freedom to use passing tones, which soloists previously avoided. Parker was admired for his unique style of phrasing and innovative use of rhythm. Via his recordings and the popularity of the posthumously published Charlie Parker Omnibook, Parker's identifiable style dominated jazz for many years to come.

Other well-known Parker compositions include "Ah-Leu-Cha", "Anthropology", co-written with Gillespie, "Confirmation", "Constellation", "Donna Lee", "Moose the Mooche", "Scrapple from the Apple" and "Yardbird Suite", the vocal version of which is called "What Price Love", with lyrics by Parker. .

Miles Davis once said, "You can tell the history of jazz in four words: Louis Armstrong. Charlie Parker."

Discography

Awards and recognitions

Grammy Award

Grammy Hall of Fame

Recordings of Charlie Parker were inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least twenty-five years old, and that have "qualitative or historical significance."

Inductions

Government honors

In 1995, the U.S. Postal Service issued a 32-cent commemorative postage stamp in Parker's honor.

In 2002, the Library of Congress honored his recording "Ko-Ko" (1945) by adding it to the National Recording Registry.

Musical tributes

Jack Kerouac's spoken poem "Charlie Parker" to backing piano by Steve Allen on Poetry for the Beat Generation (1959)

Lennie Tristano's overdubbed solo piano piece "Requiem" was recorded in tribute to Parker shortly after his death.

Street musician Moondog wrote his famous "Bird's Lament" in his memory; published on the 1969 album Moondog.

Since 1972, the Californian ensemble Supersax harmonized many of Parker's improvisations for a five-piece saxophone section.

In 1973, guitarist Joe Pass released his album I Remember Charlie Parker in Parker's honor.

Weather Report's jazz fusion track and highly acclaimed big band standard "Birdland", from the Heavy Weather album (1977), was a dedication by bandleader Joe Zawinul to both Charlie Parker and the New York 52nd Street club itself.

The biographical song "Parker's Band" was recorded by Steely Dan on its 1974 album Pretzel Logic.

The avant-garde trombonist George Lewis recorded Homage to Charles Parker (1979).

The opera Charlie Parker's Yardbird by Daniel Schnyder, libretto by Bridgette A. Wimberly, was premiered by Opera Philadelphia on June 5, 2015, with Lawrence Brownlee in the title role.

Charlie Parker Residence

From 1950 to 1954, Parker and his common-law wife, Chan Berg, lived in the ground floor of the townhouse at 151 Avenue B, across from Tompkins Square Park in Manhattan's East Village. The Gothic Revival building, which was built about 1849, was added to the National Register of Historic Places in 1994, and was designated a New York City landmark in 1999. Avenue B between East 7th and East 10th Streets was given the honorary designation Charlie Parker Place in 1992.

Other tributes

The 1957 story "Sonny's Blues" by James Baldwin features a jazz/blues playing virtuoso who names Bird as the "greatest" jazz musician, whose style he hopes to emulate.

In 1949, the New York night club Birdland was named in his honor. Three years later, George Shearing wrote "Lullaby of Birdland", named for both Parker and the nightclub.

A memorial to Parker was dedicated in 1999 in Kansas City at 17th Terrace and The Paseo, near the American Jazz Museum located at 18th and Vine, featuring a 10-foot (3 m) tall bronze head sculpted by Robert Graham.

The Charlie Parker Jazz Festival is a free two-day music festival that takes place every summer on the last weekend of August in Manhattan, New York City, at Marcus Garvey Park in Harlem and Tompkins Square Park in the Lower East Side, sponsored by the non-profit organization City Parks Foundation. The festival marked its 17th anniversary in 2009.

The Annual Charlie Parker Celebration is an annual festival held in Kansas City, Kansas since 2014. It is held for 10 days and celebrates all aspects of Parker, from live jazz music and bootcamps, to tours of his haunts in the city, to exhibits at the American Jazz Museum.

In one of his most famous short story collections, Las armas secretas (The Secret Weapons), Julio Cortázar dedicated "El perseguidor" ("The Pursuer") to the memory of Charlie Parker. This piece examines the last days of Johnny, a drug-addict saxophonist, through the eyes of Bruno, his biographer. Some qualify this story as one of Cortázar's masterpieces in the genre.

A biographical film called Bird, starring Forest Whitaker as Parker and directed by Clint Eastwood, was released in 1988.

In 1984, legendary modern dance choreographer Alvin Ailey created the piece For Bird – With Love in honor of Parker. The piece chronicles his life, from his early career to his failing health.

In 2005, the Selmer Paris saxophone manufacturer commissioned a special "Tribute to Bird" alto saxophone, commemorating the 50th anniversary of the death of Charlie Parker (1955–2005).

Parker's performances of "I Remember You" and "Parker's Mood" (recorded for the Savoy label in 1948, with the Charlie Parker All Stars, comprising Parker on alto sax, Miles Davis on trumpet, John Lewis on piano, Curley Russell on bass, and Max Roach on drums) were selected by Harold Bloom for inclusion on his shortlist of the "twentieth-century American Sublime", the greatest works of American art produced in the 20th century. A vocalese version of "Parker's Mood" was a popular success for King Pleasure.

Jean-Michel Basquiat created many pieces to honour Charlie Parker, including Charles the First, CPRKR, Bird on Money, and Discography I.

Charlie Watts, drummer for the Rolling Stones, wrote a children's book entitled Ode to a High Flying Bird as a tribute to Parker. Watts has cited Parker as a major influence in his life as a youth learning to play jazz.

The 2014 film Whiplash repeatedly makes reference to the 1937 incident at the Reno Cafe, changing the aim point of the cymbals to his head and pointing to it as proof that true genius is not born but made by relentless practice and pitiless peers.

Jazz historian Phil Schaap hosts Bird Flight, a radio show on WKCR New York that is dedicated solely to Parker's music.

Wikipedia

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