Queen Anne: Patroness of Arts

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Of this fire, it was said, during the time of the Norman conquest, that although it was fed the sacred wood of the hawthorn over a long period of time, "yet the ashes have never increased." The area was said to be twenty feet square with a roof. The sacred fire was sometimes called a "need-fire." Alexander Carmichael, the author of Carmina Gadelica, states that "teine éiginn was last made in Uist about 1829, in Arran about 1820, in Helmsdale about 1818, and in Reay about 1830." (1) Patroness of the hearth

In her earliest incarnation, as Breo-Saighit, she was called the Flame of Ireland, Fiery Arrow. She was a Goddess of the forge as well, reflecting on her fire aspect. Legend says that when She was born, a tower of flame reaching from the top of her head to the heavens. Her birth, which took place at sunrise, is rumored to have given the family house the appearance of being on fire.

Livia Drusilla (ca. 58 B.C.E.–C.E. 29)

From the ancient world onward, patronage of the arts was important in art history. It is known in greatest detail in reference to medieval and Renaissance Europe, though patronage can also be traced in feudal Japan, the traditional Southeast Asian kingdoms, and elsewhere—art patronage tended to arise wherever a royal or imperial system and an aristocracy dominated a society and controlled a significant share of resources. Samuel Johnson defined a patron as "one who looks with unconcern on a man struggling for life in the water, and, when he has reached ground, encumbers him with help". [6] The decorous sentimental verses written by patroness and client during such visits hint at a platonic salon flirtation.

will have an impact on scholars working in the fields of history, literature, art ­history, and musicology, but I have also sought to make it readily available to interested readers of all kinds. Anne’s life had moments of glory and pathos, and I hope my focus on the arts will help readers understand how it felt to live in her times, and even how it felt to be the queen she became. Boston—London—Brattleboro June 17, 2013

Dolores Olmedo Patiño (ca. 1908–2002)

Beannachtaí ar an gCeárta -- Blessings on the Forge! (5) A handmade sign for Saint Brigid (Bridget) at Kildare. Brigid and the sacred wells Ryersson, Scot D.; Michael Orlando Yaccarino (October 2009). The Marchesa Casati: Portraits of a Muse. New York: Abrams. ISBN 0-8109-4815-X. In 2021, Canadian author T.H. Cini wrote a fictional novelette based on meeting the Marchesa (Luisa Casati) in the narrators’ dreams. The story is called, The Eyes of a Marchesa from the book The Dream-Escape. Casati fled to London, where she lived in comparative poverty in a one-room flat. She was rumoured to be seen rummaging in bins searching for feathers to decorate her hair. [20] On 1 June 1957, Casati died of a stroke at her last residence, 32 Beaufort Gardens in Knightsbridge, aged 76. Following a Requiem Mass at Brompton Oratory, the Marchesa was interred in Brompton Cemetery. [21] In 1900, she married Camillo, Marquess Casati Stampa di Soncino ( Muggiò, 12 August 1877 – Roma, 18 September 1946). The couple's only child, Cristina Casati Stampa di Soncino, was born the following year. The Casatis maintained separate residences for the duration of their marriage. They were legally separated in 1914. They remained married until his death in 1946.