Two works by Poe decoded. Announcement!!

[yanni]

Charles Nicholas Cochin's "halfbiography", written by monsieur Edmond Goncour, a "mayfirster"-founder of the "societe de gens de lettres" in France, can be found on the web under title "COCHIN". In french, it is THE perfect example of the art of "halftruth" writing.

Goncour's "fiction only" society has yet to respond to the following letter of October 24th, 2005:

La societe de gens de lettres
Paris-FRANCE


Subject: E.Goncour's "COCHIN".

Dear members of the board of the prestigious literary award.

Quite different than the "man" presented by your founder, Charles-Nicholas left much deeper an "estampe" on world matters, including culture, than all other contemporary gens de lettres combined.
Did Edmond know who he really was?
Of course!
He knew of San Severo's capella, of Benjamin's fur-cap portrait, of his political role, of his "Saint Germain", "Savalette" (See note) and "Saltycov" personnae, he researched him in detail, but...
Why then did he diminish him?
One cannot really answer the question without combining the archives of "L'abbaye royal de Sain Pierre de Jumieges" to the Cocchini family history, a small part of which I present to you in my native language.
Notice please that neither the french nor the fiorentine branches are included: A well kept secret, you see, the undersigned did not even know of their existence, so Charles-Nicholas-who created the abbe Cochin of 687- and Concino are not mentioned.
Would it be ethnically improper*1 to suggest a toast to their memory (bourbon naturally) in your next gathering?



Yours truly


*1.Les Cochin, selon un mot de Georges Goyau, peuvent "errer à travers Paris comme à travers un musée familial"...(transl: The Cochin, as per George Goyau, "are wrong to consider Paris a family Museum".) G.Goyau became a member of the french Academy replacing a Cochin early in the 20th century)

Note for the reader of this forum : Savalette de Lange, WAS NOT another identity of Saint Germain as wrongly stated above. A notorious personality, a mason of particular sexual tastes and habits, he normally dressed as a woman and, shortly before the french revolution, "sold" positions and appointments in the french foreign service.

Next post will tackle the subject of the archive of L'abbaye royal de Sain Pierre de Jumieges!

[yanni]

Constructed sometime when Asterix and Obelisk were still fighting the Vikings from the north and the Romans from the south east, Rouen's Sain Pierre is one of the oldest christian churches in France. Once a monastery, a kind of fortress propably as well, it once housed over a thousand monks. According to an existing archive, at least three french saints, Aycadre, Hughes and Filibert were sancticised there, sometime in the 7-8th century.
Inbetween these saints , an ordinary simple "abbe Cochin" pops up, in 687, to mock a greek Kokkini researcher who has already exposed himself by publicaly announcing the greek origins of his great family after several years of research.

http://www.wissensdrang.com/dcon7fr.htm
....Saint Aycadre, 2e abbe (682). — Cochin, 3e abbé (687). — Saint Hugues, 4e abbé (724). — Hildegard, 5e abbé (730). — Droctegand, 6e abbé (vers 750)....
....Le successeur de S. Aycadre à Jumièges fut Cochin, religieux de cette abbaye sous ses deux premiers abbés. Son élection par les suffrages de la communauté réunie montre quel fut son mérite avant qu'il fut abbé, mais elle ne nous met pas au fait de ses actions en particulier. On ne sait rien non plus de son pays, de sa naissance, ni de son éducation avant qu'il fut religieux.

Errare humanum est, no doubt about it and, in this day and age, "french" certainly sounds better than "greek" but, as conscienscious aprilfoolers, we normally dislike being fooled on any other day even if the perpetrator is none other than our famous ancestor, Saint Germain himself, as it turns out:

As the same site confirms, the existing archive is only a copy of an original manuscript which somehow vanished in 1790, the exact year Saint Germain also decided to permanently leave France and return to his "Greece to be" as Niccolo, the corsair, or Lazarus Cocchini, the resurrected archon.

Doubts are also expressed about the authenticity of the MS and is furthermore specified that the archive ends back in 691, meaning that older dates, saints and abbes, are part of french religious mythology only:

http://www.wissensdrang.com/dcon7fr0.htm#4

Ce manuscrit de l'histoire de l'abbaye de Jumièges est la seconde copie faite sur l'original et devenu lui-même original, s'il est vrai, comme Dom Outin, ancient religieux et bibliothécaire de cette abbaye, me l'a assuré depuis la révolution, que cet original du même format et papier que celui cy ait disparu en1790 de la fameuse Bibliothèque de ce monastère

Cette histoire finit à l'an 1760 et contient d'abord 680 pages, elle va jusqu'à 691 :
1° Les feuilles suivantes, depuis la page 680 aiant été transposées par le relieur et placées à la fin de ce manuscrit.

Giorgio Magnifico did have his "national" reasons to build his absolutely greek Palazzo in Venice in 1601:

"Nel più antico palazzo del Campo dei Greci aveva sede il Monastero delle Nobili Monache Greche (1601-1834) e la Scuola delle ragazze greche. Queste istituzioni nonché le adiacenti e famosissime tipografie greche del tempo, costituivano con la chiesa di San Giorgio, un centro di particolare presenza ed attività greco-ortodossa nella laguna veneta.".

...and Saint Germain himself did in fact create his modest " modern Greece" too, so the question, for his french "other half" biographer, will propably be:

Why did he create this 687 "Cochin abbe" if he really was greek?

It's highly doubtfull the french will touch the subject in the forseeable future, so we better answer the question on their behalf:

He did it to protect the french royal line as well as his own "Cochin-french" relatives who remained in France, the act was essential for the security and longevity of both.

Someone working for him did a bad job propably falsifying the original manuscript, he had it thus replaced by a copy.
---------------------------------------------------------------------------------------

Readers may also find following sites interesting
http://www.picure.l.u-tokyo.ac.jp/ar...ses/ses_e.html
(On Bourbons, Medicis, Cochin and the Herculaneum digs!)

http://www.zen-it.com/mason/stor&soc/sangro.htm (in italian)
(Relations of Cochin with Raimondo di Sangro, Ramsay and the Stuarts. "I viaggi di Ciro". San Severo's famous capella designed by Cochin as per his frontispiece of "L'Encyclopedie".)

[yanni]

The administrator of this forum removed a "Porphyria's lover by R.Browning" subject written by member J.T.Best-who was propably inspired by post 68 above, titled "Purple colours" and dealing with the subject of porfyria, porfyra etc-right after the undersigned argued that Browning was not just referring to "euthanasia, plain and simple" as per Mr Best, but, as a victorian poet buried in poets corner of Westminster abbey, he was propably referring to King George's III porphyria disease and that, at the time the poem was written 1834-1836, Benjamin Disraeli was making his debut in the british parliament.

On second thoughts the following interpretation is more plausible::
Browning was referring to Giovanni d'Anastasy wife's murder in Zante, mid 1835 (while d'Anastasy was in London for the sale of Henri Salt's collection and the publication of a book on aegyptian discoveries) that also inspired E..A. Poe to write both his Sonnet to Zante, Jan 1837, as per post Nr 1 of this thread as well as the Visionary-Assignment, later on.
"Porphyria's lover" was first published in 1836 as some sources claim while others mention a series of five poems published from 1834 onwards.

The administrator is therefore kindly requested to explain why he removed the subject to begin with.

[yanni]

Adding this forum's administrator to the long list of scholars that have not responded to Yanni's "kind invitation" to reply, we will next devote one more post to "Porphyria's lover".

Brownings best biography: http://www.blackmask.com/thatway/books171c/rbroadex.htm
...artfully avoids to specify the exact date the poem first came to life as follows:

His keen social instincts saved him from most of the infirmities of budding genius; but the poems he contributed to Fox's journal during the following two years (1834-36) show a significant predilection for imagining the extravagances and fanaticisms of lonely self-centred minds. Joannes Agricola, sublime on the dizzy pinnacle of his theological arrogance, looking up through the gorgeous roof of heaven and assured that nothing can stay his course to his destined abode, God's breast; Porphyria's lover, the more uncanny fanatic who murders with a smile; the young man who in his pride of power sees in the failures and mistakes of other men examples providentially intended for his guidance,—it was such subjects as these that touched Browning's fancy in those ardent and sanguine years.

A similar "artfull deception" is to be found at http://www.bartleby.com/223/0303.html

After the publication of Pauline, in 1833, Browning visited Petrograd with Benkhausen, the Russian consul general............to apply—in vain—for a post on a Persian mission. During this period, there is ample evidence of physical and mental exuberance, but little of poetic activity......But his interest in the complicated subtleties of diplomacy appeared in Sordello and Strafford as well as in Prince Hohenstiel-Schwangau—not to mention Bishop Blougram and Caliban upon Setebos. In 1834, however, there appeared in The Monthly Repository a series of five poetic contributions of which the most noteworthy were Porphyria, afterwards entitled Porphyria’s Lover, and the six stanzas beginning “Still ailing, Wind? Wilt be appeased or no,” which were republished in James Lee’s Wife.

...along with a light commentary on Brownings early involvement in british cloak and dagger society.


A parallel study of Ben Disraeli's biography brings forward the similarities of the two men who share apparently not just the same "spiritual principles" but the same semite origins as well.

As we said earlier "greekness" was to be banned after the fall of the french "purple" monarchs so that "paradise" would return to heaven.

Thus "Porphyria's Lover":

The young brit, a realist, in the safety of his warm little country side cottage is visited by Porphyria coming from the cold and the storm. Removing part of her wet and soiled clothing, she tries to seduce him, he thoughtfully gives in ....

That moment she was mine, mine, fair,
Perfectly pure and good: I found
A thing to do,

but as he knows she does not really love him, he then stangles her...

....and all her hair
In one long yellow string I wound
Three times her little throat around,
And strangled her. No pain felt she;
I am quite sure she felt no pain.
As a shut bud that holds a bee,
I warily oped her lids: again.

And even avoids remorse or punishment from above ....

Her head, which droops upon it still:
The smiling rosy little head,
So glad it has its utmost will,
That all it scorn'd at once is fled,
And I, its love, am gain'd instead!
Porphyria's love: she guess'd not how
Her darling one wish would be heard.
And thus we sit together now,
And all night long we have not stirr'd,
And yet God has not said a word!

....because Porphyria's God is weaker than his own!


Does this utterly disgusting poem relate to D'Anastasy's London visit?

It propably does: Poe and the Brownings did correspond, the dates match and furthermore, the fact that no exact publishing date is given is most indicatory.

The "threat to Britain" possibly implied by Browning in the poem is not justified by the biographic data either of D'Anastasy or even his grandfather Saint Germain.

A threat to the "jewish cause" was propably Browning's real motive to write the poem and it must be again pointed out that the 1835 Zante murder perpetrator was Dionisios Salomon, another poet of jewish origins!

A pattern is emerging.....

[yanni]

The "musical" part of this family history research has been neglected thus far, Giulio and Francesca Caccini, the opera founders, only briefly mentioned in "What's in a name?" post along with the "Cochi" name version of the fiorentines.

Gioachino Cocchi, another opera composer, unlike his contemporary musicians, has been deprived of a decent biography, propably because he, "Gioachino", was another alias of Saint Germain himself.

Music "scholars" even disagree on Gioachino's life span, some claiming he was born in Padova, 1720 and died "after 1788", others do not define the place of his 1714 birth and ask themselves if Venice was where he really died in 1804.

Taking therefore Mr Goncour's word for granted, we can safely say that Paris is where he was born in 1714 or 13 and Hydra is where he died in 1803 (as mentioned in previous posts).

Gioachino is known to have composed some 50 music opera pieces and to have been Haymarket theater's manager in London from 1757 to 1762 being then replaced by noneother than J.C.Bach himself, and to have then remained in London for the better part of the next ten years or so, ie until about 1772.

Many of his music works were published there by a Mr I.Walsh during 1758-1776, the last being the folowing:

Le Delizie dell'Opere. Being a Collection of all the Favourite Songs in Score, collected from the Operas compos'd by Bach, Perez, Cocchi, Ciampi, Jomelli, Giardini, Galuppi, Vinci, Pergolesi, Leo, Lampugnani, Terradellas, Hasse, Porpora, C. St Germain, Pescetti, Veracini, Bononcini
ISBN: B0000CV06Q / Unknown Binding
Publisher: Printed for I. Walsh / 1776
http://www.bookfinder4u.co.uk/book_s.../D_Cocchi.html

In other words Saint Germain "the immortal", was an unbelievably complex personality with a great sense of humor, a biographer's true nightmare.

Below:
a) a 1763 "Walsh" book copypasted for the biography details .........

1763. COCCHI, Gioacchino ca. 1720 - after 1788. Sixteen Songs and Duets With a Thorough Bass for the Harpsichord Also Adapted for the Violin, Hautboy, German Flute, Guitar & Violoncello. [Vocal score]. Opera LXIII. London: 1763. Oblong octavo. Modern half dark orange leather with marbled boards. 1f. (title), 1f. (dedication), pp. 1-8, [9] (blank), 10-16, [17] (blank), 18-60 (some browning and staining to title-page; occasional minor foxing and browning). Engraved throughout, with engraver's name to foot of last page (Pasquali). First Edition. BUC p. 202. RISM C3239 (4 copies only, one in the U.S.). Cocchi was music director at the Haymarket Theatre in London from 1757 to 1762. "During the next five seasons he supervised the production of opere serie, composed several himself and contributed to pasticcios." Cocchi was succeeded by J.C. Bach at the Haymarket in 1762, but continued to live in London for about ten more years, during which time he published several collections of chamber arias and duets, this being one of them. He was also much in demand as a singing teacher. Grove VI, Vol. 4 p. 509.http://www.antiqbook.com/boox/lub/12182.shtml

and

b) a list of perfromances of "Joachino's" plays, indicatory of the mobility and the approximate whereabouts of their creator as well. Noteworthy his "egyptian or eastern" works after 1745 (first trip of Lazarus Cochini to Alexandria in 1745. Note also: Saint Germain's italian trip with de Marigny, Mme Pombadour's brother, Dec 1749 to Sept 1751) as well as his London performances AFTER 1761 (Second voyage of Lazarus C to Alexandria in 1757)

Cocchi, Gioacchino
* ca. 1715
† 1804 in Venedig (?)
La Matilde comedia per musica 2 Akte
Antonio Palomba (Winter 1739 Neapel, Teatro de' Fiorentini)
Adelaide dpm 3 Akte
Antonio Salvi (Karneval 1743 Rom, Teatro Alibert o delle Dame)
L'Elisa commedia per musica 3 Akte
Palomba (Herbst 1744 Neapel, Teatro de' Fiorentini)
L'Irene commedia per musica 3 Akte
Domenico Canicà (Frühjahr 1745 Neapel, Teatro de' Fiorentini)
L'ipocondriaco risanato intermezzo 2 Akte
Carlo Goldoni (Karneval 1746 Rom, Teatro Valle)
Bajazette dpm 3 Akte
Agostino Piovene (Karneval 1746 Rom, Teatro Alibert o delle Dame)
I due fratelli beffati commedia per musica 3 Akte
Eugenio Pigrugispano (Winter 1746 Neapel, Teatro Nuovo sopra Toledo)
La maestra commedia per musica 3 Akte
Palomba (Karneval 1747 Neapel, Teatro Nuovo sopra Toledo); rev. als La scuola moderna Herbst 1748 Venedig; 11. März 1749 London, King's Theatre; als La Scaltra Governatrice 25. Jan. 1753 Paris, Académie de musique
Merope dpm 3 Akte
Apostolo Zeno (20. Jan. 1748 Neapel, Teatro San Carlo)
Siface dpm 3 Akte
Pietro Metastasio (Karneval 1749 Neapel, Teatro San Carlo)
Arminio dpm 3 Akte
Salvi (Karneval 1749 Rom, Teatro di Torre Argentina)
La serva bacchettona commedia per musica 3 Akte
Palomba (Frühjahr 1749 Neapel, Teatro de' Fiorentini)
La Gismonda commedia 3 Akte
Palomba (Frühjahr 1750 Neapel, Teatro de' Fiorentini)
Bernardone commedia 3 Akte
Palomba (Karneval 1750 Palermo, Teatro privato Valguarner)i
Siroe, re di Persia dpm 3 Akte
Metastasio (Karneval 1750 Venedig, Teatro San Giovanni Grisostomo)
La mascherata dramma comico 3 Akte
Goldoni (27. Dez. 1751 Venedig, Teatro Tron di San Cassiano)
Le donne vendicate dramma comico 3 Akte
Goldoni (Karneval 1751 Venedig, Teatro Tron di San Cassiano)
Nitocri dpm 3 Akte
Zeno (26. Dez. 1751 Turin, Teatro Regio)
Sesostri, re d'Egitto dpm 3 Akte
Zeno und Pietro Pariati (30. Mai 1752 Neapel, Teatro San Carlo)
Il tutore commedia 2 Akte
Vincenzo Puccinelli (Karneval 1752 Rom, Teatro Valle)
Il finto cieco melodramma 2 Akte
Pietro Trinchera (Herbst 1752 Neapel, Teatro Nuovo sopra Toledo); gemeinsam mit Pasquale Errichelli
La serva astuta commedia per musica 3 Akte
Antonio Palomba, nach Goldoni
Frühjahr 1753 Neapel, Teatro de' Fiorentini (gemeinsam mit Pasquale Errichelli)
Semiramide riconosciuta dramma 3 Akte
Metastasio (Karneval 1753 Venedig, Teatro Tron di San Cassiano); 1771 London, King's Theatre
Rosmira fedele dramma 3 Akte
Silvio Stampiglia (Himmelfahrtstag 1753 Venedig, Teatro Grimani di San Samuele)
Il pazzo glorioso dramma giocoso 3 Akte
Antonio Villani (Herbst 1753 Venedig, Teatro Tron di San Cassiano)
Il finto turco commedia 2 Akte
Antonio Palomba/P. Errichelli (Winter 1753 Neapel, Teatro de' Fiorentini (rev. Fassung Winter 1753 ebd.); gemeinsam mit Errichelli
Le nozze di Monsù Fagotto intermezzo 2 Akte (zus. mit G. B. Pescetti)
Angelu Lunghi (Karneval 1754 Rom, Teatro Valle)
Tamerlano dramma 3 Akte
Agostino Piovene (Karneval 1754 Venedig, Teatro Grimani di San Samuele)
Metastasio (Himmelfahrtstag 1754 Venedig, Teatro Vendramin a San Salvatore)
Li matti per amore dramma giocoso 3 Akte
Genuaro Antonio Federico (Herbst 1754 Venedig, Teatro Grimani di San Samuele)
Il terrazzano intermezzi per musica (Karneval 1754 Florenz, Teatro del Cocomero); 1764 London, King's Theatre
Il cavaliere errante op.buf.
Agostino Medici (Karneval 1755 Ferrara, Teatro Bonacossi)
Andromeda dpm 3 Akte
Vittorio Amadeo Cigna-Santi (Karneval 1755 Turin, Teatro Regio)
Artaserse dpm 3 Akte
Metastasio (Karneval 1755 Reggio Emilia, Teatro Moderno)
Zoe dpm 3 Akte
Francesco Silvani (26. Dez. 1755 Venedig, Teatro San Benedetto)
Emira dpm 3 Akte (Jan. 1756 Mailand, Regio Ducal Teatro)
Farsetta in musica commedia 2 Akte
Lunghi? (Karneval 1757 Bologna, Teatro Marsigli-Rossi)
Demetrio, re di Siria dpm 3 Akte
Metastasio (8. Nov. 1757 Bologna, Teatro Marsigli-Rossi)
Zenobia dpm 3 Akte
Metastasio (10. Jan. 1758 Bologna, Teatro Marsigli-Rossi)
Issipile dpm 3 Akte
Metastasio (Frühjahr 1758 Bologna, Teatro Marsigli-Rossi)
Ciro riconosciuto dpm 3 Akte
Metastasio (Frühjahr 1759 Bologna, Teatro Marsigli-Rossi)
La clemenza di Tito dpm 3 Akte
Metastasio (5. Jan. 1760 Bologna, Teatro Marsigli-Rossi)
Erginda dpm 3 Akte
nach M. Noris (Frühjahr 1760 Bologna, Teatro Marsigli-Rossi)
Tito Manlio dramma 3 Akte
Noris (7. Febr. 1761 London, King's Theatre)
Alessandro nelle Indie dramma 3 Akte
Metastasio (13. Okt. 1761 London, King's Theatre)
Le nozze di Dorina dramma giocoso 3 Akte
Goldoni (Frühjahr 1762 London, King's Theatre)
La famiglia in scompiglio dramma giocoso 3 Akte
Giovan Gualberto Bottarelli (Herbst 1762 London, King's Theatre)

see also following sites
http://itspettacolo.net/spettacolo/C...hino-155C.html
http://search.yahoo.com/search?csz=&...tlibraries.org
http://www.amazon.ca/gp/reader/03930...=search-inside
http://www.italianopera.org/opera/gi...o_cocchiE.html
http://www.italianopera.org/compositori/C/c217658E.htm
http://www.musicweb-international.co...ov01/kings.htm

[yanni]

According to http://www.esoteria.org/documenti/pe...ntgermain.html
Saint Germain, the "unknown", had his opera compositions published by Walsh between 1748-1760, just like Joachino Cocchi. This is documentary of them being one and the same but, between the two, who was the original and who the alias?

Was Charles Nicholas (fils) the son of Charles Nicholas Cochin "pere" or not?

The musical side alltogether of Charles Nicholas Cochin tops the many "little secrets" monsieur Edmond Goncour, his "half biographer", selects to leave in the dark, he thus avoids one of his earlier works concerning opera (Rameau's La Princesse de Navarre, as Staged in the Grand Ecurie, Versailles, 1745. Paris, Musée de l'Opéra. drawing. Bowles Musical Ensembles. fig. 228; Early Music 8 [1980] 148-49)).

Monsieur Goncour is definitely not trustworthy and the problem becomes even more important to solve because of the existence of another "famous" Cocchi, Antonio, the pyhthagorian fiorentine doctor, a life long friend of Isaac Newton and the "first italian whose initiation to masonry has been documented" (http://www.grandeoriente.it/studi/tradpiteng.htm)

Doctor Cocchi saved the life of Horace Walpole in Florence, 1741 while Walpole's father was the First Lord of the Treasury functioning as a “prime minister”. As Horace then met and wrote about the "unknown" Saint Germain/Gioachino Cochi, while he was in London around 1745, describing him as "mad" more or less and not disclosing his real name or identity, the subject is intriquing to say the least.
Dr Cocchi himself was in London "in the ‘40" (1743-45) too as per same site above.

Let's examine doctor Cocchi in more detail

At http://w3.uniroma1.it/anat3b/didatti...A%20ROMANA.htm (the site does not load today anymore) the following was copied November 2005:

COCCHI ANTONIO
Nacque nel 1695 in quella parte della Campagna Romana che confinava col Regno di Napoli, e pertanto Renazzi lo definisce “èrnico”. Morì nel 1768.
Nei Ruoli è chiamato Antonio Enrico o Enrico Antonio. Si crede che esiste nello stesso periodo anche un certo Antonio Cocchini.Il suo nome appare dal 1731 al 1742 quale lettore di Chirurgia e Anatomia. Nel 1742 lesse De morbis oculorum. Poi Antonio Cocchi assunse la lettura di Medicina teorica che tenne fino al 1747.
Esiste anche un Antonio Celestino Cocchi che fu anche lettore di Botanica in Roma. Fra le sue opere: Epistola ad Morgagnum de Lente Cristallina oculi.

In other words the fiorentine Dr Cocchi was born Antonio Enrico Cocchini and used this name until 1742. In 1747 he becam "Cocchi" for some reason and there also was an Antonio "Celestino" Cocchi, propably the same man, who taught Botany and optics in Rome at some unknown period.

Why did Dr Cocchi change his name?

For the same reason Saint Germain did: They were both Bourbon agents working for the Stuarts. In 1745 the Stuarts attempted to regain their throne!

What more do we know on Dr Cocchi?

Antonio Cocchi (1695-1758) took a European tour while completing his scientifc studies. While abroad, he accompanied Lord Hastings, who picked him for his knowledge of English, to London, where he became friendly with Newton and Boërhaave, with whom he corresponded until the end of their lives. Upon his return to Italy, he was appointed professor of medicine at Pisa and of anatomy at Florence, but he was consulted on many topics: he was picked by Francis I as the court antiquarian, he helped found Florence's famous botanical society, he drew up regulations for the hospital in Florence. His report on tuberculosis convinced Tuscan authorities to forbid the sale or exportation of anything belonging to consumptives without proper disinfection. He was a fervent vegetarian and was proficient in many languages. He wrote as his first publication a translation of The Loves of Anthias and Abrocoma, a Greek novel by Xenophon of Ephesus, and later prepared the first manuscript of Benevenuto Cellini's Vita. Then followed the medical, anatomical, and scientific works which made him famous. After the publication of Lind's Treatise in 1753, Cocchi edited a new edition of Bachstrom's book (1757).http://www.antiqbook.com/boox/dailey/1075_.shtml

"he was picked by Francis I as the court antiquarian"

In other words he was in charge of the vast antiques collection of Francis I (December 8, 1708 – August 18, 1765), Holy Roman Emperor and Grand Duke of Tuscany, also known as Francis III Stephen, Duke of Lorraine, the second son of Leopold Joseph, duke of Lorraine, and his wife Elizabeth Charlotte, daughter of Philippe I, duc d'Orléans and Elizabeth Charlotte, Princess Palatine.
Maria Theresa and Francis I had sixteen children--their youngest daughter was the future queen consort of France, Marie Antoinette.

Francis I became himself later a "jacobite" mason, by 1735-37 a Stuart lodge was also established in also in Rome and 1738-9 in Savoia, Piemonde, Sardinia, Milano, Napoli, Torino and Naples as well.
*http://www.esoteria.org/documenti/ma...ivariense8.htm)

Horace Walpole wrote about Dr Cocchi:
I am very well acquainted with Doctor Cocchi;[2] he is a good sort of man, rather than a great man; he is a plain honest creature, with quiet knowledge, but I dare say all the English have told you, he has a very particular understanding
http://www.freebookstoread.com/lthw210_1.htm

and a bust of him was made in marble by Joseph Wilton in 1755
http://www.library.yale.edu/Walpole/BAC/Cocchi-Z.htm

He followed to London as his personal physician, 1722 et 1726, Lord Théophile Hastings, where he met Isaac Newton with who he corresponded later on
http://www.vegetarisme.fr/Articles/i...?p=Cocchi.html

On 4 August 1757 Walpole wrote to Mann, "I send you two copies (1 for Dr Cocchi) of a very honourable opening of my press-two amazing odes of Mr Gray-they are Greek, they are Pindaric, they are sublime....
http://www.library.yale.edu/Walpole/BAC/odes-Z.htm

Greek was his mother tonque and he continued the family tradition to print his books at the "Cocchini", by then "imperial publishers", of Florence:

COCCHI, Antonio (editor). Graecorum Chirurgici Libri Sorani unus de fracturarum signis, Oribasii duo de fractis et de luxatis, e collectione Nicetae ab antiquissimo et optimo codice Florentino... Florence: Ex Typographio Imperiali, 1754.
http://www.polybiblio.com/phillips/

He died in 1758 or 1768.

His son, most propably, Joachino Cocchi, aka Charles Nicholas Cochin jr, returned to Paris from London the summer of 1771, welcomed Horace Walpole at "his Louvre", and staged an opera play with an english group headed by a Mr Hobart.

(Letter 34 To The Earl Of Strafford. Paris, August 25, 1771. to follow next).

[yanni]

Madame du Deffand, the famous mistress of the Duc d'Orleans, is herself evidence of relations between Horace Walpole and the "Cocchis"-Cocchinis, ie Antonio and Gioachino/ Saint Germain/"Charles Nicholas Cochin fils":

Walpole made the rare acquaintance of Madame du Deffand in 1765 whereas Goncourt's COCHIN, her intimate friend, drew and engraved her cats "LES CHATS ANGOLA DE Mme DU DEFFAND" in 1746, right after the failed Stuart coup and his return to Paris from Alexandria (As Lazarus Cocchini).

The following extracts from H.Walpole's letter 34 to The Earl Of Strafford from Paris, August 25, 1771 are indicatory of both his aquaintance with "Saint Germain" as well as the fact that he kept the identity of his friend secret, to Earl of Strafford at least:

a) He is being granted access to the royal art collection in Le Louvre, in the custody -undertaken just then propably- of monsieur Goncour's "C.N.Cochin fils". Horace has there, obviously, an art discussion with his host:

My grief is to see the ruinous condition of the palaces and pictures. I was yesterday at the Louvre. Le Brun’s noble gallery, where the battles of Alexander are, and of which he designed the ceiling, and even the shutters, bolts, and locks, is in a worse condition than the old gallery at Somerset-house. It rains in upon the pictures, though there are stores of much more valuable pieces than those of Le Brun. Heaps of glorious works by Raphael and all the great masters are piled up and equally neglected at Versailles. Their care is not less destructive in private houses. The Duke of Orleans’ pictures and the Prince of Monaco’s have been cleaned, and varnished so thick that you may see your face in them; and some of them have been transported from board to cloth, bit by bit, and the seams filled up with colour; so that in ten years they will not be worth sixpence. It makes me as peevish as if I was posterity! I hope your lordship’s works will last longer than these of Louis XIV. The glories of his si`ecle hasten fast to their end, and little will remain but those of his authors.

b) Walpole also meets "composer Cocchi" at the Opera house and notes in particular the composer's opinion on english people and their values:

Crowds assembled at the Opera-house, more for the gratification of the eye than the ear; for neither the invention of a new composer, nor the talents of new singers, attracted the public to the theatre, which was almost abandoned till the arrival of this lady, whose extraordinary merit had an extraordinary recompense; for, besides the six hundred pounds’ salary allowed her by the Honourable Mr. Hobart, as manager, she was complimented with a regallo of six hundred more from the Maccaroni Club. ‘E molto particulare,’ said Cocchi, the Composer; ’ma quei Inglesi non fanno conto d’alcuna cosa se non ben pagata:’ It is very extraordinary that the English set no value upon any thing but what they pay an exorbitant price for.".

http://www.bookrags.com/ebooks/4919/63.html

[yanni]

There is a lot more to be said on what Walpole writes on "the invention of a new composer" above, the british "maccaroni club" in which he belonged and the comments made by Cocchi, the composer, on the english "ways", on Saint Germain's distaste for female "succedanea" (censored by Walpole's editors until 1954) on Savalette de Lange and his "ponpons", on Charles Nicholas and his "bonbons" and the 1786 Louvre theft of Cochin's belongings by a young male friend of his, as per one of his letters so ingeneously quoted by Goncour in his "COCHIN". .

There is however a basic difference between the italian "maccherone" and the british "maccaroni". (see: Rictor Norton, "The Macaroni Club: Homosexual Scandals in 1772", Homosexuality in Eighteenth-Century England: A Sourcebook, http://www.infopt.demon.co.uk/macaroni.htm)

Gioachino "Cocchi" is not known to have ever married and "Charles Nicholas Cochin" may have been living a bachelor's life in Paris but "Lazarus" Cocchini had definitely one legal son (Anastasy) and a propably a family house in Avignon, (a hotel today known as "L'Anastasy"), most propably another son "out of marriage" (Dimitri "Lazarou", real father of Bouboulina) and, as Niccolo the corsair, another two or three (Alexandry, Dimitri and Peter di Niccolo Cochini), so there is no question on his virility whatsoever.

Instead of further debating this graceless issue, it is time perhaps to return to poetry-an art occasionaly admired by maccherones too-and suggest to the viewer that the poem below, by Alessandro Manzoni, refers to Angelica Palli's "sicilian" lover, Giovanni d'Anastasy, Saint Germain's succesor and grandson and Poe's greek host .


Alessandro Manzoni
"Ad Angelica Palli"
August 1827

Elected by the heavenly powers,
New Sappho, your rival ancient sister,
so advanced in heavenly verse
and saintly, honest ways,
sings for you and the misery
of the unlawfull Sicilian
in (his) fatal abyss, making me so sad;
thus I, in great sorrow,
offer you the proper applause, my tears.
But you go on believing the simple soul
guiding you to revenge
ready to tear the brilliant shadow (of the past)
if only the villain lover were still alive.
(translation by "Yanni the greek")

Italian text:
Prole eletta dal Ciel, Saffo novella
che la prisca Sorella
di tanto avanzi in bei versi celesti
e in santi modi onesti,
canti della infelice tua rivale,
del Siculo sleale
nello scoglio fatal, m'attristi; ed io
ai numeri dolenti
t'offro il plauso migliore, il pianto mio.
Ma tu credilo intanto ad alma schietta,
che d'insigne vendetta
l'ombra illustre per te placata fora,
se il villano amator vivesse ancora.

This poem, together with Cristina Rosetti's "Artist's Studio" (see relative post in this forum by "Mint") reveals that Poe's "Ianthe", "Lygeia" and "Annabel Lee" all were Angelica Palli herself, as already previously examined in this thread.

The subject will be further elaborated next.

[yanni]

Sources:
Those stated previously as well as:
a) D.Manley's, P.Ree's "Henry Salt, Artist, Traveller, Diplomat, Egyptologist"
b)Navy Records Society Publications, "Piracy in the Levant" London, 1934.

November, 1822 Yanni Anastasiou Cocchini becomes governor of the island of Santorini.

August 1823 John Madox is a guest of Yanni at Gourna. Yanni owns a house and has been staying there for some time as he has already discovered two stone boats.

At the turn of the year Yanni is in Luxor with John Madox. Hay purchases from him a large bronze statue of Osiris.

On March 1824 Yanni is living "with all his family" in Gourna . Riots break out and Yanni's household in is attacked by Arabs seeking to seize the 200 guns he is rumored to own. The leader of the rebels is set to overthrow Mehmet Ali. On the 14th Yanni's household is "left unmolested though 17 local people wer e killed and thrown into the Nile the nighte", yet a rumor spreads that Yanni is killed by rioting felahs that proves false soon after.

On April 12th, Yanni and Madox pass Luxor without stopping. "Ecco la maniera di vostri compagni Inglesi" he tells Madox. Yanni and his cook confront Achmet Pasha, Mehemet Ali's general, at Gourna saving the brits.
On the 16th of April Madox and Hull sailed upriver and on April 22 they met Wilkinson and Westcar's group at Keneh.The fight between Mehemt Ali's troops and the rebels continues. They leave Keneh May 4th and Yanni meets them (Gourna) on the 14th and tells them about the death of Mrs Salt.

(Yanni leaves Gurna April 14th and returns May the 14th).

May the 3rd a reception takes places honouring Angelica Palli at the Palazzo Buondelmonti in Livorno.Among the guests the french printer Firmin Didot fils [Ambroise]", publisher of the political journal "Chroniques du Lévant ou Mémoires sur la Gréce et sur les contrées voisines" and of F.L. Pouqueville's "Histoire de la Régénération de la Gréce".

1825 Jan Yanni writes to Hydra from Santorini re Ibrahim's fleet emminent arrival.

May 1825 Lazaro "Mousiou", Yanni's brother, destroys (brulot) turkish admiral's Khosraw Topal Pasha's first class ship of the line with 64 guns. Khosraw is an old enemy of Mehmet Ali. Bouboulina is murdered the same month in Petsai.

June 1825. Yanni is on a secret mission in Montenegro. He receives the reply of Mr Zacharia Vlasto re greek government call to Serbs to revolt. (June 18th, Henry Salt writes to Bingham Richards that a collection is now at Leghorn, "antiquities to the value of four thousand pounds:The finest collection of papyri existing, the best assortment of Egyptian bronzes, several paintings in encaustic and rich in articles of gold and porcelain...what would make the collection of the Museum the choicest in the world..." ).

April the 2nd Champollion is elected corresponding member of the "Accademia Labronica" of Livorno and a mutual admiration with Angelica Palli is formed. ".... Lo Champollion risiedeva a Montenero, come sappiamo da una lettera di Rosellini a Luigi Muzzi, accademico della Crusca."

March-April 1826. Yanni is again on mission to Montenegro with the same demand.
The Tzar accepts lord Wellington's proposal on mutual "neutrality" for the greek issue..
Missolonghi falls to Ibrahim, Mehmet Ali's son. Yanni's cousin, the engineer who designed and constructed the fort, is killed.

April 20th 1826 Yanni is back to Hydra (he contributes 100 grosia-trksh currency-for the cause).

June 16th 1826 Champollion revisits Angelica (who uses at the time the arab name Zelmire and dresses correspondingly) at Pisa. (They correspond until 1829 and there are some thirty letters at the Biblioteca Labronica di Livorno).

July 1826 Yanni d'Anastasy in Alex becomes a "chevalier de l'ordre Wasa"(swedish) and consul of Sweden and Norway . The first "Cataloque General de la Collection" is published there by his "serviteur & amis" P.Lavison.

Oct 1826 to June 1827 : Lazaro "Mousiou" is imprisoned in Malta by the british. He has been captured with his crew and his ship "Themistocles" by H.M.S.Medina.While in prison some of the crew die.

April 1827: Hydrian "pirates" Francesco and Anastasius (Yanni's father), captains of two vessels with 135 crew, capture off Grambusa Crete the maltese "Superba". The passengers are tied up and "unatural acts" are performed against a cabin boy and a passenger(nationality is not recorded) by the greek sailors in turn. They then anchor the ship 3 miles east of fortress Grambusa , loot her and set her free.

"Greek excavator named Giovanni d'Athanasi provides us with the following account:'during the researches made by the Arabs in the year 1827, at Gourna...... "

June 1827: The greek fleet under lord Cochran attempts unsuccessfully to enter Alexandria's harbor and burn the egyptian ships. Lazaro "Mousiou", just released from Malta, participates in the failed raid. (brother fighting brother?)

August 8th 1827: George Canning dies in London.
"Ad Angelica Palli" by Alessandro Mazzoni, Agosto 1827.
"USS Constitution" is anchored in Smyrna's port.

October 1827: Ibrahim's fleet is destroyed at Navarino .

Yanni is present (approx as from September) when Salt dies in the village of Dessuke, outside Alex, 27th October 1827.

January 1828: Fortress Grambusa surrenders after bombardment by british fleet.

Early 1828 Yanni agrees to sell his first "lot" of papyri and other aegyptiaca to Leyden, Holland.

[yanni]

Yanni and Angelica being both greek, enthusiastic supporters of the greek war for independence, with Champollion as mutual friend and a common interest in egyptian "mysteries", there is no doubt whatsoever that Angelica Palli's "Siculo sleale" and "villano amator" was Yanni d'Anastasy. Manzoni is obviously blaming Yanni for implementing, 1816-1821, Canning's plan to destroy Castelreigh's "Holy Alliance". He is calling him "sicilian" because "Greece" was much too "modern" then and because Yanni propably grew up in Naples and Venice where his grandfather Gioachino was so well established.

Angelica with her children was living with him in 1824 in remote Gurna, Egypt until a war started between Mehmet Ali's forces and the rebels supported by the Ottomans, thus April 14th Yanni escorts his family to Alex, sails with them to Livorno and is back in Gurna May 14th. (one way, it's a week's voyage approx with proper conditions) whereas Angelica with family lives in Livorno until 1829 and then propably moves to Yanni's house in Zante.

Angelica does not die in the Zante murder however: She goes through a period of shock, as her works in her short web biography demonstrate:

"Angelica Palli

Poetessa e scrittrice di origine greca, nata a Livorno nel 1798. Sposò un attivista politico, Giampaolo. Bartolomei che seguì, esule, in Piemonte dopo il 1848. Tradusse dal francese Hugo e dall’inglese Gray e Shakespeare. Fu attiva nei circoli mazziniani livornesi .Morì a Livorno nel 1875.

Opere
Tieste, 1820
Saffo (dramma lirico), Livorno, Masi, 1823
Poesie, Livorno, Masi, 1824
Alessio, ossia gli ultimi giorni di Psara, 1827
Rime in Antologia femminile, Torino, Canfari, 1840
Discorso di una donna alle giovani maritate del suo paese, Torino, 1851
Ruggiero degli Ubaldini, Torino, 1853
Ulrico ed Elfrida (racconto), 1868
La famiglia Roccabruna, 1871
Componimenti drammatici, Livorno, 1872
Racconti, 1876… "

Why then does Yanni tell Madox in 1835 in London that his wife was murdered thus misleading the researcher and what inspired Edgar Allen Poe to write his "Sonnet to Zante" reconfirming her death?

This question will be addressed next.

[yanni]

Let's reconsider how the conclusion on the "murdered" Ianthe was reached:

Three greek sources, as well as indications from greek "Salomon Bros" correspondence and biography, pointed to a male Cocchini, enemy of the Salomons, as the victim. Later indications however by two independent and moreover trustworthy sources (Yanni himself speaking to John Madox in London, late 1835 and Edgar Allen Poe in his "Sonnet to Zante" mourning and cursing for the death of his beloved Zante-Ianthe, January 1837) confirmed eachother and pointed to the specific female victim as well but, because of Manzoni's poem "Ad Angelica Palli", this scenario must be withdrawn and the questions ...

Why then does Yanni tell Madox in 1835 in London that his wife was murdered?
and
What inspired Edgar Allen Poe to write his "Sonnet to Zante" reconfirming her death?

...must be answered:

Yanni, living in Gurna, Egypt with Angelica and their children at the time, hosted John Madox for six long and difficult months, Sept 1823 to March 1824 there. The experiences they shared together brought them quite close and no reason can be found to suggest Yanni purposely mislead Madox, thus the conclusion is reached he really believed himself in London, late 1835, that his wife was murdered, that he was therefore misinformed by his Zante friends and relatives who conveyed to him the bad news wrongly somehow.

Who conveyed then the same wrong news to the man known today by the name "Edgar Allen Poe"?

Yanni was certainly not the kind who would go around telling everybody his misfortunes and as bad news do not generally lead a man to write letters to persons not directly involved, Yanni had no reason to write to his much younger american friend of ten years ago, a man so different than himself who, in addition, was "spiritualy obsessed" with his "murdered" Angelica.

Could it be that John Madox was the one?
Did Madox know Edgar?

According to D.Manley's, P.Ree's "Henry Salt", John Madox came to Egypt on August 1823 as "a traveller". Upon receiving him, Henry Salt then placed him to the care of Yanni in whose house at Gourna Madox stayed, using it as a base to visit Thebes and Luxor etc, as from late 1823.
Early 1824 Madox crossed , for some reason or other, the desert east of the Nile and reached the Red Sea wherefrom, on the 14th of March 1824, he returned to Gurna accompanied by a "young Quaker, John Fowler Hull" (page 221). The two then stayed with Yanni with the rebelion brewing all around that resulted, the next day, in the killing of 17 of Yanni's guards as previously described.

Might this strange second guest of Yanni be our american poet friend scouting his way around and can it be that, like all other "franks" also fled the area and Egypt alltogether to accompany Yanni and family to Livorno where he then remained as guest of beautifull "Zelmire"?

"Al Aaraaf" speaks of remote strange places the author imagined(?), Eyraco, Balbec, Persepolis etc and evidently Edgar "saw places" in Italy next, as his other work shows, and it was only late in 1825 that he made his debut as "philelhene George Townsend Washington's" at Nafplion, Greece, as we have previously seen, (the complaint he filed to the provisional greek goverment for contemplating british protection then), so this assumption is highly possible.

We did also say that John Allen, his foster father, was the same man as
a)John M.Allen, Mr Chryssis philhellene and
b) The "virtuous quaker" who, together with Bentham and lords Eskin and Byron, received in London, March 1823, the greek representative Louriotis (of the revolutionary greek parliament) and discussed the loan for the frigates ordered soon after to US shipyards.

Who had guided the "young Quaker, John Fowler Hull" to the Red Sea's coast and why did John Madox (also escorted, no doubt, by "friendly locals" then) meet him there to pick him up and bring him back to Gurna?

Lacking further evidence these questions cannot be answered with certainty, judging however from what we know so far, neither religion nor science had anything to do with Mr J.F.Hull's "eastern" expoloration that took place at a time when the whole region was in an "up for grabs" and "winner takes all" situation.

Unless someone has something to add or reject, this is....

THE END OF THE POE ANNOUNCEMENT!

Thanks for your attention.

[yanni]

The "author" wishes to return the courtesy to the 12 viewers who granted each a five star-pentagonal too- rating to his Announcement, a rare distinction for such a broad subject, and to comment as follows:
A reader must truly already excel in history and literature not just to understand what it was all about but to enjoy it enough to grade it then so highly!
As the good critics raised no questions, publicaly or privately via email, the conclusion is drawn that both the presentation of the delicate issues as well as the solutions of the famous riddles have been satisfactory, yet, from this author's point of view, this is not quite so:
Important items were left pending, enough to fill another Announcement. In the short list below, an answer will be provided only for the first question raised:

1.Yanni d'Anastasy's biography, although promised, was fiinaly not published, considered to be superfluous and beside the point, yet, as already mentioned, he is on record also as "russian naval officer Ivan Avanassiev". Who was he?
He is the one that taught greek sailors how to construct and use the brulot. His brother Lazaro Musiu used it first, April 1821 .
This bit of info is an additional proof, besides the papyri inheritance etc, of his role as C.N's/Saint Germain's/Count Salticof's grandson and "successor" and, most importantly, of Saint Germain's own identity.

2.Mons. Goncour makes no reference to Charles Nicholas other Cochin french relatives, yet it is common knowledge(the web) that many such existed at the time in Paris (priests, lawyers etc) and were also enobled ("ecuyer") before C.N.. They furthermore managed to survive "Le Terreur", remaining loyal to the new "democratic dynasty" that succeeded Napoleon, maintain their wealth, attain further titles etc etc.
When in fact "COCHIN" was published, the Cochin hospital in Paris, their donation,already flourished and a baron Denys was on a diplomatic mission to- then very troubled- Greece.(A street bears his name today in Piraeus!).
The same seems to have provided Mons.Goncour with a copy of C.N's last will and testament of 1790.
So, why the silence of Mons.Goncour and consequently of baron Denys and his descendants?
Was it just because they considered C.N/ Saint Germain to be a "black ship"?

3 Contrary to the "popular" view, "count" Alessandro Cagliostro was defined to be the same as Giuseppe Balsamo, Casanova's "hero". The Balsami were related both to Zante, the rite of Mizraim's birthplace as well as to specific members of the Zante Cocchini, thus the questions re his travelling companion Atansio and his mentor, the rite's "sage" Ananiah can be answered, his role in the rite further clarified , his relatives role later on in Zante too!

4.There was a Guillelmo Cochini, charge d'affaires of Mehmet Ali in Zante in 1823-24 (only one record). What happened to him, how was he related to Yanni, his father Anastasi, his cousin Michael Petrou Cocchini killed shortly after (1825)? .
Not mentioned in main text above, Guillelmo is one of the two possible victims of the murder, the other being Anastasi, an old man by 1835 .

5 How, when and why did the Palazzo in Venice change hands, who was its last Cocchini owner, what do italians scholars and/or other family members know about it?

6.How did the Zante Cocchini relate to Lazarus Cochin(i)/Saint Germain and his hydrian family?

Re Saint Germain: As a character he is too "large" ("o πολύς" is the adjective Sp.Melas uses, mockingly, for Lazarus Cochini), too remote, for this author to be able to form a clearer picture of him, info is missing, time has passed, changes, geography etc.
Yet, when approached with care and respect, the serious -hard working, almost sweaty- face of the 18th century master of all sciences, arts, languages and diplomacy, in the painting by an "unknown artist"-propably a self portrait- mellows, softens and smiles, he appears in fact to be expressing his understanding and amusement for the humble efforts of his permanently startled descendant:

A very familiar face!

Coming back to the pending items:

Enough indications exist to satisfactorily answer most questions raised above but....due to the sensitivity of the issues, per 2, 3, 4 and 6 in particular, the author feels obliged to write, once more, to some of those concerned and ask them to supply their part of the story!

Until early next year then, come what may!.

[yanni]

"Sheep" not "ship"

(the editing process malfunctions)

[yanni]

sheep not ship

(editing malfunctions)

[yanni]

MEA CULPA

No, it was not "Baron Denys" and, no, it was not Charles Nicholas's "last will and testament" that M.Goncour was looking for::

In his COCHIN Goncour, obviously lacking evidence but already aware that something is wrong with his collection of biograpohic details, he appears to be searching, for long time but in vain, for Charles Nicholas MEMOIRS (some hundreds of handwritten pages). He finds them finally in the possesion of a gentleman by the name "Charles Henry"

M. Charles-Henry, plus heureux que moi, a retrouvé les «Mémoires inédits de Charles-Nicolas Cochin», que, d'après l'indication du «Magasin encyclopédique», j'avais inutilement cherchés parmi les manuscrits de la Bibliothèque nationale.

but fails to mention if he was ever allowed to read them as well as to disclose to his readers the full name of the owner.

He thus makes clear that the matter is beyond public view, thus his work is "incomplete".

Who was M.Charles Henry?

This question must be added to the list of pending items, as nr7, to be answered as above scheduled.