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Joachim-Napoléon Murat (Gioacchino Murat; 25 March 1767 – 13 October 1815) was a Marshal of France and Admiral of France under the reign of Napoleon. He was also the 1st Prince Murat, Grand Duke of Berg from 1806 to 1808, and King of Naples from 1808 to 1815.<br/><br/> Murat received his titles in part by being Napoleon's brother-in-law through marriage to his younger sister, Caroline Bonaparte, as well as personal merit. He was noted as a daring, brave, and charismatic cavalry officer as well as a flamboyant dresser, for which he was known as 'the Dandy King'.
The Tribunal of the Holy Office of the Inquisition (Spanish: <i>Tribunal del Santo Oficio de la Inquisicion</i>), commonly known as the Spanish Inquisition (<i>Inquisicion espanola</i>), was established in 1478 by Catholic Monarchs Ferdinand II of Aragon and Isabella I of Castile.<br/><br/> The Inquisition was originally intended primarily to ensure the orthodoxy of those who converted from Judaism and Islam. The regulation of the faith of the newly converted was intensified after the royal decrees issued in 1492 and 1502 ordering Jews and Muslims to convert or leave Spain.<br/><br/> The Inquisition was not definitively abolished until 1834, during the reign of Isabella II, after a period of declining influence in the preceding century.
Torii Kiyonaga (1752-1815) was a Japanese <i>ukiyo-e</i> artist from the Torii school. Born as Sekiguchi Shinsuke in Edo, he enrolled into the Torii school at a young age, where he would eventually succeed his master Torii Kiyomitsu as head of the school.<br/><br/> Kiyonaga was considered one of the great masters of the <i>nishiki-e</i> print and of <i>bijinga</i>, images of beautiful courtesans and women. He also produced a great many prints of <i>kabuki</i> actors and other theatre-related subjects, as well as producing <i>shunga</i> (erotic images).
Paolo Mascagni (January 25, 1755 – October 19, 1815) was an Italian physician, known for his study of human anatomy, in particular for the first complete description of the lymphatic system.
The Loggia dei Lanzi, also called the Loggia della Signoria, was built between 1376 and 1382 by Benci di Cione and Simone di Francesco Talenti, possibly following a design by Jacopo di Sione, to house the assemblies of the people and hold public ceremonies, such as the swearing into office of the Gonfaloniers and the Priors.<br/><br/> The name Loggia dei Lanzi dates back to the reign of Grand Duke Cosimo I, when it was used to house his German mercenary pikemen. After the construction of the Uffizi at the rear of the Loggia, the Loggia's roof was modified by Bernardo Buontalenti and became a terrace from which the Medici princes could watch ceremonies in the piazza.
Jules Michelet (21 August 1798 – 9 February 1874) was a French historian. He was born in Paris to a family with Huguenot traditions.<br/><br/> In his 1855 work, Histoire de France (History of France), Jules Michelet was the first historian to use and define the word Renaissance ('Rebirth' in French), as a period in Europe's cultural history that represented a drastic break from the Middle Ages, creating a modern understanding of humanity and its place in the world.
Torii Kiyonaga (鳥居 清長, 1752 - June 28, 1815) was a Japanese ukiyo-e printmaker and painter of the Torii school. Originally Sekiguchi Shinsuke, the son of an Edo bookseller, he took on Torii Kiyonaga as an art-name (gō). Although not biologically related to the Torii family, he became head of the group after the death of his adoptive father and teacher Torii Kiyomitsu.<br/><br/> The master Kiyomitsu died in 1785; since his son died young, and Kiyotsune, Kiyonaga's senior, was a less promising artist, Kiyonaga was the obvious choice to succeed Kiyomitsu to leadership of the Torii school. However, he delayed this for two years, likely devoting time to his bijinga (portraits of beautiful women) and realizing the immense responsibility that would fall on his shoulders once he took over the school. Thus, in 1787, he began organizing the production of kabuki signboards and the like, which the school held a near monopoly on. He also began to train Kiyomitsu's grandson, Torii Kiyomine, who was to succeed him.<br/><br/> Kiyonaga is considered one of the great masters of the full-color print (nishiki-e) and of bijinga, images of courtesans and other beautiful women. Like most ukiyo-e artists, however, he also produced a number of prints and paintings depicting Kabuki actors and related subjects, many of them promotional materials for the theaters. He also produced a number of shunga, or erotic images.
Torii Kiyonaga (鳥居 清長, 1752 - June 28, 1815) was a Japanese ukiyo-e printmaker and painter of the Torii school. Originally Sekiguchi Shinsuke, the son of an Edo bookseller, he took on Torii Kiyonaga as an art-name (gō). Although not biologically related to the Torii family, he became head of the group after the death of his adoptive father and teacher Torii Kiyomitsu.<br/><br/> The master Kiyomitsu died in 1785; since his son died young, and Kiyotsune, Kiyonaga's senior, was a less promising artist, Kiyonaga was the obvious choice to succeed Kiyomitsu to leadership of the Torii school. However, he delayed this for two years, likely devoting time to his bijinga (portraits of beautiful women) and realizing the immense responsibility that would fall on his shoulders once he took over the school. Thus, in 1787, he began organizing the production of kabuki signboards and the like, which the school held a near monopoly on. He also began to train Kiyomitsu's grandson, Torii Kiyomine, who was to succeed him.<br/><br/> Kiyonaga is considered one of the great masters of the full-color print (nishiki-e) and of bijinga, images of courtesans and other beautiful women. Like most ukiyo-e artists, however, he also produced a number of prints and paintings depicting Kabuki actors and related subjects, many of them promotional materials for the theaters. He also produced a number of shunga, or erotic images.
Torii Kiyonaga (鳥居 清長, 1752 - June 28, 1815) was a Japanese ukiyo-e printmaker and painter of the Torii school. Originally Sekiguchi Shinsuke, the son of an Edo bookseller, he took on Torii Kiyonaga as an art-name (gō). Although not biologically related to the Torii family, he became head of the group after the death of his adoptive father and teacher Torii Kiyomitsu.<br/><br/> The master Kiyomitsu died in 1785; since his son died young, and Kiyotsune, Kiyonaga's senior, was a less promising artist, Kiyonaga was the obvious choice to succeed Kiyomitsu to leadership of the Torii school. However, he delayed this for two years, likely devoting time to his bijinga (portraits of beautiful women) and realizing the immense responsibility that would fall on his shoulders once he took over the school. Thus, in 1787, he began organizing the production of kabuki signboards and the like, which the school held a near monopoly on. He also began to train Kiyomitsu's grandson, Torii Kiyomine, who was to succeed him.<br/><br/> Kiyonaga is considered one of the great masters of the full-color print (nishiki-e) and of bijinga, images of courtesans and other beautiful women. Like most ukiyo-e artists, however, he also produced a number of prints and paintings depicting Kabuki actors and related subjects, many of them promotional materials for the theaters. He also produced a number of shunga, or erotic images.
Torii Kiyonaga (鳥居 清長, 1752 - June 28, 1815) was a Japanese ukiyo-e printmaker and painter of the Torii school. Originally Sekiguchi Shinsuke, the son of an Edo bookseller, he took on Torii Kiyonaga as an art-name (gō). Although not biologically related to the Torii family, he became head of the group after the death of his adoptive father and teacher Torii Kiyomitsu.<br/><br/> The master Kiyomitsu died in 1785; since his son died young, and Kiyotsune, Kiyonaga's senior, was a less promising artist, Kiyonaga was the obvious choice to succeed Kiyomitsu to leadership of the Torii school. However, he delayed this for two years, likely devoting time to his bijinga (portraits of beautiful women) and realizing the immense responsibility that would fall on his shoulders once he took over the school. Thus, in 1787, he began organizing the production of kabuki signboards and the like, which the school held a near monopoly on. He also began to train Kiyomitsu's grandson, Torii Kiyomine, who was to succeed him.<br/><br/> Kiyonaga is considered one of the great masters of the full-color print (nishiki-e) and of bijinga, images of courtesans and other beautiful women. Like most ukiyo-e artists, however, he also produced a number of prints and paintings depicting Kabuki actors and related subjects, many of them promotional materials for the theaters. He also produced a number of shunga, or erotic images.
Torii Kiyonaga (鳥居 清長, 1752 - June 28, 1815) was a Japanese ukiyo-e printmaker and painter of the Torii school. Originally Sekiguchi Shinsuke, the son of an Edo bookseller, he took on Torii Kiyonaga as an art-name (gō). Although not biologically related to the Torii family, he became head of the group after the death of his adoptive father and teacher Torii Kiyomitsu.<br/><br/> The master Kiyomitsu died in 1785; since his son died young, and Kiyotsune, Kiyonaga's senior, was a less promising artist, Kiyonaga was the obvious choice to succeed Kiyomitsu to leadership of the Torii school. However, he delayed this for two years, likely devoting time to his bijinga (portraits of beautiful women) and realizing the immense responsibility that would fall on his shoulders once he took over the school. Thus, in 1787, he began organizing the production of kabuki signboards and the like, which the school held a near monopoly on. He also began to train Kiyomitsu's grandson, Torii Kiyomine, who was to succeed him.<br/><br/> Kiyonaga is considered one of the great masters of the full-color print (nishiki-e) and of bijinga, images of courtesans and other beautiful women. Like most ukiyo-e artists, however, he also produced a number of prints and paintings depicting Kabuki actors and related subjects, many of them promotional materials for the theaters. He also produced a number of shunga, or erotic images.
Torii Kiyonaga (鳥居 清長, 1752 - June 28, 1815) was a Japanese ukiyo-e printmaker and painter of the Torii school. Originally Sekiguchi Shinsuke, the son of an Edo bookseller, he took on Torii Kiyonaga as an art-name (gō). Although not biologically related to the Torii family, he became head of the group after the death of his adoptive father and teacher Torii Kiyomitsu.<br/><br/> The master Kiyomitsu died in 1785; since his son died young, and Kiyotsune, Kiyonaga's senior, was a less promising artist, Kiyonaga was the obvious choice to succeed Kiyomitsu to leadership of the Torii school. However, he delayed this for two years, likely devoting time to his bijinga (portraits of beautiful women) and realizing the immense responsibility that would fall on his shoulders once he took over the school. Thus, in 1787, he began organizing the production of kabuki signboards and the like, which the school held a near monopoly on. He also began to train Kiyomitsu's grandson, Torii Kiyomine, who was to succeed him.<br/><br/> Kiyonaga is considered one of the great masters of the full-color print (nishiki-e) and of bijinga, images of courtesans and other beautiful women. Like most ukiyo-e artists, however, he also produced a number of prints and paintings depicting Kabuki actors and related subjects, many of them promotional materials for the theaters. He also produced a number of shunga, or erotic images.
Gout (also known as podagra when it involves the big toe) is usually characterized by recurrent attacks of inflammatory arthritis—a red, tender, hot, and swollen joint. Pain typically comes on rapidly in less than twelve hours. The joint at the base of the big toe is affected in about half of cases. It may also result in tophi, kidney stones, or urate nephropathy.<br/><br/> James Gillray (13 August 1756 or 1757 – 1 June 1815) was an English caricaturist and printmaker famous for his etched political and social satires, mainly published between 1792 and 1810.
Saartjie 'Sarah' Baartman (before 1790 – 29 December 1815) was the most famous of at least two Khoikhoi women who, due to their large buttocks (steatopygia), were exhibited as freak show attractions in 19th-century Europe under the name Hottentot Venus. 'Hottentot' was the then current name for the Khoi people, but is now considered an offensive term.
Torii Kiyonaga (鳥居 清長?, 1752 - June 28, 1815) was a Japanese ukiyo-e printmaker and painter of the Torii school. Originally Sekiguchi Shinsuke, the son of an Edo bookseller, he took on Torii Kiyonaga as an art-name (gō). Although not biologically related to the Torii family, he became head of the group after the death of his adoptive father and teacher Torii Kiyomitsu.<br/><br/> The master Kiyomitsu died in 1785; since his son died young, and Kiyotsune, Kiyonaga's senior, was a less promising artist, Kiyonaga was the obvious choice to succeed Kiyomitsu to leadership of the Torii school. However, he delayed this for two years, likely devoting time to his <i>bijinga</i> (portraits of beautiful women) and realizing the immense responsibility that would fall on his shoulders once he took over the school. Thus, in 1787, he began organizing the production of kabuki signboards and the like, which the school held a near monopoly on. He also began to train Kiyomitsu's grandson, Torii Kiyomine, who was to succeed him.<br/><br/> Kiyonaga is considered one of the great masters of the full-color print (nishiki-e) and of bijinga, images of courtesans and other beautiful women. Like most ukiyo-e artists, however, he also produced a number of prints and paintings depicting Kabuki actors and related subjects, many of them promotional materials for the theaters. He also produced a number of shunga, or erotic images.
The Tribunal of the Holy Office of the Inquisition (Spanish: <i>Tribunal del Santo Oficio de la Inquisicion</i>), commonly known as the Spanish Inquisition (<i>Inquisicion espanola</i>), was established in 1478 by Catholic Monarchs Ferdinand II of Aragon and Isabella I of Castile.<br/><br/> The Inquisition was originally intended primarily to ensure the orthodoxy of those who converted from Judaism and Islam. The regulation of the faith of the newly converted was intensified after the royal decrees issued in 1492 and 1502 ordering Jews and Muslims to convert or leave Spain.<br/><br/> The Inquisition was not definitively abolished until 1834, during the reign of Isabella II, after a period of declining influence in the preceding century.
Catherine Howard (c.1521 – 13 February 1542) was Queen of England from 1540 until 1541, as the fifth wife of Henry VIII. Catherine married Henry VIII on 28 July 1540, at Oatlands Palace, in Surrey, almost immediately after the annulment of his marriage to Anne of Cleves was arranged.<br/><br/> Catherine was beheaded after less than two years of marriage to Henry on the grounds of treason by committing adultery while married to the King.
Torii Kiyonaga (鳥居 清長, 1752 - June 28, 1815) was a Japanese ukiyo-e printmaker and painter of the Torii school. Originally Sekiguchi Shinsuke, the son of an Edo bookseller, he took on Torii Kiyonaga as an art-name (gō). Although not biologically related to the Torii family, he became head of the group after the death of his adoptive father and teacher Torii Kiyomitsu.<br/><br/> The master Kiyomitsu died in 1785; since his son died young, and Kiyotsune, Kiyonaga's senior, was a less promising artist, Kiyonaga was the obvious choice to succeed Kiyomitsu to leadership of the Torii school. However, he delayed this for two years, likely devoting time to his bijinga (portraits of beautiful women) and realizing the immense responsibility that would fall on his shoulders once he took over the school. Thus, in 1787, he began organizing the production of kabuki signboards and the like, which the school held a near monopoly on. He also began to train Kiyomitsu's grandson, Torii Kiyomine, who was to succeed him.<br/><br/> Kiyonaga is considered one of the great masters of the full-color print (nishiki-e) and of bijinga, images of courtesans and other beautiful women. Like most ukiyo-e artists, however, he also produced a number of prints and paintings depicting Kabuki actors and related subjects, many of them promotional materials for the theaters. He also produced a number of shunga, or erotic images.
Colonel James Skinner CB (1778 – 4 December 1841) was an Anglo-Indian military adventurer in India, who became known as Sikandar Sahib later in life, and is best known for two cavalry regiments he raised for the British, later known as 1st Skinner's Horse and 3rd Skinner's Horse (formerly 2nd Skinner's Horse) at Hansi in 1803, which still form a part of the Indian Army.<br/><br/> The son of Hercules Skinner, a Scottish soldier and the daughter of a Rajput landowner, Skinner initially took service with the Marathas. Later he fought for the British. His chief wife was Muslim. He was a fluent writer in Persian, the court and intellectual language of India in his day, and wrote several books in Persian, including 'Kitab-i tasrih al-aqvam' (History of the Origin and Distinguishing Marks of the Different Castes of India).
The 1st Horse (Skinner's Horse) is a cavalry regiment of the Indian Army, which served in the British Indian Army before independence. The regiment was raised in 1803 as Skinner’s Horse by James Skinner ('Sikander Sahib') as an irregular cavalry regiment in the service of the East India Company. It was later renamed the 1st Bengal Lancers. The regiment became (and remains) one of the seniormost cavalry regiments of the Armoured Corps of the Indian Army.<br/><br/> A second regiment of Indian Cavalry was raised by Colonel James Skinner in 1814, which became the 3rd Skinner's Horse. On the reduction of the Indian Army in 1922, 1st and 3rd Regiments were amalgamated and became Skinner's Horse (1st Duke of York's Own Cavalry) and later the 1st Duke of York's Own Lancers (Skinner's Horse) until Indian independence.
The United States Custom House, sometimes referred to as the New York Custom House, was the place where federal customs duties on imported goods were collected in New York City.<br/><br/> The custom house existed at several locations over the years. From 1790 to 1799, it was at South William Street, opposite Mill Lane, known as 5 Mill Street. From 1799 to 1815, it was in the Government House, roughly on the former site of Fort Amsterdam. From 1842 it was at 26 Wall Street in a new building designed by John Frazee; that building is now Federal Hall National Memorial. From 1862 it was in the Merchant's Exchange Building at 55 Wall Street. In 1907 it moved into a new building, now called the Alexander Hamilton U.S. Custom House, built on the site where Government House sat earlier, on the south side of Bowling Green. In 1973 it moved to 6 World Trade Center, which was destroyed in the September 11, 2001 attacks.<br/><br/>
Utagawa Kunisada (also known as Utagawa Toyokuni III) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan.<br/><br/> In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.<br/><br/> Raijin is a god of lightning, thunder and storms in the Shinto religion and in Japanese mythology. He is typically depicted as a demonic spirit beating drums to create thunder, usually with a <i>tomoe</i> symbol drawn on the drums.
The 1st Horse (Skinner's Horse) is a cavalry regiment of the Indian Army, which served in the British Indian Army before independence. The regiment was raised in 1803 as Skinner’s Horse by James Skinner ('Sikander Sahib') as an irregular cavalry regiment in the service of the East India Company. It was later renamed the 1st Bengal Lancers. The regiment became (and remains) one of the seniormost cavalry regiments of the Armoured Corps of the Indian Army.<br/><br/> A second regiment of Indian Cavalry was raised by Colonel James Skinner in 1814, which became the 3rd Skinner's Horse. On the reduction of the Indian Army in 1922, 1st and 3rd Regiments were amalgamated and became Skinner's Horse (1st Duke of York's Own Cavalry) and later the 1st Duke of York's Own Lancers (Skinner's Horse) until Indian independence.
Friedrich Wilhelm Heinrich Alexander von Humboldt was a Prussian geographer, naturalist, and explorer, and the younger brother of the Prussian minister, philosopher and linguist Wilhelm von Humboldt (1767–1835). Humboldt's quantitative work on botanical geography laid the foundation for the field of biogeography.<br/><br/> Between 1799 and 1804, Humboldt travelled extensively in Latin America, exploring and describing it for the first time from a modern scientific point of view. His description of the journey was written up and published in an enormous set of volumes over 21 years. He was one of the first to propose that the lands bordering the Atlantic Ocean were once joined (South America and Africa in particular).<br/><br/> Later, his five-volume work, Kosmos (1845), attempted to unify the various branches of scientific knowledge. Humboldt supported and worked with other scientists, including Joseph-Louis Gay-Lussac, Justus von Liebig, Louis Agassiz, Matthew Fontaine Maury, Georg von Neumayer, and most notably, Aimé Bonpland, with whom he conducted much of his scientific exploration.
Yashima Gakutei was a Japanese artist and poet who was a pupil of both Totoya Hokkei and Hokusai. Gakutei is best known for his kyoka poetry and surimono woodblock works.
Ali Gauhar (1728–1806 CE), historically known as Shah Alam II, the eighteenth Mughal Emperor, was the son of the murdered Alamgir II. He escaped to Allahabad in December 1759 and later successfully defended the throne from the traitorous Imad-ul-Mulk, who appointed Shah Jahan III as the emperor. Later, he was nominated as the emperor by Ahmad Shah Durrani after the Third Battle of Panipat.<br/><br/> Shah Alam II was considered the only and rightful emperor but he was not able to return to Delhi until 1772. He is known to have fought against the British East India Company during the Battle of Buxar and reformed the Mughal Army under the command of Mirza Najaf Khan and is thus known as one of the last effective Mughal Emperors.<br/><br/> Shah Alam II also authored his own Diwan of poems and was known by the pen-name Aftab. His poems were guided, compiled and collected by Mirza Fakhir Makin.
The revenge of the Forty-seven Ronin (四十七士 Shi-jū-shichi-shi), also known as the Forty-seven Samurai, the Akō vendetta, or the Genroku Akō incident (元禄赤穂事件 Genroku akō jiken) took place in Japan at the start of the 18th century. One noted Japanese scholar described the tale as the country's 'national legend'. It recounts the most famous case involving the samurai code of honor, bushidō.<br/><br/> The story tells of a group of samurai who were left leaderless (becoming ronin) after their daimyo (feudal lord) Asano Naganori was forced to commit seppuku (ritual suicide) for assaulting a court official named Kira Yoshinaka, whose title was Kōzuke no suke. The ronin avenged their master's honor after patiently waiting and planning for two years to kill Kira.<br/><br/> In turn, the ronin were themselves ordered to commit seppuku for committing the crime of murder. With much embellishment, this true story was popularized in Japanese culture as emblematic of the loyalty, sacrifice, persistence, and honor that all good people should preserve in their daily lives. The popularity of the almost mythical tale was only enhanced by rapid modernization during the Meiji era of Japanese history, when it is suggested many people in Japan longed for a return to their cultural roots.<br/><br/> Fictionalized accounts of these events are known as Chūshingura. The story was popularized in numerous plays including bunraku and kabuki. Because of the censorship laws of the shogunate in the Genroku era, which forbade portrayal of current events, the names of the ronin were changed.
The Dutch East India Company, or VOC, was a chartered company granted a monopoly by the Dutch government to carry out colonial activities in Asia. It was the first multinational corporation in the world and the first company to issue stock. It was also arguably the world's first megacorporation, possessing quasi-governmental powers, including the ability to wage war, imprison and execute convicts, negotiate treaties, coin money and establish colonies.<br/><br/> The VOC was set up in 1602 to gain a foothold in the East Indies (Indonesia) for the Dutch in the lucrative spice trade, which until that point was dominated by the Portuguese.<br/><br/> Between 1602 and 1796, the VOC sent almost a million Europeans to work in the Asia trade on 4,785 ships, and netted more than 2.5 million tons of Asian trade goods.
Torii Kiyonaga (鳥居 清長, 1752 - June 28, 1815) was a Japanese ukiyo-e printmaker and painter of the Torii school. Originally Sekiguchi Shinsuke, the son of an Edo bookseller, he took on Torii Kiyonaga as an art-name (gō). Although not biologically related to the Torii family, he became head of the group after the death of his adoptive father and teacher Torii Kiyomitsu.<br/><br/> The master Kiyomitsu died in 1785; since his son died young, and Kiyotsune, Kiyonaga's senior, was a less promising artist, Kiyonaga was the obvious choice to succeed Kiyomitsu to leadership of the Torii school. However, he delayed this for two years, likely devoting time to his bijinga (portraits of beautiful women) and realizing the immense responsibility that would fall on his shoulders once he took over the school. Thus, in 1787, he began organizing the production of kabuki signboards and the like, which the school held a near monopoly on. He also began to train Kiyomitsu's grandson, Torii Kiyomine, who was to succeed him.<br/><br/> Kiyonaga is considered one of the great masters of the full-color print (nishiki-e) and of bijinga, images of courtesans and other beautiful women. Like most ukiyo-e artists, however, he also produced a number of prints and paintings depicting Kabuki actors and related subjects, many of them promotional materials for the theaters. He also produced a number of shunga, or erotic images.
James Legge (Chinese: 理雅各, Lǐyǎgè; December 20, 1815 – November 29, 1897) was a noted Scottish sinologist, a Scottish Congregationalist, representative of the London Missionary Society in Malacca and Hong Kong (1840–1873), and first professor of Chinese at Oxford University (1876–1897). In association with Max Müller he prepared the monumental Sacred Books of the East series, published in 50 volumes between 1879 and 1891.
The third of the emperors to rule during the tumultuous Year of the Four Emperors, Vitellius first started his career as Consul in 48 CE, and was eventually given command of the armies of Germania Inferior by Emperor Galba. From there he began his bid for power against Galba and the other claimants.<br/><br/> He successfully led a military revolution against Galba's successor Otho in 69 CE, marching into Rome and becoming Emperor, though he was never acknowledged as such in the entire Roman world. His men were said to be licentious and rough, with Rome becoming embroiled in massacres and riots, decadent feasts and gladiatorial shows. Vitellius himself was described as lazy and self-indulgent, an obese glutton and a hedonist.<br/><br/> In July 69 CE, Vitellius learned that the eastern provinces had declared a rival emperor, Commander Vespasian. Following more provinces declaring for Vespasian and mass desertions among his own adherents, Vitellius resigned as emperor in December 69 CE. He was executed by Vespasian's men upon their arrival to Rome. His reign lasted 8 months.
Salt, the son of a physician, was born in Lichfield. He trained as a portrait painter, first in Lichfield and then in London under Joseph Farington and John Hoppner. In 1802 he was appointed secretary and draughtsman to George Annesley, Viscount Valentia. They started on an eastern tour, traveling to India via the Cape. Salt explored the Red Sea area, and in 1805 visited the Ethiopian highlands. He returned to England in 1806. Salt's paintings from the trip were used to the Lord Valentia's Voyages and Travels to India, published in 1809. <br/><br/> Salt returned to Ethiopia in 1809 on a government mission to explore trade and diplomatic links with the Tigrayan warlord Ras Wolde Selassie. On his return he published A voyage to Abyssinia, and travels into the interior of that country, executed under the orders of the British government in the years 1809 & 1810, and a collection of drawings entitled Twenty-four Views Taken in St Helena, The Cape, India, Ceylon, Abyssinia and Egypt.
Salt, the son of a physician, was born in Lichfield. He trained as a portrait painter, first in Lichfield and then in London under Joseph Farington and John Hoppner. In 1802 he was appointed secretary and draughtsman to George Annesley, Viscount Valentia. They started on an eastern tour, traveling to India via the Cape. Salt explored the Red Sea area, and in 1805 visited the Ethiopian highlands. He returned to England in 1806. Salt's paintings from the trip were used to the Lord Valentia's Voyages and Travels to India, published in 1809.<br/><br/> Salt returned to Ethiopia in 1809 on a government mission to explore trade and diplomatic links with the Tigrayan warlord Ras Wolde Selassie. On his return he published A voyage to Abyssinia, and travels into the interior of that country, executed under the orders of the British government in the years 1809 & 1810, and a collection of drawings entitled Twenty-four Views Taken in St Helena, The Cape, India, Ceylon, Abyssinia and Egypt.
Torii Kiyonaga (鳥居 清長?, 1752 - June 28, 1815) was a Japanese ukiyo-e printmaker and painter of the Torii school. Originally Sekiguchi Shinsuke, the son of an Edo bookseller, he took on Torii Kiyonaga as an art-name (gō). Although not biologically related to the Torii family, he became head of the group after the death of his adoptive father and teacher Torii Kiyomitsu.<br/><br/> The master Kiyomitsu died in 1785; since his son died young, and Kiyotsune, Kiyonaga's senior, was a less promising artist, Kiyonaga was the obvious choice to succeed Kiyomitsu to leadership of the Torii school. However, he delayed this for two years, likely devoting time to his bijinga and realizing the immense responsibility that would fall on his shoulders once he took over the school. Thus, in 1787, he began organizing the production of kabuki signboards and the like, which the school held a near monopoly on. He also began to train Kiyomitsu's grandson, Torii Kiyomine, who was to succeed him.<br/><br/> Kiyonaga is considered one of the great masters of the full-color print (nishiki-e) and of bijinga, images of courtesans and other beautiful women. Like most ukiyo-e artists, however, he also produced a number of prints and paintings depicting Kabuki actors and related subjects, many of them promotional materials for the theaters. He also produced a number of shunga, or erotic images.
Native soldier with sabre, Delhi, c.1815. East India Company painting commissioned by the brothers James and William Fraser in around 1815.
The revenge of the Forty-seven Ronin (四十七士 Shi-jū-shichi-shi), also known as the Forty-seven Samurai, the Akō vendetta, or the Genroku Akō incident (元禄赤穂事件 Genroku akō jiken) took place in Japan at the start of the 18th century. One noted Japanese scholar described the tale as the country's 'national legend'. It recounts the most famous case involving the samurai code of honor, bushidō.<br/><br/> The story tells of a group of samurai who were left leaderless (becoming ronin) after their daimyo (feudal lord) Asano Naganori was forced to commit seppuku (ritual suicide) for assaulting a court official named Kira Yoshinaka, whose title was Kōzuke no suke. The ronin avenged their master's honor after patiently waiting and planning for two years to kill Kira.<br/><br/> In turn, the ronin were themselves ordered to commit seppuku for committing the crime of murder. With much embellishment, this true story was popularized in Japanese culture as emblematic of the loyalty, sacrifice, persistence, and honor that all good people should preserve in their daily lives. The popularity of the almost mythical tale was only enhanced by rapid modernization during the Meiji era of Japanese history, when it is suggested many people in Japan longed for a return to their cultural roots.<br/><br/> Fictionalized accounts of these events are known as Chūshingura. The story was popularized in numerous plays including bunraku and kabuki. Because of the censorship laws of the shogunate in the Genroku era, which forbade portrayal of current events, the names of the ronin were changed.
Native soldier in the uniform of Skinner's Horse, Delhi, c.1815. East India Company painting commissioned by the brothers James and William Fraser in around 1815. The irregular cavalry regiment known as Skinner’s Horse was headed by James Skinner, with Fraser as his second in command. The regiment was raised in 1803 as Skinner’s Horse by James Skinner (Sikander Sahib) as an irregular cavalry regiment in the service of the East India Company. There were two regiments of Indian Cavalry raised by Colonel James Skinner in 1803. They became the 1st Bengal Lancers and the 3rd Skinner's Horse. On the reduction of the Indian Army in 1922, they were amalgamated and became Skinner's Horse (1st Duke of York's Own Cavalry). The old 1st Lancers wore yellow uniforms (unique in the world) and the old 3rd wore blue. Each regiment had the full-dress (mounted) long 'Kurta' worn with a turban and cummerbund, also a full-dress (dismounted) or levee, dress.
Torii Kiyonaga (鳥居 清長?, 1752 - June 28, 1815) was a Japanese ukiyo-e printmaker and painter of the Torii school. Originally Sekiguchi Shinsuke, the son of an Edo bookseller, he took on Torii Kiyonaga as an art-name (gō). Although not biologically related to the Torii family, he became head of the group after the death of his adoptive father and teacher Torii Kiyomitsu.<br/><br/> The master Kiyomitsu died in 1785; since his son died young, and Kiyotsune, Kiyonaga's senior, was a less promising artist, Kiyonaga was the obvious choice to succeed Kiyomitsu to leadership of the Torii school. However, he delayed this for two years, likely devoting time to his bijinga and realizing the immense responsibility that would fall on his shoulders once he took over the school. Thus, in 1787, he began organizing the production of kabuki signboards and the like, which the school held a near monopoly on. He also began to train Kiyomitsu's grandson, Torii Kiyomine, who was to succeed him.<br/><br/> Kiyonaga is considered one of the great masters of the full-color print (nishiki-e) and of bijinga, images of courtesans and other beautiful women. Like most ukiyo-e artists, however, he also produced a number of prints and paintings depicting Kabuki actors and related subjects, many of them promotional materials for the theaters. He also produced a number of shunga, or erotic images.
Mustafa III (January 28, 1717 – January 21, 1774) was the Sultan of the Ottoman Empire from 1757 to 1774. He was a son of Sultan Ahmed III (1703–30) and was succeeded by his brother Abdul Hamid I (1774–89). An energetic and perceptive ruler, Mustafa III sought to modernize the army and the internal state machinery to bring his empire in line with the Powers of Europe.<br/><br/>Unfortunately the Ottoman state had declined so far that any general attempts at modernization were but a drop in the ocean, while any major plans to change the administrative status quo immediately roused the conservative Janissaries and imams to the point of rebellion. Mustafa III did secure the services of foreign generals to initiate a reform of the infantry and artillery. The Sultan also ordered the founding of Academies for Mathematics, Navigation and the Sciences.<br/><br/>Well aware of his own military weakness, Mustafa III assiduously avoided war and was powerless to prevent the annexation of the Crimea by Catherine II of Russia (1762–96). However this action, combined with further Russian aggression in Poland compelled Mustafa III to declare war on Russia shortly before his death. He died at Topkapi Palace, Istanbul.
The East India Company (also the East India Trading Company, English East India Company, and then the British East India Company) was an early English joint-stock company that was formed initially for pursuing trade with the East Indies, but that ended up trading mainly with the Indian subcontinent and China.<br/><br/> The oldest among several similarly formed European East India Companies, the Company was granted an English Royal Charter, under the name Governor and Company of Merchants of London Trading into the East Indies, by Elizabeth I on 31 December 1600. It ceased to trade in 1857.
Torii Kiyonaga (鳥居 清長?, 1752 - June 28, 1815) was a Japanese ukiyo-e printmaker and painter of the Torii school. Originally Sekiguchi Shinsuke, the son of an Edo bookseller, he took on Torii Kiyonaga as an art-name (gō). Although not biologically related to the Torii family, he became head of the group after the death of his adoptive father and teacher Torii Kiyomitsu.<br/><br/> The master Kiyomitsu died in 1785; since his son died young, and Kiyotsune, Kiyonaga's senior, was a less promising artist, Kiyonaga was the obvious choice to succeed Kiyomitsu to leadership of the Torii school. However, he delayed this for two years, likely devoting time to his bijinga and realizing the immense responsibility that would fall on his shoulders once he took over the school. Thus, in 1787, he began organizing the production of kabuki signboards and the like, which the school held a near monopoly on. He also began to train Kiyomitsu's grandson, Torii Kiyomine, who was to succeed him.<br/><br/> Kiyonaga is considered one of the great masters of the full-color print (nishiki-e) and of bijinga, images of courtesans and other beautiful women. Like most ukiyo-e artists, however, he also produced a number of prints and paintings depicting Kabuki actors and related subjects, many of them promotional materials for the theaters. He also produced a number of shunga, or erotic images.
Torii Kiyonaga (鳥居 清長?, 1752 - June 28, 1815) was a Japanese ukiyo-e printmaker and painter of the Torii school. Originally Sekiguchi Shinsuke, the son of an Edo bookseller, he took on Torii Kiyonaga as an art-name (gō). Although not biologically related to the Torii family, he became head of the group after the death of his adoptive father and teacher Torii Kiyomitsu.<br/><br/> The master Kiyomitsu died in 1785; since his son died young, and Kiyotsune, Kiyonaga's senior, was a less promising artist, Kiyonaga was the obvious choice to succeed Kiyomitsu to leadership of the Torii school. However, he delayed this for two years, likely devoting time to his bijinga and realizing the immense responsibility that would fall on his shoulders once he took over the school. Thus, in 1787, he began organizing the production of kabuki signboards and the like, which the school held a near monopoly on. He also began to train Kiyomitsu's grandson, Torii Kiyomine, who was to succeed him.<br/><br/> Kiyonaga is considered one of the great masters of the full-color print (nishiki-e) and of bijinga, images of courtesans and other beautiful women. Like most ukiyo-e artists, however, he also produced a number of prints and paintings depicting Kabuki actors and related subjects, many of them promotional materials for the theaters. He also produced a number of shunga, or erotic images.
Torii Kiyonaga (鳥居 清長?, 1752 - June 28, 1815) was a Japanese ukiyo-e printmaker and painter of the Torii school. Originally Sekiguchi Shinsuke, the son of an Edo bookseller, he took on Torii Kiyonaga as an art-name (gō). Although not biologically related to the Torii family, he became head of the group after the death of his adoptive father and teacher Torii Kiyomitsu.<br/><br/> The master Kiyomitsu died in 1785; since his son died young, and Kiyotsune, Kiyonaga's senior, was a less promising artist, Kiyonaga was the obvious choice to succeed Kiyomitsu to leadership of the Torii school. However, he delayed this for two years, likely devoting time to his bijinga and realizing the immense responsibility that would fall on his shoulders once he took over the school. Thus, in 1787, he began organizing the production of kabuki signboards and the like, which the school held a near monopoly on. He also began to train Kiyomitsu's grandson, Torii Kiyomine, who was to succeed him.<br/><br/> Kiyonaga is considered one of the great masters of the full-color print (nishiki-e) and of bijinga, images of courtesans and other beautiful women. Like most ukiyo-e artists, however, he also produced a number of prints and paintings depicting Kabuki actors and related subjects, many of them promotional materials for the theaters. He also produced a number of shunga, or erotic images.
Torii Kiyonaga (鳥居 清長?, 1752 - June 28, 1815) was a Japanese ukiyo-e printmaker and painter of the Torii school. Originally Sekiguchi Shinsuke, the son of an Edo bookseller, he took on Torii Kiyonaga as an art-name (gō). Although not biologically related to the Torii family, he became head of the group after the death of his adoptive father and teacher Torii Kiyomitsu.<br/><br/> The master Kiyomitsu died in 1785; since his son died young, and Kiyotsune, Kiyonaga's senior, was a less promising artist, Kiyonaga was the obvious choice to succeed Kiyomitsu to leadership of the Torii school. However, he delayed this for two years, likely devoting time to his bijinga and realizing the immense responsibility that would fall on his shoulders once he took over the school. Thus, in 1787, he began organizing the production of kabuki signboards and the like, which the school held a near monopoly on. He also began to train Kiyomitsu's grandson, Torii Kiyomine, who was to succeed him.<br/><br/> Kiyonaga is considered one of the great masters of the full-color print (nishiki-e) and of bijinga, images of courtesans and other beautiful women. Like most ukiyo-e artists, however, he also produced a number of prints and paintings depicting Kabuki actors and related subjects, many of them promotional materials for the theaters. He also produced a number of shunga, or erotic images.
Torii Kiyonaga (鳥居 清長?, 1752 - June 28, 1815) was a Japanese ukiyo-e printmaker and painter of the Torii school. Originally Sekiguchi Shinsuke, the son of an Edo bookseller, he took on Torii Kiyonaga as an art-name (gō). Although not biologically related to the Torii family, he became head of the group after the death of his adoptive father and teacher Torii Kiyomitsu.<br/><br/> The master Kiyomitsu died in 1785; since his son died young, and Kiyotsune, Kiyonaga's senior, was a less promising artist, Kiyonaga was the obvious choice to succeed Kiyomitsu to leadership of the Torii school. However, he delayed this for two years, likely devoting time to his bijinga and realizing the immense responsibility that would fall on his shoulders once he took over the school. Thus, in 1787, he began organizing the production of kabuki signboards and the like, which the school held a near monopoly on. He also began to train Kiyomitsu's grandson, Torii Kiyomine, who was to succeed him.<br/><br/> Kiyonaga is considered one of the great masters of the full-color print (nishiki-e) and of bijinga, images of courtesans and other beautiful women. Like most ukiyo-e artists, however, he also produced a number of prints and paintings depicting Kabuki actors and related subjects, many of them promotional materials for the theaters. He also produced a number of shunga, or erotic images.