As I recall my mom was a tailor her mythology transport was an old sewing machine it has been blacken and she had been there for hours like her ritualistic theme of inner force to ride the machine:
"White Sewing Machine". The hard working brilliant machine attribute specifies the White sewing machine ending destination of home made tailor era.
François Clouet, he son of Jean Clouet, he was known also under his father’s byname, Janet, a circumstance that created a persistent confusion between the works of these two painters. François worked with Jean possibly as early as 1536 and replaced him in 1540 as official painter to Francis I. He continued in this office, serving under Henry II, Francis II, and Charles IX.
Untitled Document
of the Polish-Lithuanian Commonwealth.
Role of the religious factions[edit]Traditional histories have tended to focus more on the roles of the political notables whose machinations began the massacre than the mindset of those who actually did the killing. Ordinary lay Catholics were involved in the mass killings; they believed they were executing the wishes of the king and of God. At this time, in an age before mass media, “the pulpit remained probably the most effective means of mass communication”.
Despite the large numbers of pamphlets and broadsheets in circulation, literacy rates were still poor. Thus, some modern historians have stressed the critical and incendiary role that militant preachers played in shaping ordinary lay beliefs, both Catholic and Protestant.
Historian Barbara B. Diefendorf, Professor of History at Boston University, wrote that Simon Vigor had "said if the King ordered the Admiral (Coligny) killed, 'it would be wicked not to kill him'. With these words, the most popular preacher in Paris legitimised in advance the events of St. Bartholomew's Day". Diefendorf says that when the head of the murdered Coligny was shown to the Paris mob by a member of the nobility, with the claim that it was the King’s will, the die was cast. Another historian Mack P. Holt, Professor at George Mason University, agrees that Vigor, "the best known preacher in Paris," preached sermons that were full of references to the evils that would befall the capital should the Protestants seize control. This view is also partly supported by Cunningham and Grell (2000) who explained that "militant sermons by priests such as Simon Vigor served to raise the religious and eschatological temperature on the eve of the Massacre".sermons by priests such as Simon Vigor served to raise the religious and eschatological temperature on the eve of the Massacre".
Henry, duc de Guise, leader of the Catholic League.Historians cite the extreme tension and bitterness that led to the powder-keg atmosphere of Paris in August 1572.[72] In the previous ten years there had already been three outbreaks of civil war, and attempts by Protestant nobles to seize power in France.[73] Some blame the complete esteem with which the sovereign's office was held, justified by prominent French Roman Catholic theologians (e.g. Jacques-Bénigne Bossuet), and that the special powers of French Kings "were accompanied by explicit responsibilities, the foremost of which was combating heresy".
Holt, notable for re-emphasising the importance of religious issues, as opposed to political/dynastic power struggles or socio-economic tensions, in explaining the French Wars of Religion, also re-emphasised the role of religion in the St Bartholomew's Day Massacre. He noted that the extra violence inflicted on many of the corpses "was not random at all, but patterned after the rites of the Catholic culture that had given birth to it." "Many Protestant houses were burned, invoking the traditional purification by fire of all heretics. Many victims were also thrown into the Seine, invoking the purification by water of Catholic baptism". Viewed as a threat to the social and political order, Holt argues that "Huguenots not only had to be exterminated - that is, killed - they also had to be humiliated, dishonoured, and shamed as the inhuman beasts they were perceived to be."
However Raymond Mentzer points out that Protestants "could be as bloodthirsty as Catholics. Earlier Huguenot rage at Nimes (in 1567) led to... the massacre of a hundred or so Catholics, mostly priests and prominent laymen, at the hands of their Protestant neighbours. Few towns escaped the episodic violence and some suffered repeatedly from both sides. Neither faith had a monopoly on cruelty and misguided fervour".
Some, like Leonie Frieda, emphasise the element within the mob violence of the "haves" being "killed by the 'have-nots'". Many Protestants were nobles or bourgeois and Frieda adds that "a number of bourgeois Catholic Parisians had suffered the same fate as the Protestants; many financial debts were wiped clean with the death of creditors and moneylenders that night". At least one Huguenot was able to buy off his would-be murderers.
The historian H.G. Koenigsberger (who until his retirement in 1984 was Professor of History at King’s College, University of London) wrote that the Massacre was deeply disturbing because "it was Christians massacring other Christians who were not foreign enemies but their neighbours with which they and their forebears had lived in a Christian community, and under the same ruler, for a thousand years". He concludes that the historical importance of the Massacre "lies not so much in the appalling tragedies involved as their demonstration of the power of sectarian passion to break down the barriers of civilisation, community and accepted morality".[80]
An explanation of this may lie in the analysis of the massacre in terms of social anthropology by the religious historian Bruce Lincoln, who describes how the religious divide, which gave the Huguenots different patterns of dress, eating and pastimes, as well as the obvious differences of religion and (very often) class, had become a social schism or cleavage. The rituals around the royal marriage had only intensified this cleavage, contrary to its intentions, and the "sentiments of estrangement - radical otherness - [had come] to prevail over sentiments of affinity between Catholics and Protestants".
On 23 August 1997, Pope John Paul II, who was in Paris for the 12th World Youth Day, issued a statement on the Massacre. He stayed in Paris for three days and made eleven speeches. According to Reuter and the Associated Press, at a late-night vigil, with the hundreds of thousands of young people who were in Paris for the celebrations, he made the following comments: "On the eve of Aug. 24, we cannot forget the sad massacre of St. Bartholomew’s Day, an event of very obscure causes in the political and religious history of France. ... Christians did things which the Gospel condemns. I am convinced that only forgiveness, offered and received, leads little by little to a fruitful dialogue, which will in turn ensure a fully Christian reconciliation. ... Belonging to different religious traditions must not constitute today a source of opposition and tension. On the contrary, our common love for Christ impels us to seek tirelessly the path of full unity."[citation needed]
Cultural references[edit]
Millais' painting, A Huguenot on St. Bartholomew's dayThe Elizabethan dramatist Christopher Marlowe knew the story well from the Huguenot literature translated into English, and probably from French refugees who had sought refuge in his native Canterbury. He wrote a strongly anti-Catholic and anti-French play based on the events entitled 'The Massacre at Paris'. Also, in his biography The World of Christopher Marlowe, David Riggs claims the incident remained with the playwright, and massacres are incorporated into the final acts of three of his early plays, 1 and 2 Tamburlaine and The Jew of Malta - see above for Marlowe and Machiavellism.
The story was also taken up in 1772 by Louis-Sébastien Mercier in his play Jean Hennuyer, Bishop of Lizieux. This play was translated into English, with some adaptations, by actress and playwright Elizabeth Inchbald in 1792. Whilst Inchbald kept the historical setting, it was clear that The Massacre was also a reference to the recent September Massacres of the French Revolution.[citation needed]
Joseph Chénier's play Charles IX was a huge success during the French Revolution, drawing strongly anti-monarchical and anti-religious lessons from the massacre. Chenier was able to put his principles into practice as a politician, voting for the execution of Louis XVI and many others, perhaps including his brother André Chénier. However, before the collapse of the Revolution he became suspected of moderation, and in some danger himself.
The story was fictionalised by Prosper Mérimée in his Chronique du règne de Charles IX (1829), and by Alexandre Dumas, père in La Reine Margot, an 1845 novel that fills in the history as it was then seen with romance and adventure. That novel has been translated into English and was made first into a commercially successful French film in 1954, "La reine Margot" (US title "A Woman of Evil"), starring Jeanne Moreau. It was remade in 1994 as La Reine Margot (later as Queen Margot, and subtitled, in English-language markets), starring Isabelle Adjani.
The St Bartholomew's Day Massacre is the setting for Tim Willocks' historical novel,The Twelve Children of Paris (Matthias Tannhauser Trilogy:2) (2013)
Giacomo Meyerbeer's opera Les Huguenots (1836), very loosely based on the events of the massacre, was one of the most popular and spectacular examples of French grand opera.
The Pre-Raphaelite painter John Everett Millais managed to create a sentimental moment in the massacre in his painting A Huguenot on St. Bartholomew's Day (1852), which depicts a Catholic woman attempting to convince her Huguenot lover to wear the white scarf badge of the Catholics and protect himself. The man, true to his beliefs, gently refuses her. Millais was inspired to create the painting after seeing Meyerbeer's Les Huguenots.
The St. Bartholomew's Day Massacre and the events surrounding it were incorporated into D.W. Griffith's film Intolerance (1916). The film follows Catherine de' Medici (Josephine Crowell) plotting the massacre, coercing her son King Charles IX (Frank Bennett) to sanction it. Incidental characters include Henri of Navarre, Marguerite de Valois (Constance Talmadge), Admiral Coligny (Joseph Henabery) and the Duke of Anjou, who is portrayed as homosexual. These historic scenes are depicted alongside a fictional plot in which a Huguenot family is caught among the events.
A 1966 serial in the British science fiction television series Doctor Who officially entitled The Massacre of St Bartholomew's Eve, but often referred to by fans simply as The Massacre, is set during the events leading up to the Paris massacre. Leonard Sachs appeared as Admiral Coligny and Joan Young played Catherine de Medici. This serial is missing from the BBC archives and survives only in audio form.
