Podcasts about Richelieu

Foi há 80 anos que Mengele entrou em Auschwitz, onde se destacou pelas experiências bárbaras com seres humanos. E ainda: a história do cardeal de Richelieu, imortalizado em "Os Três Mosqueteiros".See omnystudio.com/listener for privacy information.

Scarborough Dude offers up part 2 of his five day road trip to visit dear friends in Gatineau, Ottawa, Richelieu and Kingston.

Scarborough Dude heads off on a five day road trip to visit dear friends in Gatineau, Ottawa, Richelieu and Kingston.

Le 30 mai 1631, sort le premier numéro de "La Gazette", le premier journal périodique paru en France. Il tire son nom d'une monnaie vénitienne, dont la valeur correspondait au prix du journal. Il est dû à l'initiative de Théophraste Renaudot, un médecin protestant. Soucieux de trouver des remèdes à la misère et au vagabondage, ce philanthrope avait créé, quelques années auparavant, un "bureau d'adresses", qui recueillait les offres et les demandes d'emplois. On voit que, dans ce domaine également, Renaudot fut un pionnier. Sa "Gazette" n'était pas un journal d'opinion. Comme il est fondé avec l'appui de Richelieu, principal ministre de Louis XIII, son fondateur évite de lui donner un contenu critique à l'égard du pouvoir. "La Gazette" était un hebdomadaire paraissant tous les samedis. Elle comptait, selon les numéros, entre quatre et douze pages. Ses articles informaient les lecteurs, souvent avec un certain retard, de ce qui se passait à la Cour et en France, mais aussi à l'étranger. Des personnages illustres participent à la rédaction du journal. Louis XIII en personne, et le cardinal de Richelieu, ne dédaignent pas de lui donner quelques articles. "La Gazette" compte d'autres collaborateurs de qualité, comme le poète Voiture ou La Calprenède, dramaturge et auteur de romans précieux. Le tirage de ce premier périodique variait entre 300 et 800 exemplaires. Ce qui peut paraître modeste, au regard des tirages actuels. Mais, compte tenu du mode de fabrication du journal, c'était déjà un beau résultat. Et il ne faut pas oublier que "La Gazette" n'avait pas de concurrents. Et sa position dominante fut encore confirmée par le monopole de l'information politique qu'elle finit par recevoir du Roi. Au fil du temps, le journal se transforme et change légèrement de titre, pour devenir, à la fin du XVIIIe siècle, la "Gazette de France". Mais il survit à tous les régimes et ne cesse de paraître qu'au début de la Première Guerre mondiale, en 1915. Ce qui lui permet de détenir, en termes de durée de parution, un véritable record. Learn more about your ad choices. Visit megaphone.fm/adchoices

What you'll learn in this episode:   Who jewelry designer Bill Smith was, and why his work and life deserve to be remembered. Why Bill Smith was a trailblazer for Black jewelry designers. How JoAnne tracked down long-forgotten jewelry to create the exhibit “Bill Smith: Madison's Visionary Jewelry Designer.” Why Bill Smith's body jewelry was ahead of its time. How jewelry trends trickle down from high jewelry to costume.   About JoAnne Spiller   JoAnne Spiller is the Director of Education at the Jefferson County Historical Society based in Madison, Indiana. She has more than two decades of museum education experience with an emphasis on children's educational programming. She recently organized the exhibit “Bill Smith: Madison's Visionary Jewelry Designer,” and is currently conducting research for a book on Bill Smith's life and career.    Additional Resources: Facebook Instagram Twitter Linkedin   Photos Available on TheJewelryJourney.com   Transcript:   Bill Smith was a trendsetting Black jewelry designer who did everything from Cartier collaborations to costume jewelry. His designs were seen on the likes of Lena Horne and Cicely Tyson. Yet in the 30 years since his death, his impact has been largely forgotten. JoAnne Spinner, Director of Education for the Jefferson County Historical Society, hopes to change that with her recent exhibit, “Bill Smith: Madison's Visionary Jewelry Designer” and a forthcoming book she is currently researching. She joined the Jewelry Journey Podcast to talk about Bill's trendsetting designs; how he found his path as a gay Black man from a small town; and why his work is worth collecting. Read the episode transcript here.    Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com.   Today, we're talking with JoAnne Spiller, the Director of Education for the Jefferson County Historical Society located in Madison, Indiana. She recently curated an exhibition about Bill Smith who came from Madison, Indiana. Welcome back.    Tell us a little bit more about the body jewelry. You mentioned that and we haven't really talked about it.   JoAnne: Oh, the body jewelry! He designed clothes made of, say, pearls or metal chain or gold-colored coins, fake coins; halters and skirts and crazy little headpieces, collars. The body jewelry really set him apart. Barbara Walters interviewed him and had a runway show with his body jewelry. I'd love to have a clip of that, at least to look at it and hear Bill's voice because I don't know what he sounds like. His body jewelry put him on the scene. It was crazy, and it was meant to be worn over clothing. Some of it was skimpy clothing; it just depended on the runway and where they were having their show. If it was a lady's luncheon, then they were wearing leggings and turtlenecks underneath, but some of the actual fashion shows were a little more risqué. That was the timeframe. Everything was loosening up as far as dress code, I suppose, but it was out there, and it went crazy.    Richelieu thought it was gimmicky, but Bill pressured them into manufacturing some of them. They were all done by hand and sent to high-end department stores for display to catch your eye when you walked by. Who was really going to wear a garment made of giant pearls? People ate it up. They loved it. Pretty soon, they were having orders that were hard to keep up with, according to Clifton, and all the fashionistas were wearing it. I have an article that states that even brides were excited about wearing his pearl jewelry. I would love to get a hands-on look at someone wearing pearl jewelry for a wedding. That's got to be out there.   That was his big start, just big, bold, in-your-face, why-would-you-ever-wear-that jewelry. It's very experimental. Some of the chains were heavy. To wear a halter or a cape or a skirt made of that must have been uncomfortable. Some of his pearl scarves are six feet long. I can't imagine carrying that weight around.    I did a reproduction of one of his pearl dresses for my exhibit. I called her Pearl. My boss put her on a Christmas tree stand and she actually twirls, so you can see the movement in the garment. It's on just a plain mannequin. It took me probably 15 hours to make it. I did the halter. I did the whole thing. It's the showstopper, but it is the only way we will ever have that kind of garment in our collection. We can't afford it. We're small. We're so small. We would love to have one, but it's just out of our reach. So, for $53 for the design, I made Pearl. She twirls, and she's wonderful.   Sharon: Those were on Vogue covers, weren't they?   JoAnne: Absolutely. High society ladies were wearing them because it was so—I don't want to say obnoxious. It was one of those things where it was in your face. I don't know how you sat in it, but they would wear them.    Sharon: The literature I was reading said he designed for Naomi Sims and Lena Horne and a lot of other well-known people. Do you think it's stashed in a drawer? They don't have any idea whose it is?   JoAnne: I'm going to guess yes. He and Naomi were very good friends. There's a magazine spread that shows the two of them, and she's wearing the cuffs he designed for Cartier. That's another example of the high-end stuff, these cuffs, but I haven't seen them in a while. He did the covering for her hair for her personally. That was her own item. I know Lena Horne wore his things, and Cicely Tyson and Loretta Young wore them on her TV show.    When I have time, I go through photo archives just hoping to find something I can attribute to him, someone wearing that. Not a whole lot of luck right now. Naomi Sims has passed away. I believe Cicely Tyson and Loretta Young are no longer with us. The field of people who may have his jewelry is very small, at least the people I know about, and it's hard trying to find that connection, as if maybe they do have a piece I can at least look at. I don't need to have it per se, but I sure would like to see it and photograph it and include it in my book. I'm sure there's a treasure trove out there and somebody with no idea what they have.   Sharon: You mentioned your book. You intend to write a book, right?    JoAnne: Absolutely. I've had about two dozen people say, “You need to write a book. You know so much about him,” and I say, “Well, I'm working on it.” Like I said, I have a 5½-inch binder of research. I've spoken to Clifton, who worked with him for two years. I spoke with John Higgins, the fashion designer, a few weeks ago. I messaged him on a whim. I said, “I know you two collaborated on some things,” because John used a lot of Bill's jewelry in his runway shows. Bill even designed a belt buckle for him, which would be fun to see. He reached out to me, and we had a 45-minute conversation about their friendship and their collaboration. That's going to go into the book because it shows his personality.   But there are very few people I can still speak to that know anything about him. His family is basically gone. He had one sister. She had two sons. One son passed away early, and the other one did not want anything to do with Bill. When Bill's sister, Gladys, passed away, this nephew got rid of all the jewelry. Everything that she had of his is gone. I have no idea where it is. He said it was a big box. I can't imagine. Some of those pieces have probably come back to me, but he did not want that connection and basically severed it that way. I hope they're not in a dump somewhere. I hope they're out there and someone is enjoying them in their collection, but there's no one left in his family to speak to.    He would have been 90 this year in November, so my field is very limited with people he may have worked with. My goal is next month, I'm going to New York City for a research trip, and I need to go to the New York Public Library. I need to speak to Sebastian Grant; he's at the Fashion Institute. He and I had a conversation. He wrote an article on my exhibit, a very lovely young man. I'm hoping to meet with some people and see where his original store was and maybe where the factory was and try to nail down some specifics about his death. So, I'll be in the big city, but I'll be doing work.   Sharon: That's why I don't go to New York for research trips; I don't get much work done. I can't just sit there for a conference when everything's going on around me.    Why don't we know who he is today? Nobody knows who he is. I couldn't even find anything that talked about his death.   JoAnne: I have conflicting dates on his death. His great niece thinks it was November or December of 1989. John Higgins, when I spoke to him, said, “Oh, that can't be true. I saw him in an elevator in either 1990 or 1991.” Now I have more Bill Smiths to look into, but it's very difficult to find a William F. Smith—he went by Bill—in the obituaries. There are hundreds of them.   Sharon: There must be.   JoAnne: I have a list of about 12 possibilities, which is also why I'm going to New York. I'm going to try to at least look at the death certificate—because he did pass away in New York—and nail down the date so I can say definitely that this is when he passed away. John's adding a couple of extra years to that really threw me for a loop because the great niece was so certain he passed away in a certain year, but John was certain that he saw him in an elevator. So, I don't know which one is true.    We have a genealogist on staff here. She just retired, and Linda couldn't find him dead or alive. If an expert can't find him, I'm not sure how I'm going to find him. I am going to New York to try to find him to get some closure, because I think the great niece would like to know where he is as well. He was most likely cremated, but she did not indicate that the family has his remains.    Sharon: As a designer, did he retire?   JoAnne: There are indications that he felt unappreciated, and that people were no longer excited about his work. Part of that may have been because in the 80s, if he did pass away in 1989, even it was 1990 or 1991, he died of AIDS-related pneumonia. He probably wasn't well, and with the stigma of AIDS, people probably did not want to be associated with him. At the time, they had no idea how it was transmitted, and he would have been ostracized because of that. It must have been a very difficult time in his life, to go from being on top and being lauded as a wonderful designer with all of these awards.   Sharon: He was the first Black man to win a Coty Design Award.   JoAnne: Especially for jewelry design.   Sharon: Yes, for jewelry.   JoAnne: Yes, that was a pretty big deal. He did win the Great Design Competition for Swarovski before that. He designed this crazy collar that was inspired by space. There are a lot of wires and balls and things like that. By the way, he also designed the crown for Miss Black America in, I think, 1970. I have to look at my notes. There are so many dates running around in my head. That's another thing I have to track down; I wonder if the crown still exists and where it is. I'm excited to see that as well. I have a photo of the woman wearing it, but I'd like to see it in person.    Sharon: Yeah, you know a little about it.   JoAnne: That was one of the things I came across in my research, and it was like, “Hold the phone.” I went down this rabbit hole to try to find a conclusion to the research on this crown.    You asked why nobody knows about him. I think a lot of it was because he didn't sign a lot of his jewelry. That was a contractual thing. He only signed the high-end versions of his jewelry. In the jewelry industry, from what I understand from Clifton, and I could be extremely wrong, but you have your really high-end stuff that's signed, and then you get your higher-end department store version of it not signed, and then you get your secondary department store version and it's a little rougher; it doesn't have the quality of materials; it's less expensive and it's not signed. So, how would you know you have something he designed?    Sharon: How did you know when you were looking at auctions? How did you know it was Bill Smith? Were they all signed?   JoAnne: Not all of them were signed, but I do have hundreds of photos of his work. I look at auction sites and try to follow ones that are reputable, with dealers that know what they're talking about. Some people will say, “Oh, this is a Bill Smith,” and I say, “Oh, I don't know. It might have been the right timeframe, but it's not signed, and I haven't seen an image of it.” I have hundreds of sketches from newspapers and photos from magazines that show his work. I keep those with me because I am obsessed, and that helps me when I'm looking at auction sites. When I'm out and about, I can reference what I have. I also have photographs of everything in my personal collection and here at the museum on my phone so I can reference good images if I'm out and about.    There are some things where I can be pretty sure it was his design because of the chain or the way the cabochon was set, but I don't know that it's worthy of us having it here in the museum in our collection per se because it's not signed. We have limited real estate, what we call storage, and we can't keep everything. I had some lower-end stuff in my exhibit because I wanted people to see that trickle-down of jewelry design I just spoke about, where you get the really high-end stuff, and then you get one the next level down that looks a lot like it, but it's not as nice. Then you get the plain-Jane stuff at the end, but it's still his design; it's just for the everyday person. It's not couture. We are trying to curate the best possible collection of his. I recently acquired a couple of pieces from a website, not only for here, but for myself. That was a bad day when I discovered that, but they're all signed.   Sharon: Wow!   JoAnne: Yes, they're all wonderful. I think I purchased three or four for the museum and 11 for myself.    Sharon: Did the website know the value or that it was Bill Smith?   JoAnne: He had not heard much about him. Is it Melinda with The Jewelry Stylist? She's out in California as well. I'd have to look her up. She's got a website. She has two jewelry websites, and she wrote a book on Napier jewelry.   Sharon: Oh, Melinda Lewis, yes.   JoAnne: I bought a zodiac piece off one of her sites and then noodled over to the other site, and there was another zodiac piece. I bought that, and PayPal went, “I'm sorry. What? You just spent how much money on two different websites within minutes of each other?” It kicked back the transaction. So, she called and said, “Did you mean to cancel this? What happened?” I said, “Well, I think PayPal just had a hiccup,” and she said, “Why are you buying two of these pieces?” So, we spoke. She's like, “I didn't know that about him,” and I said, “Absolutely.”    There's a little danger, I think, of me sharing my knowledge because then everybody's going to scoop his stuff up. I'm a hoarder; I want more. We want the best collection we can have because he's from here. So, there is a danger in mentioning and raving about his stuff because maybe the good stuff is going to go for twice what I can afford now. The market's certainly going to go up and I won't be able to afford anything, but I do feel passionate about telling his story and getting it out there. It is so important because he was from a small town. He was Black. He was gay. He had all these things stacked against him in the early 50s, when we still had segregation going on in some parts of our town. His high school was only desegregated his senior year. He went to a mixed school his senior year. He went to an all-Black school for K-11. So, it's a huge story that he went out and made it big. He knew a lot of famous people and designed a lot of great jewelry. When a jewelry designer and a fashion designer tell you that his story is important and it needs to be told, that reaffirms to me that I do need to tell that story of Bill.   Sharon: You sound like you could tell a story and the book would write itself almost.   JoAnne: Possibly. I have enough pictures to fill it for sure.   Sharon: Well, thank you so much for being with us today. Hopefully we'll come across some of those pieces and send them on to you.   JoAnne: I hope so. That would be fantastic. I appreciate that you think his story is important to talk about on a podcast. That makes me very happy because it does need to be told, and the more people that help me tell it, the better. I really appreciate the time you've taken with me today.   Sharon: My pleasure. Hopefully I'll get to talk to you when you publish your book. We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

What you'll learn in this episode:   Who jewelry designer Bill Smith was, and why his work and life deserve to be remembered. Why Bill Smith was a trailblazer for Black jewelry designers. How JoAnne tracked down long-forgotten jewelry to create the exhibit “Bill Smith: Madison's Visionary Jewelry Designer.” Why Bill Smith's body jewelry was ahead of its time. How jewelry trends trickle down from high jewelry to costume.   About JoAnne Spiller   JoAnne Spiller is the Director of Education at the Jefferson County Historical Society based in Madison, Indiana. She has more than two decades of museum education experience with an emphasis on children's educational programming. She recently organized the exhibit “Bill Smith: Madison's Visionary Jewelry Designer,” and is currently conducting research for a book on Bill Smith's life and career.    Additional Resources: Facebook Instagram Twitter Linkedin   Photos Available on TheJewelryJourney.com   Transcript:   Bill Smith was a trendsetting Black jewelry designer who did everything from Cartier collaborations to costume jewelry. His designs were seen on the likes of Lena Horne and Cicely Tyson. Yet in the 30 years since his death, his impact has been largely forgotten. JoAnne Spinner, Director of Education for the Jefferson County Historical Society, hopes to change that with her recent exhibit, “Bill Smith: Madison's Visionary Jewelry Designer” and a forthcoming book she is currently researching. She joined the Jewelry Journey Podcast to talk about Bill's trendsetting designs; how he found his path as a gay Black man from a small town; and why his work is worth collecting. Read the episode transcript here.    Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week.   Today, we're talking with JoAnne Spiller, the Director of Education for the Jefferson County Historical Society located in Madison, Indiana. She recently curated an exhibition about Bill Smith who came from Madison, Indiana. A lot of you haven't heard of Bill Smith. I had never heard of him. He was one of the first, if not the first, Black jewelry designers to garner attention. He was very well-known in the 60s through the 80s but is just a footnote today. JoAnne is going to tell us all about Bill Smith. JoAnne, welcome to the podcast.   JoAnne: Thank you for having me. I'm very excited to speak with you.   Sharon: I'm so glad you're here. You came to Bill Smith through your education and your role. Can you tell us a little bit about that?   JoAnne: I have been the Director of Education here for 23 years. In the process of educating students, I have been building a file of famous Madisonians and Jefferson Countians from here who have gone on to do wonderful things. We are a very small community, and I think a lot of children don't feel like there's a lot of opportunity. Many of them don't leave here; they stay. Their families have been here for generations. I wanted to let them know, especially among our minority community, that you can come from a small town and go on to do big and wonderful things out there in the world.    So, my file included Bill Smith. An article was given to us a few years ago with a note saying, “Hey, did you know anything about him?” and we did not. That started my journey of finding information about Bill. It has become quite an obsession if you ask anybody that knows me, especially my family.   Sharon: I had never heard of him, but he must have been something because he's all over Google.   JoAnne: Yes, he is. He was born here in Madison in 1933. He had one sibling. They were a working-class family, and he went onto IU at the encouragement of his art teachers here. He was very much into creating, sculpting, making jewelry, and he was also a dancer.   Sharon: That was his first thing, being a dancer, right?   JoAnne: Yes, being a dancer. He went to IU to dance. He took art classes and was extremely encouraged by the art teachers there. After three semesters, he left. His teachers felt like he was ready to move on and do big things, so he left to go to New York to become a dancer. He could not find enough roles as a Black man in the 1950s. He graduated high school in 1951, so this would have been about 1953 or 1954 when he went out to New York, and he just couldn't find the roles to support himself. So, he turned to jewelry making.   According to my research, he became an assistant or apprentice or helper to some jeweler in New York who needed help following some kind of accident. That's what I've read. Bill stepped in and was extremely talented at what he did. Somewhere in that process, he struck out on his own and had his own experimental design company. This was in the late 50s. He met Raymond St. Jacques, who was a Black actor out in Hollywood. He was in a lot of westerns and rough-‘em-up kind of movies. Somehow, they formed a partnership and became Smith St. Jacques. Raymond was the financial backing for the early company, and Bill was the creative director. That business went on for several years until he caught the eye of Massimo Sargis at Richelieu, and then he started his big, wonderful costume jewelry career.   Sharon: He always worked in costume, but did he ever work in gold or silver?    JoAnne: I do have an ad in a magazine that shows Cartier work. He did work briefly for Cartier and Georg Jensen, who was a silversmith. For Cartier, he had some pendants I've seen that are polished stones, flat, and they are embellished with gold, I'm assuming, because it's Cartier. They've turned them into belts, like some of his other funky belts we have examples of. But as far as I know, those two companies are the only ones that would have had the finer materials. I have read that he did work with some high-end materials early on, before Smith St. Jacques. He did special orders and he worked for some of the higher-end department stores, but I do not have examples of those. Everything I have seen and have my hands on has been costume jewelry.   Sharon: You have one of the largest, or maybe it is the largest, collections in the country that people know about.   JoAnne: It's possible. It is very possible. We have more than 100 pieces of Bill's. I would say two-thirds of them are signed. The others I can positively attribute to him because I have spoken with the person who helped with those designs. So, I can absolutely, concretely say that these things are his design. I personally have about 35 in my collection.   Sharon: In your personal collection?   JoAnne: Yeah, for my personal collection. They're ones that speak to me, or maybe they're duplicates of the ones we have at the museum, but I still like them. I actually wore one out the other night. Nobody understood it. They all looked at me sideways, but I had a good deal of fun wearing it. It was one of his early ones, the trueskin with the horse and the bird on a big, fat, heavy chain. People who know me know that's not really my style. I was feeling bad that day, so I wore it. I wanted to get the story out. I wanted people to comment and ask so I could share my knowledge.   Sharon: I guess that's leading into my next question. You curated this exhibit. What were the comments from people who came and had never heard of him?   JoAnne: They thought it was fantastic. I know they figured it was going to be this itty-bitty, halfway-put-together exhibit, and it wasn't. People were actually astounded at what we had on display. We may be a small museum, but we have the glass cases and panels and things like that. We really did put together a very excellent display on him, and it was up for about a month. It was supposed to be exhibited in July instead of October, but I did not feel like I had enough of a collection to do that. I ended up getting more information on him in September that led me down another route, and then it was time to put the exhibit together.   Sharon: People walked away saying, “Well, that's a great exhibit,” but did they walk away saying, “I never knew about him”?   JoAnne: A lot of them did. When I spoke earlier, I said a lot of people don't leave this town—and they don't; their roots go back generations. I am not from here. I've been here long enough where you could maybe consider me a native, but a few people that went to school with him came in and said, “Oh, we always knew he was going to do great things because he had such talent.” Unfortunately, they couldn't give me much more than that. I don't think they had a close relationship. They just knew of him and wanted to sneak a peek at what he had become later in life.    We did have a woman who loaned us a suede choker from one of his early collections. It has brass cutouts on it. It looks like a dog collar. She loaned it to us for the exhibition, and after seeing the display, she gave it to us. She gave it to the museum. She said, “This is where this piece belongs. It belongs with his collection.” Another woman, who is a recent native to our town, came into the museum three times to see this exhibit. Every time she came in, we had a discussion about it and she wanted to learn more. She would come in and say, “Hey, I saw this piece on eBay. What do you think of it?” She was bitten by the bug. She ended up gifting us an absolutely fantastic, rare piece before Christmas because she knew the story was important and she wanted to be part of it. She saw this piece and knew it was perfect for our collection, so she gave it to us. It was absolutely wonderful. It's one of the ones I show when I do show and share.   Sharon: What were his heyday years?   JoAnne: That is an excellent question. I feel like it came and went in waves according to the company he was working with. Some of it is difficult to ascertain because his work is not always signed. Unless you have the backstory or you happen to know concretely that he did work on this collection, it's hard to say when that big wave started. I do know that according to the 5½-inch binder of research I have—I'm not kidding you—most of the articles I have were from the late 60s into the early 70s. When he left Richelieu in 1970, he went to work for the parent company, O'Dell, which had Cartier and Ben Kahn fur. So, he did some furs. He worked for Mark Cross doing leather goods.    I mentioned the Cartier jewelry earlier. There's a definite collection I know is his that's all arrows, because arrows are his thing. He's a Sagittarius, which he mentioned several times; it was the 60s. Arrows were very important to him, so I know that one of the Cartier collections with arrows is his, but it is not signed. It was very rare for a designer to sign their work at that time. For him to be able to sign it was pretty phenomenal.   Sharon: He didn't seem to work for Cartier for that long.   JoAnne: He did not. I guess that was under the parent company. Unless I can find an article or a magazine photo that attributes it to him, I can't be sure of all the collections he worked on. Of course, like any fashion, you design in one season, say the winter, but it's for the spring collection. He may have worked for one company or another designing a collection, but it was launched after he left. There's still a lot of investigation I need to do. The timeline for him, I don't have it quite tightened up yet. I'm still working on it.   Sharon: You mentioned some of the costume jewelry companies he did work for. Let's say O'Dell.   JoAnne: The parent company after Richelieu. He worked for Laguna. I do have a few pieces of his that are Laguna.    Sharon: Are they signed?   JoAnne: Yes, they are. I missed out on an auction the other day, and I kicked myself for a week. I'm still kicking myself. There are things I look for to complete a collection. Laguna is one of the ones he designed for. That company, if you Google it now, is all beach ware; it's Laguna, California. It might be difficult to find things because I don't think he did too many collections for them.   He also worked for Hattie Carnegie, but I can't find anything of his that was signed. I have a newspaper article that shows a necklace, but the image is so poor I can't tell what it looks like. I could have one in my collection; I wouldn't even know it because I can't tell from the image.    Sharon: What was his big break?    JoAnne: It was the body jewelry.    Sharon: The body jewelry?   JoAnne: The body jewelry he did with the pearls. I interviewed Clifton Nicholson, who himself is a very well-known designer in his own right. He lives 20 minutes from here. I spent an afternoon at Clifton's studio, and he gifted me probably 150 pieces of jewelry.    Sharon: At one time?   JoAnne: Well, it was over two times. He came to see the exhibit in October. He called me a week later and came in with a big shopping bag full of jewelry that Bill had told him he could have when Bill was closing his Long Island studio to go work for Richelieu. Clifton grabbed whatever he saw. A lot of it was Bill's original designs that aren't signed but are definitely his. That was quite a gift. Then when I went back to have lunch with him and do an interview, he gave me another small bag of jewelry, still fantastic. There are several I have that are now positively identified because I found photos of them, so I can put the photos or the advertisements with the jewelry. I just love doing that; I love making that.   Sharon: Let's say you have an unsigned piece. Can you look at it and say, “Oh, that's Bill's,” or “It looks like Bill's”?   JoAnne: I can because I've been looking at them daily. He has a certain flair. There was a woman that came in and said, “Oh, I have this Richelieu bracelet and it's a Bill Smith.” I looked at it and said, “I'm sorry, but it's not. It's too late. It's too modern. He was not working for them at the time.” It was a late 80s design, and I said, “He was gone by then. That can absolutely not be identified as his.” I have a pretty good eye. I spend a lot of time when I travel looking at antique malls and flea markets hoping that something will call to me, and I will be able to find a piece I don't have or I've never seen before. Then I ask my husband for the credit card so I can buy it. But I do think I have a fairly good eye for that. I can tell.    His early stuff is very rough and unfinished. Clifton told me a lot about the jewelry industry and designers and how that all worked. They riffed off each other all the time. You make a collection of crosses, and Avon's got one too, and Kenneth J. Lane has one too. They're all similar, but Kenneth's are very, very polished and look extremely high-end. Bill's stuff is a little more brutalist; it's a little more rough around the edges. So, I can look at something and go, “Hmm,” or “It's a knock-off.” Joan Rivers has stuff that looks like his early stuff. There's no new design in jewelry, but I think I have a pretty good eye. It's not fail-proof. Since Clifton gave me that early jewelry, I can look at it and get a feel for that time period. When I look at things online, I can say, “Maybe. That's a strong maybe.”    Clifton was also very helpful because I had created a catalogue, so to speak, of all the jewelry I've seen on the internet that I know is Bill's or maybe is Bill's. Because they worked together for two years, we flipped through the whole book and he would say, “Yes, no, maybe, yes, no.” It was wonderful, because who else is going to be able to tell me that in a positive way? The zodiac collection, which I'm kind of obsessed with, is not signed, but Clifton, during one of my interviews, said, “Yeah, that's Bill Smith's design. He sketched it, I carved it,” so I can say that is one of his pieces even though it's not signed.    That was a gift to me from Bill from above, I think. He sent Clifton to me. Clifton needed closure. I needed to have a conversation with someone that knew Bill. We met, and it was wonderful. It's been so very helpful. I've been able to take my research to another level that I had not considered before. It was quite a blessing that Clifton came in, was wowed, and knew that this is where the pieces should be. He said, “I don't know why I've been keeping these all these years. It must be because of this.” He's been hanging onto those as long as I've been alive, I'm telling you. The bag of jewelry and I are the same age. It's been a long time, but it was quite a gift. He knew we would take very good care of it, and he wants to help me to tell his story.    Sharon: He was Black, but he was also gay. When he went to New York, did he find more acceptance in the design community there?   JoAnne: I believe he did. At the time, in the early 70s, there was a boom of Black designers that were finally getting noticed, whether it was fashion or jewelry or some other kind of art form. They were finally getting some recognition and publicity outside of the Black community. The Black community supported them very well.    As far as the part about being gay, he was not as comfortable here in Madison as he would have been in New York. He needed to be away from a small town to be able to realize his potential. He could have gone to Chicago or Detroit, I suppose, but he took himself all the way to New York because he could, and he did. He knew that's where he needed to be, and he did not give up; he persevered. I think he really was more accepted there than he was here.   Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.

On donne souvent le surnom d'"Immortels" aux académiciens français. Ferait-on allusion à leur âge souvent vénérable ? Mais, de ce point de vue, l'Académie française n'est plus cette réunion de vieux messieurs, à lorgnons et barbiches, qui se réunissaient jadis sous la Coupole. Même si certains académiciens vivent jusqu'à un âge très avancé, comme le dramaturge René de Obaldia, mort récemment à 103 ans, beaucoup d'autres sont désormais nettement plus jeunes. En effet, certains ont été élus dans la cinquantaine, ou même avant. Quoi qu'il en soit, aucun d'entre eux ne s'est pour l'instant affranchi des lois qui régissent la condition humaine. Aucun académicien, si âgé fût-il, n'est donc devenu "Immortel". Alors, d'où peut bien leur venir ce surnom ? Il leur a été donné par celui qui, voilà près de quatre siècles, a fondé l'Académie française. En créant cette illustre compagnie, en 1635, le cardinal de Richelieu fit graver sur le sceau de l'Académie ces deux mots : "à l'immortalité". Et cette glorieuse devise a été confirmée en 1816 quand, après l'éclipse révolutionnaire, les Académies, dont l'Académie française, furent rétablies. Seulement, cette immortalité ne s'appliquait pas aux académiciens. Ce n'est pas eux que leur élection à l'Académie rendait immortels. C'est à l'immortalité de la langue française qu'ils devaient veiller. En effet, la mission de ces quarante académiciens était fixée dès le début, dans les statuts de la compagnie : veiller à la correction et à la pureté de la langue. Autrement dit, faire en sorte qu'elle survive à toutes les attaques et qu'elle défie les siècles. Qu'elle devienne donc "immortelle". On peut aussi penser que ce surnom d'"Immortels" vient du caractère inamovible de cette dignité. En effet, un académicien est élu à vie. Seuls de graves manquements peuvent justifier son exclusion. On peut aussi avoir le sentiment que l'Académie française, fondée au XVIIe siècle, et, malgré l'épisode révolutionnaire, ayant survécu à tous les régimes, est faite pour durer indéfiniment. De là à qualifier d'"Immortels" les membres de cette antique institution, il n'y aurait qu'un pas. Learn more about your ad choices. Visit megaphone.fm/adchoices

De son vivant mais surtout depuis sa mort en 1642, Richelieu, le principal ministre du roi Louis XIII est qualifié d'homme froid, machiavélique, cruel et vaniteux, profitant de la faiblesse du souverain pour manigancer. Cette légende noire doit beaucoup bien sûr au roman "Les Trois Mousquetaires", d' Alexandre Dumas dans lequel Richelieu, ses sbires et sa protégée, la belle et vénéneuse Milady de Winter, font tout pour empêcher d'Artagnan et les trois mousquetaires de sauver l'honneur de la reine de France Anne d'Autriche. Mais Richelieu est également un amoureux des arts et des lettres. Le premier journal publié en France, L'Académie Française, c'est encore Richelieu.

De son vivant mais surtout depuis sa mort en 1642, Richelieu, le principal ministre du roi Louis XIII est qualifié d'homme froid, machiavélique, cruel et vaniteux, profitant de la faiblesse du souverain pour manigancer. Cette légende noire doit beaucoup bien sûr au roman Les Trois Mousquetaires d' Alexandre Dumas dans lequel Richelieu, ses sbires et sa protégée, la belle et vénéneuse Milady de Winter, font tout pour empêcher d'Artagnan et les trois mousquetaires de sauver l'honneur de la reine de France Anne d'Autriche. Mais Richelieu est également un amoureux des arts et des lettres. Le premier journal publié en France, L'Académie Française, c'est encore Richelieu.

 Cette affaire a bouleversé le royaume de France à l'époque de Richelieu : les « possédées de Loudun » avaient-elles commerce avec le diable ? Ou un compte à régler avec le prêtre Urbain Grandier ?   Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.

Vendredi 24 mars, découvrez en avant-première le nouvel épisode d'Entrez dans l'Histoire consacré à Armand Jean du Plessis de Richelieu dit le cardinal de Richelieu. Il est un serviteur de l'Etat, aussi autoritaire et roublard que charismatique et visionnaire. Richelieu, le principal ministre de Louis XIII est réputé d'une intelligence rare, amoureux des arts et des lettres, il possède aussi une légende noire liée au roman "Les Trois Mousquetaires". Alors rendez-vous vendredi 24 mars pour ce nouvel épisode d'Entrez dans l'Histoire.

Dzisiejszy odcinek poświęcimy pani, która była żoną dwóch polskich królów. Przyjechała do Polski z Francji, a była najbogatszą kobietą w tamtych czasach. Wprowadziła też w Polsce dużo zmian.Zacznijmy jednak od władców Polski. Zwykle dzieli się ich na trzy grupy.W Polsce rządzili najpierw Piastowie. Oznaczało to, że rządzili królowie z dynastii, czyli z rodziny Piastów. Później rządzili Jagiellonowie, czyli królowie z dynastii jagiellońskiej. Kiedy zmarł ostatni król z tej dynastii, a był nim Zygmunt August, w Polsce zaczęto wybierać królów. Trochę tak jak dzisiaj głosuje się na prezydenta, tak w tamtych czasach głosowano, kto ma zostać królem Polski.Do rządów wybrano aż trzech królów z rodziny Waza. Ale dlaczego?Ostatni król z dynastii Jagiellonów czyli Zygmunt August, miał siostrę Katarzynę Jagiellonkę. Ona wyszła za mąż za Jana Wazę i tak jej syn i wnukowie mieli nazwisko taty czyli Waza. Do rządzenia w Polsce wybrano najpierw syna Katarzyny, czyli Zygmunta Wazę, a potem jego synów czyli Władysława IV Wazę oraz Jana Kazimierza Wazę.My dzisiaj będziemy mówić o żonie, którą miało tych dwóch synów Zygmunta III Wazy. Władysław IV Waza i Jan Kazimierz mieli tą samą żonę. Jak się ona nazywała?Zacznijmy jednak od początku. Po śmierci pierwszego Wazy na polskim tronie, czyli po śmierci Zygmunta III Wazy na króla wybrano jego syna Władysława IV Wazę. W Europie dwa kraje chciały się wtedy bić. Były to Austria i Francja. Każdy z tych krajów chciał aby Polska mu pomogła. Król Władysław IV chciał jednak pokoju i najpierw się ożenił z księżniczką austriacką, a gdy ona umarła ożenił się z księżniczką francuską. W tamtych czasach takie małżeństwo było jak podpisanie traktatu między dwoma narodami. Król Polski przez pierwsze małżeństwo zadbał o pokój z Austrią, a przez drugie o pokój z Francją. Najpierw ożenił się z Cecylią Habsburżanką, która urodziła mu syna. W 1640 roku urodził się mały Zygmunt. A co się działo z bratem króla? Co się działo z Janem Kazimierzem?Gdy w Polsce rządził Władysław IV Waza, jego brat Jan Kazimierz Waza pojechał do Portugalii, aby zostać tam wicekrólem. Niestety, gdy jechał przez Francję, aresztował go kardynał Richelieu. Kiedy to się wydarzyło? Gdy więc w Polsce w 1640 roku urodził się syn Władysława IV, to Jan Kazimierz przebywał w więzieniu we Francji. Miał tam dość dobre warunki. Właśnie wtedy w Paryżu, będąc w niewoli, Jan Kazimierz poznał Marię Gonzagę. Podobno się w sobie zakochali. Niektórzy mówią nawet, że mieli razem dziecko. Miała nim być Marysieńka, która wiele lat później zostanie żoną Jana III Sobieskiego.Marysieńka urodziła się w 1641 roku, czyli rok po poznaniu się Marii Gonzagi i Jana Kazimierza. Chcieli wziąć ślub, ale nie zgodził się na to kardynał Richelieu, który wtedy rządził we Francji. Jan Kazimierz wyjechał wtedy do Włoch i dostał od papieża tytuł kardynała. A co się stało z Marią Gonzagą?W 1644 roku zmarła Cecylia Habsburżanka, żona króla Władysława IV. Postanowił on ożenić się z księżniczką z Francji. Jego żoną została właśnie Maria Gonzaga. Dostała wtedy nowe imię. W Polsce w tamtych czasach nie wolno było nosić imienia Maria. Tak więc Maria Gonzaga dostała w Polsce imię Ludwika. Ich ślub był per procura. Co to znaczy?“Per procura” to po łacinie znaczy “w zastępstwie”. Do Paryża król Władysław IV posłał swojego wysłannika Krzysztofa Opalińskiego. To on 5 listopada 1645 w imieniu króla zawarł małżeństwo z Marią Gonzagą, a potem przywiózł ją do Polski. Maria Gonzaga miała pierwszy ślub z zastępcą w Paryżu. Drugi ślub odbył się już w Polsce 10 marca 1646 roku. 15 lipca Ludwika Maria Gonzaga została koronowana na królową Polski. Czy król Władysław IV ożenił się z Marią Gonzagą z miłości? Dlaczego więc Władysław IV ożenił się z nią?Władysław IV ożenił się z Marią z powodów politycznych, a także dla jej pieniędzy. Była ona wtedy najbogatszą kobietą w całej Europie. Wniosła w posagu 700 tys. skudów, to takie srebrne pieniądze włoskie. Później po ślubie Władysław IV pożyczył od swojej żony kolejne 700 tys. złotych polskich, których nigdy jej nie oddał. Już dwa lata po tym ślubie, w 1648 została wdową.Postarała się o to, aby na kolejnego króla wybrano Jana Kazimierza, potem wzięła z nim ślub w 1649. Umarł Władysław IV Waza, a królem został jego młodszy brat Jan Kazimierz Waza. Władysław IV miał syna Zygmunta, który miał zostać królem. Niestety umarł. W Polsce rządziło trzech Zygmuntów. Najpierw Zygmunt I Stary, potem Zygmunt II August, a na koniec Zygmunt III Waza. Gdyby ten chłopiec nie umarł byłby król Zygmunt IV. Niestety zmarł i w Polsce królami było tylko trzech Zygmuntów.Co musieli zrobić Maria i Jan Kazimierz aby wziąć ślub? W tamtych czasach wierzono, że jak kobieta była już żoną i jej mąż umarł to brat zmarłego męża nie mógł się z nią ożenić. Z tego powodu Maria i Jan Kazimierz napisali list do papieża aby im pozwolił na ten ślub. W Anglii była bardzo podobna sytuacja. Królem miał zostać Artur i ożenił się z księżniczką hiszpańską. Gdy on umarł następcą tronu został Henryk VIII i on ożenił się z tą samą księżniczką. Też musiał mieć pozwolenie od papieża na ślub z wdową po swoim starszym bracie.Jan Kazimierz rozpoczął swoje królowanie w bardzo trudnym okresie. Były wtedy same wojny. Najpierw wojna na Ukrainie, tam wybuchło powstanie Chmielnickiego. Później wojna z Rosją. Co było jednak najgorsze dla Polski? Potem jeszcze potop Szwedzki. Co robiła Maria Gonzaga w tych trudnych czasach?Kierowała obroną przed Szwedami, załatwiła od cesarza 4000 żołnierzy do walki. Pracowała wtedy nawet po 15 godzin na dobę. Kierowała wojskami. Jako kobieta podróżowała karetą. Podczas oblężenia Torunia kula armatnia otarła się o dach jej karety. Ona jednak się nie wystraszyła i dalej osobiście odwiedzała armię wierną królowi Polski. W 1656 doprowadziła do ślubów lwowskich. Co to było?Szwedzi zajęli wtedy prawie całą Polskę. Dlatego ich najazd nazywa się potopem. Dlaczego im się to udało? Część polskiej szlachty pomogła królowi Szwecji. Wtedy królowa Ludwika Maria wpadła na pomysł. Namówiła swojego męża króla Jana Kazimierza, aby oddał Polskę w opiekę Matki Boskiej. Szwedzi byli protestantami i nie modlili się do Matki Boskiej, a Polacy w większości byli katolikami i czcili jej obrazy. Gdy więc w 1656 roku król za namową żony oddał Polskę w opiekę Matce Boskiej to Polacy, którzy popierali króla szwedzkiego wrócili i zaczęli popierać Jana Kazimierza. Bo gdyby tego nie zrobili wyglądałoby na to, że walczą przeciwko Matce Boskiej. Maria Gonzaga przybyła z Francji, a tam to samo zrobił wcześniej kardynał Richelieu, który rządził Francją.Po wojnie, gdy już wypędzono Szwedów, królowa Ludwika Maria zajęła się innymi rzeczami. Zaczęła wydawać pierwszą polską gazetę - Merkuriusz Polski. Zmieniła też życie kobiet. Wcześniej każda kobieta, która miała męża musiała nosić nakrycie głowy. Ludwika wprowadziła modę z Paryża i mężatki od tego czasu przestały nosić nakrycia głowy. Przywiozła też modę na dekolty, które były wcześniej nieznane w Polsce. Ile dzieci miała Maria Gonzaga?Ludwika Maria urodziła Janowi Kazimierzowi dwójkę dzieci dziewczynkę i chłopca. Niestety oboje zmarli gdy byli jeszcze bardzo mali. Jeżeli to jednak prawda, że Marysieńka także była ich córką to mieli razem troje dzieci. Marysieńka została później żoną Jana Sobieskiego i także była królową.Co się stało gdy umarła Maria Gonzaga?Jan Kazimierz nie chciał być dalej królem po śmierci swojej żony. Abdykował i wyjechał do Francji. Wstąpił do klasztoru i został tam opatem.Maria Gonzaga i Jan Kazimierz poznali się w Paryżu. Niestety rządzący tam kardynał nakazał jej aby wyszła za mąż za króla Polski Władysława IV. Ponieważ Jan Kazimierz nie mógł się z nią ożenić postanowił zostać kardynałem. Gdy jednak jego starszy brat zmarł, zrezygnował ze stanowiska kardynała. Przybył do Polski, a tam Maria doprowadziła do tego, że został królem. Później wzięli ślub. Maria Gonzaga rządziła podczas potopu szwedzkiego i namówiła męża do ślubów lwowskich. Po wojnie założyła pierwszą w Polsce gazetę. Miała też duży wpływ na to jak się ubierały kobiety. Gdy zmarła jej mąż abdykował i został mnichem. Maria Gonzaga była niezwykłą kobietą.

Il y a très très peu de chances que le corps qui y est enterré soit celui de Molière. Idem d'ailleurs pour Jean de la Fontaine qui est supposé reposer à côté de lui dans le cimetière parisien. Tout part de la mort de Molière le 17 février 1673, à 51 ans seulement, non pas sur scène en jouant le "Malade Imaginaire" comme le veut la légende, mais quelques heures plus tard chez lui à Paris, 40, rue de Richelieu, où se pose le problème de son inhumation. Le problème, c'est qu'à l'époque, l'Église excommuniait d'office les comédiens, car elle estime que ce métier de représentation relève de la prostitution, donc incompatible avec la foi chrétienne. Tous les jours à 6h50 sur RTL, Florian Gazan révèle une histoire insolite et surprenante, liée à l'actualité.

The Three Musketeers paints a picture of King Louis XIII of France as a rather weak monarch controlled by his powerful chief minister Cardinal Richelieu. Louis' reign is generally thought of as being the beginning of the “age of absolutism” when ministers like Richelieu were in the ascendancy and the power of the court and courtiers declined. But was this really the case?In this episode of Not Just the Tudors, Professor Suzannah Lipscomb talks to Dr. Marc Jaffré, who believes it's time to revise the conventional view of this significant period in French history.This episode was edited by Thomas Ntinas and produced by Rob Weinberg.If you'd like to learn more, we have hundreds of history documentaries, ad-free podcasts and audiobooks at History Hit - subscribe to History Hit today!Download the History Hit app from the Google Play store.Download the History Hit app from the Apple Store. Hosted on Acast. See acast.com/privacy for more information.

Get 16% off an annual Patreon membership and access to our new series examining Anglo-American Relations from 1838-46 when you sign up now!The Battle of Rocroi was a signal French triumph, but it did not transform the face of the war, either in the Netherlands or in Europe. A Bavarian victory later in the year at Tutlingen made 1643 a year of ups and owns, but of far greater consequence than who won, was who left the scene after so many years. Within a season, Cardinal Richelieu, King Louis XIII and the Count Duke Olivares all departed, leaving behind a war which was to change the face of early modern Europe. Fortunately, in Richelieu's case at least, the baton had been passed into some very capable hands...**DON'T FORGET TO FOLLOW THESE LINKS!**1) To support the podcast financially in return for some extra audio content, check out Patreon!2) To find a community of history friends, look at our Facebook page and group!3) To keep up to date with us, follow us on Twitter!4) Matchlock and the Embassy, our new historical fiction novel, is out NOW! Get it here5) Researcher? Student? Podcaster? Use Perlego to access a massive online library of books, and get a week for free! Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

The Three Musketeers paints a picture of King Louis XIII of France as a rather weak monarch controlled by his powerful chief minister Cardinal Richelieu. Louis' reign is generally thought of as being the beginning of the “age of absolutism” when ministers like Richelieu were in the ascendancy and the power of the court and courtiers declined. But was this really the case?In this episode of Not Just the Tudors, Professor Suzannah Lipscomb talks to Dr. Marc Jaffré, who believes it's time to revise the conventional view of this significant period in French history.This episode was edited by Thomas Ntinas and produced by Rob Weinberg.For more Not Just The Tudors content, subscribe to our Tudor Tuesday newsletter here >If you'd like to learn even more, we have hundreds of history documentaries, ad free podcasts and audiobooks at History Hit - subscribe today! To download, go to Android > or Apple store > Hosted on Acast. See acast.com/privacy for more information.

durée : 00:09:00 - A la source - par : Mattéo Caranta - La réouverture du site Richelieu de la Bibliothèque nationale de France est un succès. La BnF compte 40 millions de documents. Mais combien en faudrait-il pour contenir tous les savoirs du monde ? La réponse se trouve peut-être à Alexandrie... Ou dans la littérature.

Ce jeudi 22 décembre, Cédric Decoeur a reçu Frédéric Rozier, gérant pour Mirabaud France, Alexandre Hezez, directeur de la Gestion financière de Richelieu, Jean-Louis Cussac, trader pour compte propre chez Perceval Finance Conseil, Éric Le Baron, directeur général de SwissLife, Jean-François Filliatre, directeur éditorial de MarchésGagnants.com, Odile Ezerzer, directrice générale de Mutavie, et Gérard Bekerman, président de l'AFER, dans l'émission BFM Patrimoine sur BFM Business. Retrouvez l'émission du lundi au vendredi et réécoutez la en podcast.

Ce jeudi 22 décembre, Cédric Decoeur a reçu Robin Leclerc, analyste financier et associé chez IDMidCap, Thomas Abinal, cofondateur de Monetivia , Yvan Mamalet, économiste senior Europe à Société Générale CIB, Alexandre Baradez, chef analyste chez IG, Jean-Louis Cussac, trader pour compte propre chez Perceval Finance Conseil, Pierre Hertfelder, notaire à l'Office Notarial de la Madeleine, Victor Dodemand, avocat du cabinet Fidal Avocats, Frédéric Rozier, gérant pour Mirabaud France, Alexandre Hezez, directeur de la Gestion financière de Richelieu, Éric Le Baron, directeur général de SwissLife, Jean-François Filliatre, directeur éditorial de MarchésGagnants.com, Odile Ezerzer, directrice générale de Mutavie, et Gérard Bekerman, président de l'AFER, dans l'émission BFM Patrimoine sur BFM Business. Retrouvez l'émission du lundi au vendredi et réécoutez la en podcast.

This is the second in a series of five episodes regarding Louis the Sun King.  The young King's reign did not begin in a favorable manner.  The transition from Richelieu to Mazarin is covered along with a deeper look into the relationship between Louis' mother and his chief advisor.  The Fronde challenges his right to rule, but also manages to cement the King's foundation for absolute rule.   Contact the show at resourcesbylowery@gmail.com  If you would like to financially support the show, please use the following paypal link.  Any support is greatly appreciated and will be used to make future episodes of the show even better.     Expect new shows to drop on Wednesday morning except for during the Winter Break period and Summer.   Music is licensed through Epidemic Sound  

In Leiden moest een schilderij van ‘sigaren rokende witte mannen' (het universiteitsbestuur in 1974) weg en in Riga bliezen ze een 80 meter hoge betonnen Sovjet-obelisk op. Vladimir Poetin stal onlangs uit de Oekraïense stad Cherson het lijk van Grigory Potjomkin en de ruiterstandbeelden van Robert E. Lee verdwijnen uit ‘the Old South'. Jaap Jansen en PG Kroeger duiken in deze editie van Betrouwbare Bronnen in de complexe vraagstukken rond 'schurend verleden' en 'schuldige plekken'.De felle discussie in Odessa over het magnifieke beeld van tsarina Catharina II bewijst tenminste één ding: het verleden is eigenlijk nooit passé. Tegelijkertijd wil Cherson de doodskist terug van haar stichter, de geliefde generaal van diezelfde vorstin. Deze innerlijke contradicties geven wel aan hoe lastig en ingewikkeld de debatten kunnen zijn over wat we in onze tijd nu wel en niet uit het verleden willen erkennen, meedragen en doen vergeten. En kan dat überhaupt, vergeten?PG analyseert dat er vaak drie motieven aan de orde komen in zulke discussies over pijn of ongemak uit het verleden. Het eerste is de behoefte eerbewijzen aan tirannen en hun handlangers niet meer te accepteren. Daar zijn pregnante voorbeelden van. Van het verwijderen van de opgebaarde Jozef Stalin aan het Rode Plein en het opblazen in Praag van het grootste standbeeld ooit in Europa tot het verwijderen van het praalgraf van dictator Francisco Franco. Daarom ook zijn in Duitsland vele Hindenburgpleinen en straten verwijderd, maar staan de Bismarckmonumenten nog overeind.Het tweede motief is dat van het wegnemen van een eenzijdige, soms zelfs fictieve monumentalisering van aspecten en imago's uit het verleden. Daarom strijkt men in de vroegere Confederacy in Amerika nu de 'Stars and Bars'-vlaggen, werd Batavia Jakarta en kreeg Karl Marx Stadt in de DDR na de 'Wiedervereinigung' zijn oude naam Chemnitz terug.Het derde motief is de wens een nieuwe, eigen identiteit op te poetsen, zowel in positieve als in negatieve zin: dít zijn we of dát zijn we niet. Ziedaar waarom ze aan de Leidse universiteit dat schilderij meenden te moeten verwijderen. Ze kenden er historie noch betekenis van. PG vertelt over twee van de daarop geschilderde mannen met rookwaren, die hij beide goed kende!Bij dit derde motief zien we hoe Berlijn de paradeplaats van het DDR-regime verving door een herbouwd paleis, maar twee standbeelden van communistische denkers slechts een beetje verplaatste. Hierbij speelt ook de discussie rond de beelden van Comte de Richelieu in Odessa en dat van zijn opdrachtgeefster, de tsarina. Om dit motief draait het ook als we discussiëren over een 'Zeeheldenbuurt', een 'Indische buurt' en een 'Transvaalbuurt'. En ondertussen struikelen we daar over Stolpersteine…PG sprak er al eens over met Vaira Vike-Freiberga. En op dit terrein is ook het denken van de Duitse historica Aleida Assmann behulpzaam. In een gesprek met PG wees zij op het belang en de noodzaak dat de herinnering aan de ene tirannie die aan een andere niet mag relativeren en ook niet mag trivialiseren. Bovendien moeten wij hierbij een al te eurocentrische blik proberen te vermijden. Dat bleek ook al uit het gesprek in de aflevering met Simon Sebag Montefiore. Het verleden is dan ook nimmer voorbij!***Deze aflevering is mede mogelijk gemaakt met donaties van luisteraars die we hiervoor hartelijk danken. Word ook vriend van de show!Heb jij belangstelling om in onze podcast te adverteren of ons te sponsoren? Dat zou helemaal mooi zijn! Stuur voor informatie een mailtje naar adverteren@dagennacht.nl***Hieronder nog meer informatie. Op Apple kun je soms niet alles lezen. De complete tekst vind je altijd hier***Verder luisteren311 - De wereld volgens Simon Sebag Montefiore300 - Ethische politiek: het bijzondere Nederland met zijn 'moreel hoogstaande opvattingen'259 - De omgevallen boekenkast: leestips van PG!246 - Kuifje, Kafka en Klompé: de nieuwe eurobiljetten!231 - Geschiedenis als politiek wapen185 - De Amerikaanse Burgeroorlog (1): Black Lives Matter en George Floyd, hoe de burgeroorlog op de VS nog altijd zijn stempel drukt228 - De Amerikaanse Burgeroorlog (2): hoe Abraham Lincoln onvoorbereid de strijd in ging263 - De Amerikaanse Burgeroorlog (3): de overwinning van Abraham Lincoln en Ulysses Grant253 - Poetins bizarre toespraak: hoe de president de geschiedenis van Oekraïne herschrijft138 - In het voetspoor van Amerikaanse Presidenten in Nederland105 - 75 jaar bevrijding: Dagelijks leven in Nazi-Duitsland65 - 'Vroeger was alles beter', PG Kroeger: nostalgie als strategie en politiek wapen58 - PG over 70 jaar China, de Volksrepubliek van Mao, Deng en Xi40 - PG en de geniale broers Von Humboldt13 - PG Kroeger over liberalen, volkscultuur en Stalin***Tijdlijn00:00:00 – Deel 100:44:54 – Deel 200:54:19 – Advertentie voor De Binnenkamer + Deel 301:31:00 – Einde Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

"Les trois Mousquetaires" est sans nul doute l'une des œuvres les plus fameuses de la littérature mondiale. Et elle apporta une gloire durable à leur auteur, le romancier Alexandre Dumas. Mais pourquoi a-t-il nommé ainsi ses célèbres personnages, d'Artagnan et ses compagnons, Portos, Athos et Aramis ? Si Dumas leur a donné ce nom, c'est que, dans le roman, les trois amis de d'Artagnan, que celui-ci rejoindra par la suite dans la compagnie, sont bien des mousquetaires. Ce corps a été créé par Louis XIII en 1622. Leur nom vient de l'arme que ces soldats utilisent, le mousquet. Cette arme à feu, au long canon, est l'ancêtre de notre fusil. Elle est en tous cas plus efficace que l'arquebuse, qui équipait jusque-là les soldats. C'est le Roi qui est le chef nominal de cette compagnie, placée sous les ordres effectifs d'un capitaine-lieutenant. Elle porte d'abord le nom de "Compagnie de mousquetons du Roi", avant de s'appeler simplement "Mousquetaires du Roi". Principal ministre de Louis XIII, Richelieu a ses propres mousquetaires, dont la casaque, aux couleurs de l'Église, est rouge vif. Dissous par Mazarin, en 1646, le corps des mousquetaires est rétabli par Louis XIV. À partir de 1664, on distingue deux compagnies de mousquetaires, dont le nom vient de la couleur de leur chevaux : les mousquetaires noirs et les mousquetaires gris. Comme il était d'usage à l'époque, les mousquetaires sont recrutés dans les familles nobles. Ils forment un corps d'élite, chargés de protéger le Roi, qui leur confie en plus diverses missions de confiance. Dissous un temps par Louis XVI, les mousquetaires sont définitivement supprimés par Louis XVIII, en 1816. Il est à noter que Charles de Batz de Castelmore, le d'Artagnan d'Alexandre Dumas, fut bien un mousquetaire. Il les a même dirigés. À ce titre, Louis XIV lui a confié des missions importantes, comme l'arrestation du surintendant Fouquet, en 1661. Mais, né en 1611, le vrai d'Artagnan n'était pas assez âgé pour participer à l'intrigue du roman de Dumas, qui commence en 1625. Learn more about your ad choices. Visit megaphone.fm/adchoices

By 1640, two rebellions shook Madrid to its core, and had a dramatic knock on effect on Spain's ability to support its Habsburg cousins in Vienna. In summer, Catalonia erupted in revolt after years of provocations and intransigence. When Portuguese soldiers were sent to quell the rising, those soldiers took home news of Spanish weakness, and by December, Portugal had broken away, and declared itself independent under King John IV. It was plain that Spain couldn't suppress the original Dutch revolt with this disaster on its doorstep, and its war against France was also in doubt, as Richelieu took the opportunity to take Catalonia under French protection. The writing was on the wall, the wheels were coming off, but even with this maiming, Spain was not done yet.**DON'T FORGET TO FOLLOW THESE LINKS!**1) To support the podcast financially in return for some extra audio content, check out Patreon!2) To find a community of history friends, look at our Facebook page and group!3) To keep up to date with us, follow us on Twitter!4) Matchlock and the Embassy, our new historical fiction novel, is out NOW! Get it here5) Researcher? Student? Podcaster? Use Perlego to access a massive online library of books, and get a week for free! Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Notre invité est Jean-Pierre Darroussin. L'acteur français est actuellement sur les planches du théâtre Montparnasse, à Paris, dans la pièce de Simon Stephens "Le principe d'incertitude". Il nous parle de cette rencontre improbable entre une quadragénaire révoltée et un discret septuagénaire. Le comédien nous emmène aussi visiter un chef-d'oeuvre du patrimoine français, le site Richelieu de la Bibliothèque nationale de France, à nouveau accessible au public après douze années de travaux. 

In this Com d'Archi, through the voice of Esther, discover the festival ‘Utopies Constructives' (Constructive Utopias) and its realisation: a thirteen meters long wicker footbridge. This footbridge was realised with the collective ‘Construire l'Architecture' (Constructing Architecture).Founded in 2019 by Marc Hymans, Geoffrey Clamour, Priscillia Jorge and Camille Sineau from ‘BETA' (Bureau for Experimental Architecture) and Benjamin Marolleau from the cultural center ‘La Teinturerie', the festival is dedicated to innovation and research in architecture and construction. It takes place in Richelieu, the city named after Cardinal Richelieu who had it built on the model of the ideal city. Thus, the wicker footbridge project not only aims to embody the researches on resource preservation and new building techniques but also to reopen this historic site to its inhabitants. The bridge will be raised over the Mable canal in the park Richelieu, offering new paths into the garden. Its design combines traditional basketry techniques with new technology since its weaving was calculated with the BAYA algorithm. A tool that can predict the ideal braiding for structural shell for architecture.Listen to this innovative project, at the frontier of architecture, engineering, art and history.Image teaser DR © Utopies ConstructivesSound engineering : Julien Rebours___If you like the podcast do not hesitate:. to subscribe so you don't miss the next episodes,. to leave us stars and a comment :-),. to follow us on Instagram @comdarchipodcast to find beautiful images, always chosen with care, so as to enrich your view on the subject.Nice week to all of you ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Stéphane Bern, entouré de ses chroniqueurs historiquement drôles et parfaitement informés, s'amuse avec l'Histoire – la grande, la petite, la moyenne… - et retrace les destins extraordinaires de personnalités qui n'auraient jamais pu se croiser, pour deux heures où le savoir et l'humour avancent main dans la main. Aujourd'hui, le cardinal de Richelieu.

Historiquement Vôtre réunit trois personnages tout entiers dévoués à Sa Majesté : le cardinal de Richelieu qui, malgré l'image que l'Histoire a retenu de lui, a servi Sa Majesté Louis XIII avec une loyauté sans faille. Puis le duc de Sully dévoué, lui, au roi Henri IV avant que leur amitié ne soit coupée net. Et un dévoué plus récent, qui n'est ni duc, ni cardinal, mais valet, celui de feu Elizabeth II, qui a passé plus de 40 ans à ses côtés et a désormais plus de temps libre : Paul Whybrew dit "Tall Paul".

Historiquement Vôtre réunit trois personnages tout entiers dévoués à Sa Majesté : le cardinal de Richelieu qui, malgré l'image que l'Histoire a retenu de lui, a servi Sa Majesté Louis XIII avec une loyauté sans faille. Puis le duc de Sully dévoué, lui, au roi Henri IV avant que leur amitié ne soit coupée net. Et un dévoué plus récent, qui n'est ni duc, ni cardinal, mais valet, celui de feu Elizabeth II, qui a passé plus de 40 ans à ses côtés et a désormais plus de temps libre : Paul Whybrew dit "Tall Paul".

Stéphane Bern, entouré de ses chroniqueurs historiquement drôles et parfaitement informés, s'amuse avec l'Histoire – la grande, la petite, la moyenne… - et retrace les destins extraordinaires de personnalités qui n'auraient jamais pu se croiser, pour deux heures où le savoir et l'humour avancent main dans la main. Aujourd'hui, le cardinal de Richelieu.

In French in this CDA S4#23 (Monday online), "Les utopies constructives", an interview in french with Héloïse Leboucher, operational director of the Campus des Métiers d'Arts et du Design, and Marc Hymans, founder of the association Utopies Constructives and BETA – In English in this CDA S4#24 (Wednesday online), "Utopies constructives : the wicker footbridge", a text written by the association Utopies constructives and read by Esther.En français dans le CDA S4#23 (lundi en ligne), "Les utopies constructives", une interview en français de Héloïse Leboucher, directrice opérationnel du Campus des Métiers d'Arts et du Design, et Marc Hymans, fondateur de l'association Utopies Constructives et BETA – En anglais dans le CDA S4#24 (Mercredi en ligne), "Utopies constructives : the wicker footbridge", un texte écrit par l'association Utopies constructives et lu par Esther.___Dans ce Com d'Archi, Héloïse Leboucher et Marc Hymans, s'expriment sur la préservation des ressources, le réemploi des matériaux, et comment trouver de nouveaux modes d'habiter.Au croisement entre architecture, ingénierie, et art, le festival ‘Utopies constructives' est dédié à l'innovation et à la recherche. Fondé en 2019 par Marc Hymans, Geoffrey Clamour, Priscillia Jorge et Camille Sineau de ‘BETA' (Bureau for Experimental Architecture) et Benjamin Marolleau du centre culturel ‘La Teinturerie', il est basé à Richelieu. La ville tient son nom du Cardinal Richelieu qui la fit construire sur le modèle de la cité idéale. Riche de cet héritage historique, ce festival d'expérimentation met en commun les savoirs existants et propose de réfléchir collectivement à de nouveaux savoirs, de nouveaux modes de fabrication. Les ‘Utopies Constructives' offrent un cadre pour penser l'utopie et sa fabrication ; car le métier d'architecte est avant-tout une réalité constructive. Chaque trait dessiné sur le papier à un poids dans la réalité. Dans un contexte où les ressources sont autant une question de disponibilité que de géopolitique, ce festival propose de repenser la consommation des matériaux dès la conception d'un projet. Ainsi, les partenaires — BETA, La Teinturerie, Campus des Métiers d'Art et du Design, Chancellerie des Universités de Paris, ILEK (Université de Stuttgart) — de la première édition ont conçu et construit une passerelle en osier qui prendra place dans le parc Richelieu. Un projet international et local qui réouvre le parc aux habitants et offre de nouveaux cheminements.Bonne semaine et écoute !Portrait teaser © comdarchipodcastIngénierie son : Julien Rebours____Si le podcast COM D'ARCHI vous plaît n'hésitez pas :. à vous abonner pour ne pas rater les prochains épisodes,. à nous laisser des étoiles et un commentaire, :-),. à nous suivre sur Instagram @comdarchipodcast pourretrouver de belles images, toujours choisies avec soin, de manière à enrichirvotre regard sur le sujet.Bonne semaine à tous ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

durée : 00:12:49 - Accès privé France Bleu Paris - Créée en 1635 par Richelieu, l'Académie Française veille sur la langue française à travers l'élaboration de son Dictionnaire et la défense de la francophonie. Notre reporter Murielle Giordan a pu visiter ce lieu incroyable situé en plein cœur de Paris, quai de Conti, où siège aujourd'hui 35 membres.

Una marina muy potente que tuvo un papel irrelevante durante la segunda guerra mundial. Los clase Courbet, Bretagne, Normandie, Lyon, Dunkerque y finalmente la clase Richelieu son los acorazados con los que Francia tendría que afrontar una contienda, en la que no tuvieron prácticamente tiempo de participar. Antena Historia te regala 30 días PREMIUM, para que lo disfrutes https://www.ivoox.com/premium?affiliate-code=b4688a50868967db9ca413741a54cea5 Produce Antonio Cruz Edita ANTENA HISTORIA 🔊Antena Historia (podcast) forma parte del sello iVoox Originals 🌐web……….https://antenahistoria.com/ 📧correo.....info@antenahistoria.com 🔵Facebook…..https://www.facebook.com/antenahistoria1 🔴Twitter…...https://twitter.com/AntenaHistoria ⚪Instagram...https://www.instagram.com/antenahistoria/ 🔷Telegram…...https://t.me/foroantenahistoria Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

War, hurricanes, droughts, energy shortages, food shortages, the list goes on. Many are the major challenges facing today's supply chains. Can understanding the psychology of both supply chains and the modern consumer help organizations ride the wave of economic uncertainty? Join Scott and Greg as they explore the three foundational pillars for building resilience into today's supply chains with Stephanie Richelieu Stagger, Chief Customer Officer at 3G. Additional Links & Resources: Learn more about Supply Chain Now: https://supplychainnow.com (https://supplychainnow.com) Check out our new Supply Chain Now Media Kit: https://bit.ly/3zKRLyL (https://bit.ly/3zKRLyL) Subscribe to Supply Chain Now and all other Supply Chain Now programs:https://supplychainnow.com/subscribe ( https://supplychainnow.com/subscribe) Learn more about 3G: https://bit.ly/3fqxHeG (https://bit.ly/3fqxHeG) WEBINAR with 3G- A New Paradigm Of Resilience: Protect Against The Next Supply Chain Crisis: https://bit.ly/3KSYdJg (https://bit.ly/3KSYdJg) Leveraging Logistics and Supply Chain for Ukraine: https://vectorgl.com/stand-with-ukraine/ (https://vectorgl.com/stand-with-ukraine/) 2022 Q2 U.S. Bank Freight Payment Index: https://freight.usbank.com (https://freight.usbank.com) WEBINAR- Managing in a Supply Constrained Environment: https://bit.ly/3BW77Bp (https://bit.ly/3BW77Bp) WEBINAR- Beyond One Number Forecasts: Why a Probabilistic Approach is Better to Manage Uncertainty: https://bit.ly/3cQAzAB (https://bit.ly/3cQAzAB) WEBINAR- Finance & Commercial Teams Collaborating to Improve Supply Chains: https://bit.ly/3UX1lIr (https://bit.ly/3UX1lIr) WEBINAR- Undermanaged Spend Categories: How GPOs Can Help Mitigate Your Risks: https://bit.ly/3SM5WeK (https://bit.ly/3SM5WeK) This episode is hosted by Scott Luton and Greg White. For additional information, please visit our dedicated show page at: https://supplychainnow.com/3-ways-grow-sustainable-resilient-supply-chain-3G-998

Nous commencerons notre émission en commentant le discours que le dirigeant russe Vladimir Poutine a prononcé mercredi pour annoncer à la nation son projet de mobilisation partielle de l'armée visant à « défendre la souveraineté russe ». Ensuite, nous discuterons de la nouvelle ère qui a commencé en Grande-Bretagne avec l'intronisation d'un nouveau roi, Charles III, et l'adoption d'un nouvel hymne : « God save the King ». Ensuite, dans la partie scientifique de notre émission, nous verrons comment les discussions qui ont pour but de trouver un consensus produisent un alignement des ondes cérébrales, selon une étude récente de l'université Cornell. Et enfin, nous parlerons de l'héritage de la défunte reine Elizabeth II dans le domaine de la mode.    Dans la deuxième partie de notre émission, « Trending in France », nous parlerons de l'inauguration de la Bibliothèque nationale de Richelieu après 12 ans de travaux. Nous discuterons pour finir de la disparition du célèbre réalisateur Jean-Luc Godard. - Poutine annonce une mobilisation partielle en Russie - La Grande-Bretagne a un nouvel hymne national : « God Save the King » - Les discussions visant à trouver un consensus produisent un alignement des ondes cérébrales - L'héritage de la reine Élizabeth II en matière de mode - La Bibliothèque nationale rouvre ses portes après 12 ans de travaux - Mort du réalisateur Jean-Luc Godard

Chose inhabituelle, j'enregistre ce podcast avec la télé allumée. Je suis les funérailles de la Reine Elizabeth.  Ce matin, j'ai reçu un message de mon amie Gabriella. Son message contenait des photos de la salle des mariages de la Mairie d'Asnières. C'est une très belle salle avec des peintures de Henry Bouvet, le peintre qui a remporté le concours lancé par la Mairie d'Asnières pour la décoration de cette salle au tout début du XXe siècle. Gabriella l'a visitée à l'occasion des Journées du patrimoine qui ont lieu chaque année au mois de septembre. Vous connaissez peut-être cette manifestation, au départ française et maintenant internationale, qui permet pendant un week-end de visiter des lieux ou des bâtiments liés au patrimoine.  www.onethinginafrenchday.com  

durée : 00:59:05 - Le Cours de l'histoire - par : Xavier Mauduit - En travaux depuis 2010, le site Richelieu de la Bibliothèque nationale de France rouvre ses portes ce vendredi 17 septembre. À cette occasion, Le Cours de l'histoire retrace l'histoire au long cours de ce sanctuaire du savoir. - invités : Yann Potin Historien et archiviste, chargé d'études documentaires aux Archives nationales et maître de conférences à l'université Paris-Nord; Jacqueline Sanson Archiviste paléographe et conservatrice générale honoraire des bibliothèques, présidente des Amis de la Bibliothèque nationale de France; Bruno Blasselle Conservateur général, ancien directeur du département des Livres imprimés et de la bibliothèque de l'Arsenal

durée : 00:04:26 - Le zoom de la rédaction - À partir de ce week-end, vous pourrez venir lire dans la sublime salle ovale du site Richelieu, berceau historique de la Bibliothèque Nationale de France, une salle de lecture jusque là réservée aux chercheurs.

durée : 00:59:34 - Le Cours de l'histoire - par : Xavier Mauduit - De l'église Saint-Gervais-Saint-Protais du XVe siècle à la Bibliothèque Richelieu construite à partir du XVIe siècle, en passant par La Samaritaine, Jean-François et Xavier Lagneau, architectes de père en fils, traversent chaque jour l'histoire, avec pour métier le souci de la préserver. - invités : Jean-François Lagneau Architecte en chef des Monuments historiques, ancien inspecteur général des Monuments historiques; Xavier Lagneau Architecte du patrimoine

C'est avec Jean-Max Manceau, vigneron et propriétaire du Domaine de Noiré que nous partons à la découverte de Chinon et de son appellation du même nom.      Jean-Max, fils de paysan, est né à Chinon au pied d'un cep de vigne et après des études d'ingénieur agricole et une spécialisation viti-oeno, devient régisseur d'un domaine appartenant à la famille Gosset, connue pour ses champagnes.  Après 29 ans de bons et loyers services pour ce domaine chinonais, il se lance en 2001 avec sa femme Odile dans sa propre exploitation qui obtient la certification AB (Agriculture Biologique) en 2014. Dans cette première partie d'entretien, Jean-Max nous retrace l'histoire de cette cité viticole, nous détaille la richesse de ses sols et nous parle bien sûr de ses cuvées.   Belle écoute

Having looked at Sweden's failed plans for Poland, and then at Richelieu's ultimate survival, we return here to the Swedish theatre - this time, the pressure is all on the Swedish Chancellor Axel Oxenstierna, who somehow had to turn everything around, and keep Sweden's war in Germany going. As 1635 turned to 1636, Oxenstierna's desperation moved him to approach Cardinal Richelieu, cap in hand, for a renewal of the Franco-Spanish alliance of 1631. Lacking leverage, Ax Ox was still willing to swallow his pride and do what was necessary, but he knew that what Sweden needed most of all was a victory - a triumph on the battlefield could change everything, and show her foes and friends alike that Sweden was not yet lost.Enter, Johan Baner.**DON'T FORGET TO FOLLOW THESE LINKS!**1) To support the podcast financially in return for some extra audio content, check out Patreon!2) To find a community of history friends, look at our Facebook page and group!3) To keep up to date with us, follow us on Twitter!4) Matchlock and the Embassy, our new historical fiction novel, is out NOW! Get it here Get bonus content on Patreon Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Since my laptop died, I would REALLY appreciate your support in getting a new one. RIP my twelve year old lappy!After so many years of cold war, finally, by 1635, France and Spain were destined to face each other in the battle - and what a battle it was! As defensive and offensive plans collided, and each side verged from crisis to stability and back to crisis again, the world shivered with nervous excitement. This was a test for the ages, a great power confrontation like no other, which would dramatically affect the future of the continent. Would it Richelieu's France, or Olivares' Spain? There could be only one.**DON'T FORGET TO FOLLOW THESE LINKS!**2) To find a community of history friends, look at our Facebook page and group!3) To keep up to date with us, follow us on Twitter!4) Matchlock and the Embassy, our new historical fiction novel, is out NOW! Get it here Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

The Three Musketeers by Alexandre Dumas audiobook. The Three Musketeers (Les Trois Mousquetaires) is a novel by Alexandre Dumas, père. It recounts the adventures of a young man named d'Artagnan after he leaves home to become a musketeer. D'Artagnan is not one of the musketeers of the title; those are his friends Athos, Porthos, and Aramis -- inseparable friends who live by the motto, "One for all, and all for one". The Three Musketeers was first published in serial form in the magazine Le Siècle between March and July 1844. Dumas claimed it was based on manuscripts he had discovered in the Bibliothèque Nationale. It was later proven that Dumas had based his work on the book Mémoires de Monsieur D'Artagnan, capitaine lieutenant de la première compagnie des Mousquetaires du Roi (Memoirs of Mister D'Artagnan, Lieutenant Captain of the first company of the King's Musketeers) by Gatien de Courtilz de Sandras (Cologne, 1700). Dumas' version of the story covers the adventures of D'Artagnan and his friends from 1625 to 1628, as they are involved in intrigues involving the weak King Louis XIII of France, his powerful and cunning advisor Cardinal Richelieu, the beautiful Queen Anne of Austria, her English lover, George Villiers, 1st Duke of Buckingham, and the Siege of La Rochelle. Adding to the intrigue are the mysterious Milady de Winter, and Richelieu's right-hand man, the Comte de Rochefort.

Direction ce matin au cœur de la capitale, dans le Ier et le IIe arrondissement de Paris pour parler de Richelieu. C'est le premier personnage de notre Histoire qui a eu le privilège de son vivant le nom d'une rue en 1634. Il s'est énormément enrichi grâce à ses fonctions. En 1624, Richelieu sait que Paris va être agrandie d'une nouvelle enceinte et il achète donc pour une bouchée de pain le futur terrain du Palais-Royal. Tout l'été, Entrez dans Paris avec Lorànt Deutsch. Chaque jour dans ce podcast, découvrez en moins de 2 minutes l'histoire d'une rue de la capitale.

Ecoutez Entrez dans l'Histoire avec Lorànt Deutsch du 11 juillet 2022

Today, conversations about advocacy on behalf of the LGBTQ+ community. A little later in the show, Tom speaks with Francis DeBernardo, the executive director of New Ways Ministry, a national organization that advocates for LGBTQ Catholics. But we begin with Londyn Smith de Richelieu, the first trans member of Baltimore Mayor Brandon Scott's cabinet, and the director of the Mayor's new Office for LGBTQ Affairs. She joins us on Zoom from Baltimore. See omnystudio.com/listener for privacy information.

As spring 1635 approached, France had a choice to make. She could remain neutral, and allow the Imperial-Spanish triumph to overwhelm the Swedish and Dutch. Or, she could join their struggle, and end once and for the Bourbon-Habsburg cold war that had lasted a generation. It's decision time for Cardinal Richelieu...**DON'T FORGET TO FOLLOW THESE LINKS!**1) To support the podcast financially in return for some extra audio content, check out Patreon!2) To find a community of history friends, look at our Facebook page and group!3) To keep up to date with us, follow us on Twitter!4) Matchlock and the Embassy, our new historical fiction novel, is out NOW! Get it here Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

La tête – auguste relique – de l'éminent cardinal Richelieu a connu, depuis le Terreur, un destin pour le moins inattendu. Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.

This week, Mario and Twenty welcome poet and executive coach Juan Pabloe Mobili to the Expression Appraisal Table. The Pen Is Mightier Than The Sword is one of the longest standing phrases in our culture. Does the might of the pen come from a political influence or simply a ode to the talent of a writer? Watch as Mario and Twenty are joined by Argentinian poet and executive coach Juan Pablo Mobili to discuss the meaning and origin of The Pen Is Mightier Than The Sword. Juan's contributes his blend of political humor and way with words to connect his experience coming from Argentina's political landscape with how much impact than pen truly has over the sword. Poet Juan Pablo Mobili was born in Buenos Aires, Argentina and adopted by New York a long time ago. His poems appeared most recently, in The American Journal of Poetry, Mason Street Review, Broadsided Press, The Red Wheelbarrow Review, and The Worcester Review among others. He has also received an Honorable Mention from the Creators of Justice Award by the International Human Rights Art Festival, as well as Pushcart Prize and the Best of the Net nominations for 2020. In addition to this, he published a chapbook of poems in collaboration with Madalasa Mobili, Three Unknown Poets, published by Seranam Press. She currently lives in Rhinebeck, NY and travels to attend residences, give presentations, and teach. Juan just released his book of poems called Contraband. You can also find all things Juan at: Purchase Contraband: https://thepoetrybox.com/bookstore/contraband Twitter: @juanmobili SUBSCRIBE: https://www.youtube.com/c/TheUnderdog 0:00 Tim Burton's Batman/Joker Opener 0:35 Intro 1:25 Roll Call 6:58 Thoughts on The Pen Is Mightier Than The Sword 9:11 The Tweet Is Mightier Than The Drone 11:38 The Meaning 14:59 Time To Unveil The Origin 17:44 Napoleon Bonaparte 18:51 From Physical Warfare to Mental Warefare 22:09 Sumerians First Written Text 26:04 Edward Bulwer-Lyttle 33:00 Richelieu, The Conspiracy 47:08 Appraise The Phrase 46:44 Connect with Juan Pablo Mobili: Poet 55:04 The Dictionary of Misinformation

Principal ministre de Louis XIII à partir de 1624, le cardinal de Richelieu eut pour principal souci de restaurer l'autorité de l'État. C'est dans le cadre de cette politique qu'il ordonna, à partir de 1626, de démanteler de très nombreux châteaux-forts. La déclaration de Nantes Richelieu n'est pas le premier à prévoir la destruction de certaines forteresses. Depuis le Moyen-Âge, cette pratique, très courante, sanctionnait la défaite d'un vassal face à son suzerain. Par ailleurs, les États-Généraux de 1614 avaient déjà préconisé d'abattre les murailles de nombreux châteaux. Mais, par la déclaration de Nantes, que le Roi approuve le 31 juillet 1626, le cardinal-ministre prend une mesure générale. En effet, il prescrit la destruction de tous les châteaux ne présentant pas d'utilité pour la défense du pays. Les forteresses situées sur les frontières ne sont donc pas concernées par la déclaration de Nantes. On estime qu'au total Richelieu fit abattre environ 2.000 châteaux-forts. Les raisons du cardinal Richelieu avait plusieurs raisons pour agir de la sorte. La première était la volonté d'affirmer l'autorité du Roi, et donc de l'État, face aux entreprises de grands seigneurs souvent révoltés contre elle. Or, ces nobles se servaient de leurs châteaux comme refuges et points d'appui pour contrôler des régions entières. En démantelant leurs forteresses, Richelieu réussit également à amoindrir la puissance des protestants, qu'il considérait également comme une menace pour le pouvoir royal. Mais la destruction des châteaux obéit aussi à des motifs matériels. En effet, l'entretien de ces forteresses, notamment dans les places royales, coûtait cher. En effet, il fallait payer la garnison et prévoir de fréquents travaux de réparation. De telles dépenses paraissaient d'autant plus inutiles que ces châteaux médiévaux ne répondaient plus aux exigences de la guerre moderne. Enfin, Richelieu pouvait s'appuyer sur les doléances des populations. Pour elles aussi, l'entretien des châteaux était très dispendieux. Par ailleurs, les États de province, ceux de Bretagne notamment, réclamaient depuis longtemps la destruction de certains châteaux. Ce souci d'économie et de rationalisation de la défense du Royaume a sans doute autant d'importance, dans l'esprit de Richelieu, que celui de l'affirmation de l'autorité royale. Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:15:26 - Les Odyssées - Voici l'odyssée du cardinal de Richelieu, un homme au destin exceptionnel, qui aimait les chats, les œuvres d'art et surtout le pouvoir.