Charles Nicholas Cochin(fils) aka Cocchi Joachino or the opposite?
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).
"LES CHATS ANGOLA DE Mme DU DEFFAND"
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
Angelica Palli-Annabel Lee!
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.
John Fowler Hull, a quaker!
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.
Cochin=Caussin=Caccini=Cocchini
Musically inclined viewers with a sidekick in etymology, may find the following of interest too:
Nicolas Caussin
A famous Jesuit preacher and moralist; b. at Troyes in France, in 1583; d. at Paris, 2 July, 1651. His father, a physician of extensive practice, was able from a competent income to aid materially in the development of the remarkable talents that his son early displayed. Young Caussin's success in oratory, particularly after his entry into the Society of Jesus (1609), was brilliant, and drew to him the attention of the royal family. When the kingdom of Henry IV was fast declining under the impotent sway of the queen-regent, Marie de' Medici, Louis XIII came to the throne. Richelieu summoned Caussin to court to direct the young king's conscience. The task was a difficult one in those disturbed times, but Caussin, with scrupulous earnestness, gave his heart and soul to the work. The king, who relied implicitly on him, was made to realize that peace would once more reign in his realm and in his own soul when he recalled the queen-mother and other members of the royal family from the banishment in which they were languishing. Richelieu disliked this advice and accused Caussin of raising false scruples in the king's mind, and even of holding communications that savoured of treachery or that were at all events disloyal to his sovereign, with another of the royal chaplains. Caussin was at once banished to Quimper-Corentin in Brittany, where he remained until the death of Richelieu in 1643, when he returned to Paris to prepare his works for the press.
Many false statement regarding Caussin's disgrace were current. The Jansenist Arnauld claims that "it was well known from persons intimately connected at the former court of Louis XIII, that Father Caussin considered himself obliged to tell His Majesty that attrition, arising from the fear of hell alone, was not sufficient for justification, as there could be no justification without love of God, and this was what caused his disgrace." Many more surmises were engaged in by other Jansenists, but the reason given above is admitted by unfriendly biographers of the father. Among his works are: "La Cour Sainte" (5 vols.)--"A comprehensive system of moral maxims, pious reflections and historical examples, forming in itself a complete library of rational entertainment, Catholic devotion, and Christian knowledge." It was translated into several languages and has done much to perpetuate his fame. The English translation was printed in Dublin in 1815. "Le parallèle de l'éloquence sacree et profane"; "La vie de Sante Isabelle de France, soeur du roi St. Louis"; "Vie du Cardinal du Richelieu"; "Thesaurus Græcæ Poeseos." For his other works see De Backer, "Bibl. des écriv. de la c. de J." (Liège, 1855), and Sommervogel (new ed., Liège), II Feller, Biog. Univ. (Paris 1834); Duhr, Jesuiten Fabelen (4th ed. , 1904), 670 sqq.; Cherot in Dict. de théol. cath., s.v. JOHN J. CASSIDY
http://jcsm.org/StudyCenter/Catholic...dia/03467a.htm
Nicolas Caussin (1580-1651)
Nicolas Caussin taught rhetoric at the Jesuit college in Rouen and later at the College of La Fleche. He was a man of remarkable erudition and a powerful preacher. His success in the pulpit eventually brought him to the attention of Cardinal Richelieu, who also served as prime minister in the court of Louis XIII. Richelieu had Caussin appointed confessor to the king, a position of great sensitivity, if not vulnerability. In time, Richelieu sought to involve Caussin in palace intrigues, the details of which are recorded in Caussin's extant correspondence. When that plan failed, Richelieu ordered him to be sent away from Paris, preferably as far away as Canada. Caussin, however, got only as far as Brittany, where he lived in exile until the death of Louis XIII. He was then able to regain his position in the Court, mainly by virtue of the perceived brilliance of his attacks on the academics in Paris.
Thomas M. Conley, from Rhetoric in the European Tradition
http://www.smcm.edu/users/gtdegentesh/d2/ClasInfl.htm
A bientot amis!
Hocus-pocus as well as cocchus?
As the recent "Caussin" web discovery indicates, while Concino's intrusion to the french palace has been already historicaly explained to be via the lower quarters, it is now evident that Concino's cousin or uncle, abbe Nicolas Caussini, gained and maintained control of the upper floor including "access to the sky", as confessor, spiritual advisor and general "provider"-as a Luise de La Fayette modestly claimed prior to being beatified-to the dauphin, late King Luis XIII!
Majoring, among others, in aegyptology and hieroglyphics, the Caussini are significant as well as problematic to the outcome of this here "story" the main object of which has always been, as stated, the identification of the 1835 Zante murder victim-relative of Yanni d'Anastasy, the events that led to it, the perpetrators and their reasons and a multitude of secondary as well such as what reasons had a national greek tenor Giovanni Cocchini(1870-1925), to cooperate and tour the East (Turkey, Russia) with a certain theatrical manager by the name Labrunie around 1900, why his carreer then explode to reach as far as Petrograd, Finnland, Ireland, London (1901-8), why he left Smyrne and Turkey in a hurry, 1912, why he drowned himself in alcohol and died in Saloniki early 1925.
This author's grandfather.
Another undeclared-and later-object of this research is to find what forced the tenor's french grandfather Michael Petrou Kokkini to meet his death in 1826 defending Missolonghi from the attack of Mehmet Ali's son, Ibrahim, while other relatives(?) of his such as the previously mentioned Guillelmo Cocchini, Mehmet'Ali's charge d'affaires 1823-24 in Zante and of course Anastasy Kokkini and hydrian family who, as stated, had a prime role in the greek war for independence but, when Canning came to power, all decided to change sides sticking with the egyptians.
Coming back to the Caussinis:
"Significant" not just because they, when placed alongside the Cocchini-Concini-Caccini-Cochin-Cazin both confirm as well as upgrade the family's role in "western history"-in obvious need of revamping-but because their "orientalism" relates so well to the previously discussed aegyptology topic, their travels to the "greek Kokkini" and/or Modern Greece history, their "duties" to the d'Anastasy papyri.
Pointing out that, early in the 17th century, the family was obviously commissioned by the Medicis, as the below quoted marriage in Florence suggests....
Orazio (* 1539 + 1611), Marchese di Monte Santa Maria, Conte di Mealla (con Monte Fiore).....
b) = 1607 Eleonora, figlia di Giambattista Concini e di Camilla Miniati (+ testamento: 23-11-1644)
...to take and hold control of the french royal house.and that this role was continued to the end of the- "cochin" rather than-"capet" dynasty, as the 19th century Caussins further suggest, this author, declaring his permanent amazement on historicaly significant conclusions reached, leaves history rewritting to "scholars" and, hopefully maintaining his focus, will next explain the other adjective used: "Problematic"!
(continued in next)
La paroisse du Saint Benoit in Paris...
...and its "mysteries"
Having already made clear the reasons behind the eloquent use by the family of the different spelling versions of, basically the same, name, their integral oriental brilliance keeping them inseparable almost against their will, so to speak, one cannot but sit back and amuse himself studying later attempts, by scholars and descendants alike, to crudely maintain this separation in "cut salami" style and detect the unsharpened hatchet's marks in their "work".
Thus:
Mystery #1:
CNC's date and place of birth, the source of E.Goncour, reads as follows:
Le 22 février a été baptisé Charles-Nicolas, né le jour d'aujourd'huy, fils de Charles-Nicolas-Cochin, graveur, et de Louise Magdeleine Hortemele, son épouse, demeurant rue Saint-Jacques. Le parrain Charles-Nicolas Cochin, peintre, demeurant parvis Notre-Dame-de-Bonne-Nouvelle ; la marraine Marie-Anne Peltier, veuve de M. Hortermele, maître libraire de cette paroisse, et ont signé tous. (Extrait des registres des baptêmes de la paroisse Saint-Benoît de Paris pouf l'année 1715.)
So, to the dismay of art collectors and Museums, instead of two we now have three Charles Nicholas Cochins and the french art expert, the authority of Cochin's work, most characteristicaly, avoids to commnet about it.
.
#2
While M.Goncour insists that CNC(fils) grew up in rue Saint Jaques with his father and mother, both famous artists as well, he gives emphasis on the artistic background of the mother's side totaly ommiting the well known and well travelled painters Noel (1622 - 1695 as per Achenbach Foundation ) and Nicholas Cochin(1610-1686). Did they leave no descendants?
#3. While M.Goncour forgets to mention other members of the Cochins also living in Rue Saint Jacques, enough to form a "dynasty".....
#4 ...Laurence H. Winnie in his "Family Dynasty, Revolutionary Society: The Cochins of Paris, 1750-1922" defines the head of the family as a Claude Cochin(1656-1728) "mercer" from Mon-Thiery.
(This author not intending to purchase this book, cannot but assume that Charles Nicholas and family are not mentioned, as Noel and Nicolas are also avoided).
#5 Mr Winnie does advise however that "his" Cochins owned two houses in Rue Saint Jacques, at Nrs 12 and 214.
To cut a long story short:
Asking ourselves what access had the "dynasty" on the church to maybe influence the register, we next search the position of the church of Saint Benoit in rue Saint Jacques and find the following:
The "rue" was in fact called Saint-Benoit-le-Bétourné at the time, that the church, Saint Jaques, prospered after l'abbe Jean (or Jacques as per the Catholic encyclopedia) Denis Cochin (1726-1783) was appointed its cure in 1756, that roman-catholique Saint Benoit was converted into a horsemeal storehouse in 1790 while Saint Jacques, patron saint of the jacq-obins, still exists today within L' hôpital Cochin which was founded by abbe Jean or Jacques shortly before his death, the work of charity continued by another Jean Denis Cochin (1789-1841), nephew of the abbe, avocat and mayor of Paris (11th arrond. or 12th arrond.). As we further learn, Jean or Jaques Denis Cochin is now in the process of beatification.We'll see about him-and that-later on
The Hospital's address today is at Nr 27, Rue Saint Jacques and, if Saint Benoitt still existed today, would be placed at Nr 109..
A big street, a big family, a big donation but....yes, they did have "access"!!!!
Coming back to #4, (to make the link with the following post):
No Mon-Thiery exists in Paris and suburbs. A woody Montihery was found (on a Cassini map) next to Epinay, near Versailles, part of the property of Cochin Augustin Henri, son of famous lawyer and parlamentarian Henri Cochin(1687-1749).
Thus "D'Epinay"
La Seigneury d'Epinay sur Orge (Part 1)
On our way to meet M.Charles Henry-an important meeting,we feel-many thoughts cross our mind, things not done right, things forgotten, a general uneasiness for, perhaps, wrong conclusions reached with regard to the identity of St Germain:
Whereas we have no doubt whatsoever that he was the same as composer Gioachino Cocchi and "our Lazarus" Cochini, the uneasiness is solely focused on his CNC's persona, even if, as we have already demonstrated, we have researched the latter thoroughly and have found many similarities leading to this, wrong perhaps, conclusion.
"Once I was myself a decorist" wants Edgar his hero saying, the info coming to him directly from Saint Germain's grand son, Yanni, heir of his papyri but...but...but.
To calm our uneasiness we even read through Goncour's COCHIN once more to find wherefrom, as we remember, our doubts originated-and expressed herein-regarding CNC's age when he passed away in 1790, contradicting his 1715 birthday, also quite suspicious, as our previous post has shown.
We found the following:
Le vendredi 30 avril 1790, Charles-Nicolas Cochin, écuyer....garde des dessins du cabinet du Roi aux galeries du Louvre, secrétaire perpétuel de l'Académie de peinture et sculpture, censeur royal et membre de plusieurs académies, âgé d'environ soixante-dix-sept ans, décédé hier à six heures du matin aux galeries du Louvre, a été inhumé en cette église....«Archives de l'art français, vol. IV.
Still, this bit of info didn't calm our uneasiness, these were troubled times then, the witnesses, his cousins...
"sieur Clément-Louis-Marie-Anne Belle, peintre du Roi, recteur en son Académie royale de peinture et sculpture, surinspecteur des ouvrages de la couronne aux Gobelins, et de maître Antoine-Alexis Belle, avocat au Parlement, conseiller du Roi, commissaire honoraire au Châtelet de Paris"...not obliged to know by heart his exact birth date.
The main source of our worries all along, ofcourse, is CNC's total, life long, and hugely productive, devotion to his art: sketching and, mainly, engraving.
A man's character is shaped and determined by his work, such work, not just artistic but "artisan", hours and hours of manual labour, needing, rather than implulse, momentum. imagination, "fire of the spirit", extreme patience and dexterity only.
From his correspondence furthermore, as presented to us by his good(!) biographer, CNC appears to be not the flashy decision maker, not the fearless revolutionary, not the skilled diplomat in constant motion , not the father of countless children, not the sicilian type, not the owner of immense wealth-well spent for his cause later on-but the stingy bachelor he is, always complaining about his meagre salary and social injustice and doing nothing about it but declaring himself a friend of Necker instead etc etc.
Totally flat, fairly dull, very old in 1790 to turn himself into a corsair, he furthermore appears quite sincere, quite "innocent", his correspondence, his friendhip with Jobert, his sitting at the "table de Magny" revealing all that and more...more...
No...no..he is not our man, he is not our Saint Germain, he is not the man with the very "familiar face". Let's just hope, as our coach slowly approaches d'Epinay and we see La Chevrette in the distance,our host we''ll help us find the "other half" of our explosive ancestor.
Monsieur "Charles Pierre Savalette de Magnanville"....
....and "son château de la Chevrette".
(Part I)
The outburst in previous post, reader, must be attributed to this author's indignation upon realising he was just too deaf to hear the song of the sirens, too "upright" to follow their guidance:
Augustin Henry Cochin (AHC), signeur d'Epinay, was removed from the "Saint Germain" list because of the existence of the particular "M.Pierre Savalette de Magnanville" (PSDM) who, 1748, appears to own La Chevrette (as seen below item *1). PSDM is therefore to blame for the following reason:
At the time, Mme d'Epinay (Louise Florence Pétronille de TARDIEU d'ESCLAVELLES, 1726-1783) was not married to PSDM but to Denis Joseph LALIVE de DREUX puis(=later)(?) d'EPINAY. Their 1745 marriage broke off in 1749. (Denis lost his position as collector general of taxes of the King in 1762).
Furthermore:
St Germain's ambiguous relation to Savalette De Lange(SDL)-son of M.Pierre Savalette de Magnanville, born 1745-kept pointing back to Epinay, La Chevrette and its famous Madame and SDL was eventhought to be, for a while, another alias of St Germain, a repelling thought.
Add to that SDL's historic role in the post 1784 events, Mme D'Epinay's part in the enlightenemet, her many lovers and children, the size of her La Live family tree PLUS the two simultaneous owners of La Chevrette, the sumtotal then becomes simply too large to fit the average greek mind, hence the mistake, the retreat, the anger expressed in previous post.
That's all over now :
"Augustin Henri Cochin" (AHC) has been crosschecked, as above mentioned and...
HE IS COMTE SAINT GERMAIN or rather the official identity supplied to Gioachino Cocchi (by his Cochin relatives as well as by their royal "germains") sometime between his 1748 arrival to France and 1756 (first record of the AHC name).All data fit perfectly!!
As we'll see in next post he is also using the "Monsieur de Magnanville" alias (!!) and that is how Gioachino/St Germain's official "theater manager" and "royal treasure keeper" duties were later attributed to the real PSDM, long dead, his son's shameless conduct before and during the Paris events of 1784-1790 never explained by scholars or logicaly justified by "his" father's titles and royal trust.
(continued)
A last word from St Germain
(The text will justify the change of title)
December 1747, Rousseau returns to Paris, moves to La Chevrette spring 1748 and is asked to take part in "L'Engagement téméraire (OC I, p. 346 et 1423)" given six months to prepare himself for τhε role, a role he never gets. The performance takes place 14th September 1748
"...Made d'Epinay voulut me mettre des amusemens de la Chevrette, Château près de St. Denis appartenant à M. de Bellegarde. Il y avoit un theatre où l'on jouoit souvent des piéces"
."On me chargea d'un rolle que j'étudiai six mois sans relâche, et qu'il fallut me souffler (see the end) d'un bout à l'autre à la réprésentation. Après cette epreuve on ne me proposa plus de rolle (OC I, p. 346).
In other words, while the monsieur of the house is absent his wife enjoys herself partying.
The question is not just who she is partying with but also who the stage manager was, who the father of her next child: :
Angélique-Louise-Charlotte (1 août 1749 - 1er juin 1824), reconnue par Denis d’Épinay bien que son véritable père soit vraisemblablement Dupin de Francueil.
One may well doubt this last statement not just because M Denis Lalive puis(?) d'Epinay had, as we said, later claims on the d'Epinay property- last seen in the hands of Gioachino/AHC/d'Epinay-therefore was willing to reconnue a crocodile as his sister, but also from a theatrical point of view:
To begin with, when St Germain-Gioachino Cocchi "is in town", in 1748, theater lovers all around fall to his charms only, a "Dupin de Francueil" with a dubious theatrical expertise stepping quietly aside
Furthermore, as Abbe Raynal and Baron von Gleichen are registered today among Mme d'Einay's "elect few", often visiting her "salon", one can only wonder how St Germain is avoided when Cochin(CNC)- living nearby btw at his Cheville cottage(Goncour)-took then(1770-80) his chances drawing the former's portrait for his " "Histoire philosophique " and the latter, the dane, was a friend of Cochin/Cocchi/St Germain.
But let's all return and enjoy the "theatre de societe":
(Epinay dates below from fading memory only)
From 1756 to "sometime" 1762 Gioachino is still in London.
His first "Charle-Henry", 21 months old, dies October 1762 at his keepers home in Epinay while his parents are absent.
Early 1763 AHC reappears (first time after 1756) at Epinay-no wife- but immediately returns to Paris because
La représentation du 26 avril ’63 à Auteil préparait une plus grande fête pour le théâtre de la Chaussée d’Antin
.....de la soubrette; le rôle du chevalier avait été confié au baron de Van Swieten; Colardeau représentait le comte et d’Épinay Hortensius; le valet était le président de Salaberry.
Il y avait un orchestre excellent et fort nombreux; la musique, assez bonne quoiqu’il y eût des longueurs et pas mal de réminiscences, était de ce Dupin de Francueil que nous connaissons bien et qui depuis plusieurs années partageait avec quelques amis les bonnes grâces de Mlle de Verrières cadette.
Enfin, dernier détail et digne complément de cette étrange réunion, le souffleur du théâtre n’était autre que l’ancien précepteur des enfants de M. d’Épinay! ” (Maurgas, p. 137-138 http://www.chass.utoronto.ca/~trott/societe/soc_V.htm
We have them all now, we see them all clearly, don't we?
The "cornuto" as Hortensius, the alleged "lover" in the dubious role of music supplier*(footnote), the sicilian greek lover-Magna(!) Graecia-Mme d'Epinay's real lover and father of their Angelique-introduced back then at la Chevrette as "précepteur" (tutor) to her children-now acting as a "prompt" or, better still, "inspirer" for them all shortly after the loss of a son.
The show must go on!
*footnote (June 2008): "Dupin de Franceuil" has been identified, int the meantime as yet another "persona" of Saint Germain/Gioachino Cocchi, ie the composer(known to avoid showing himself publicaly) also acted as "souffleur" in this performance. Rousseau's "Bellegarde" above is obviously yet another.
Bâtards and maccaronis, Voltaire and manuscripts
(Part I)
The sirens allowed us a keyhole-peep at Mme d'Epinay's salon the exact moment of time when the conception of "Enlightment", as well as their Angelique, both fathered by Gioachino-Saint Germain aka de Magnanville, in 1748, were taking place !
This unique performance was not free however, there was a ticket to pay:
As son of C.P.S.de Magnaville, M.Savalette de Langes, distinguished member of the maccaroni club, troubles us:
Was Gioachino/St Germain just using the "de Magnaville" name then, in 1748 as we rather hurriedly assumed in previous, or is the "real" CPSM just a later "creation", a cover for St Germain's "batard" son?
Studying the "real" CPSM closely (web) one cannot really find the answer, the immense wealth, properties and seigneuries, ammased around 1743-45, by grandfather Pierre Savalette de Magnanville, a supplier of vinegar, not at all justified by his profession, any "royal contacts" not disclosed, no reason for the "garde de tresor du roi" title found.
At the same time, the common Paris absence of both the "real" de M. ("touring" Tours 1745-1756) as well as St Germain/ Gioachino/De Magnaville-owner of Chevrette in 1748, also not on any french record 1745-1756 apart from the 1748 "de Magnaville" persona, rather increases our worries as....
....3 Saint-Germain made no public appearances as a performer and thus the discovery of a detailed description of two private concerts held in London during the last week of April and the first week of May 1749 is the more valuable and sheds considerable light on the exalted social circles in which he moved. (Haymarket theater records)....obviously as Gioachino Cocchi .
Concluding, we seem unable to answer satisfactorily the following main questions:
A. How was Gioachino-Saint Germain able to build such a complex and multitalented personality?
B. If Savalette de Langes was his son, did they share the same political views, ie did they betray the royal confidence, where they both traitors, even if they(St Germain as De Magnaville and AHCochin) were so royaly rewarded?
Let's see if Voltaire can help us find the answer to the first and, as for the second, the hope is expressed that others, perhaps as concerned, will answer it publicaly before we do!
(continued with Part II)
Malicious executioners and other fools.
Part I
As it turns out, monsieur JEAN PIERRE CLARIS DE FLORIAN (1755-1794), a mason (Membre de la Loge Les Neuf Soeurs, 1779) and a member (Élu en 1788 au fauteuil 29) of the royal academy of french genii, then on the cliff's edge like the rest of "old" France, was a theater man himself (Florian's THÉÂTRE. Quatrieme Édition. Paris: P. Didot, 1790)
As such he certainly knew M.De Magnaville's artistic and other endeavours, as much so or perhaps even better than present day historians and art scholars but, unlike them, he could not keep his lying mouth shut:
Just by the title of his book "Arlequin-premier ministre", Florian links son Savalette ("arlequin-") to father Gioachino ("premier ministre") and, when his "Fables" are next examined, the multi coloured Arlequin gentleman, the subject of discussion of the three "foreign" birdies, clearly "sing" to us his hate and envy for the "fiorentine foreigners" who ruled France but had by then (1788) dissappeared from Paris (as we'll soon discover) with the exception of his "arlequin", enjoying the royal trust to the very end.
As for Mirabeau with the smooth tongue:
Victor, Marquise de Mirabeau (fiorentine Richetti family) was the seigneur of...
Le Bignon-Mirabeau, Région.Centre, Département : Loiret. Au XVIIIème siècle, le seigneur justicier était le marquis de Mirabeau, (Honore) qui naquit au château de Bignon en 1749.
...and, as such, both father and son, were well aquainted with....
Famille COCHIN ; COCHAIN - BAUJARD ; BEAUJARD ; BAUJAR Mariage: 21 juillet 1750 ΰ Le Bignon-Mirabeau, 45, LOIRET...
...themselves obviously related to the "beaux arts". Thus Victor's book, published 1763, was decorated by none other than Charles Nicholas Cochin (fils), then truly in charge of french "beauxarts", and his "subordinates":
LE FRANC de POMPIGNAN. - Poésies sacrées et philosophiques, tirées des livres saints..suivie de l’Examen des poésies sacrées, du marquis de Mirabeau.- A Paris, de l’imprimerie de Prault, 1763.-
Edition ornée d’un fleuron sur le titre par Eisen, gravé par Lemire, et 6 vignettes par Cochin, gravées par Prévost.
Father Victor waisted his life trying to correct "batard" (in character) son Honore but failed.
Totaly dishonored, Honore died in 1791.
Florian, aquitted by the jacobins after spending a short time in prison, outlasted Honore by three years. He died young.
We are thankful to both of them: Their malicious candour guided our research a step further.
We'll next envisage "truth" as mirrored on the two sides of a rusty guillotin blade.
Malicious executioners and other fools
Part II
Listed below are ALL family members condemned to die by the guillotin during the "terreur" in France.
Excluding the last, they are all residing in the greater Eure-Loire area (where Bignon-Mirabeau is located) and, facing execution, they all insist very "nationalisticaly", on using different spelling versions of their sirname although closely related, brothers and cousins, and sharing the same prison cells.
COCHIN Hugues, domicilié à Chanteloup, département de Mayenne et Loire, condamné à mort comme brigand de la Vendée, le 16 nivôse an 2, par la commission militaire séante à Nantes.
CACHIN Pierre, domicilié à Chanteloup, département de Mayenne et Loire, condamné à mort comme brigand de la Vendée, le 16 nivôse an 2, par la commission militaire séante à Nantes.
CASSIN Jean, domicilié à Mondejean, département de Mayenne et Loire, condamné à mort comme brigand de la Vendée, le 13 nivôse an 2, par la commission militaire séante à Nantes.
CASSIN François, domicilié à Chanteloup, département de Mayenne et Loire, condamné à mort comme brigand de la Vendée, le 16 nivôse an 2, par la commission militaire séante à Nantes.
CASSIN Jean, domicilié à Couron, département de Mayenne et Loire, condamné à mort comme brigand de la Vendée, le 6 nivôse an 2, par la commission militaire séante à Savenay.
CASSIN Marie, de Chanteloup, fusillée le 1er février 1794
Marie Cassin, 44 ans, veuve de Pierre Moreau, née à Chanteloup, y habitait la métairie de Rocheveaud. Arrêtée chez elle, le 15 janvier 1794, elle fut interrogée par le Comité de surveillance de Cholet. Elle reconnaît qu'elle a donné à manger aux soldats qui passaient, sans chercher à savoir s'ils étaient brigands ou non.Quand on lui demande si elle a prié pour le succès des armées rebelles, elle a cette noble réponse : " Je n'ai jamais prié le Bon Dieu que pour la paix et l'union pour tout le monde ". Interrogée à Angers par Vacheron, le 24 janvier 1794, elle est jugée comme préférant les prêtres non sermentés et fanatique. Fusillée le 1er février.
CASSIN Mathurin, domicilié à Latour-Landy, département de Mayenne et Loire, condamné à mort comme brigand de la Vendée, le 17 frimaire an 2, par la commission militaire séante à Doué.
CAUSSIGNY Joseph Louis, (dit Valbelle), ex noble, domicilié à Aix, département des Bouches du Rhône, condamné à mort comme contre-révolutionnaire, le 21 germinal an 2, par le tribunal criminel dudit département.
No other Cochins or even De Langes, Savalettes, Magnanvilles etc were found in the relevant "guillotin" site.
(continued)
Malicious executioners and other fools
Part III
At http://perso.orange.fr/claude.jondeau/ix43n2.html#O, some 60 plus Cochins are on record (1700-1850) in Eure et Loire (result of "Cochin+Bignon+Mirabeau" web search)
"Cachin+Bignon +Mirabeau" produces just two Cachins, long dead by 1794,
at http://www.gatinaisgeneal.org/roberte/ix43n0.htm
and just one Cassin (Louis (334-2) Naissance : 1747. (not among the executed)
http://www.gatinaisgeneal.org/roberte/pag66.htm#12
In other words:
The name change before the guillotin was compulsory!
...and rather definining for the attitude of the survivors, if any.
The next question is how did the Paris lot escape the guillotin?
Gioachino/Saint Germain/Augustin Henry Cochin, first and foremost as well as the "mercer dynasty" of monsieur Winnie Lawrence, where did they all go leaving their poorer relatives to pay the heavy penalty?
Maybe the last in the list....
CAUSSIGNY Joseph Louis, (dit Valbelle), ex noble, domicilié à Aix, département des Bouches du Rhône, condamné à mort comme contre-révolutionnaire, le 21 germinal an 2, par le tribunal criminel dudit département.
..has something to say on the subject!
Next: The sea view.
Gibbon-Sheffield-Cocchi-Corsica-Missolonghi
The following extracts maybe of further interest to "history revamping" scholars
Gibbon's Journey from Geneva to Rome. His Journal from 20 April to 2 October 1764,
Avrà tuttavia occasione di avvicinare due personaggi in vista di quel mondo: il vecchio Lami e Raimondo Cocchi. Fu il Lami stesso che, prevenuto dal Bartoli, venne a cercarlo. La sua apparizione, la mattina del 27 giugno, lasciò i due amici esterrefatti: non potevano immaginarsi figura più sordida, più ripugnante (pp. 122, 254). Lo rivedrà una sola volta, allorché andrà a visitare la Riccardiana (p. 154). Vide, invece, più volte il Cocchi. Lo conobbe, sembra, in una compagnia d'inglesi, il 28 luglio; ma gli fece così fiacca impressione da neppur nominarlo (p. 187 n. 2). Lo rivide necessariamente quando volle visitare il gabinetto delle medaglie: il Cocchi era "antiquario nella R. Galleria". Ma non amava le medaglie, anzi le disprezzava: amava assai più la professione di medico. La sua indifferenza e addirittura estraneità al museo che era affidato alle sue cure, le negligenze, i modi svagati irritarono fortemente il Gibbon (pp. 193, 194, 204). Anche l' "esprit" che tutti gli riconoscevano era di un genere che non gli piaceva: "Au reste l'air gredin, les manieres presque extravagantes et les propos singuliers annoncent un philosophe, si l'on veut distinguer un philosophe d'un homme raisonnable" (p. 193). Si trattava, anche ai suoi occhi, di una incompatibilità istintiva, di un'avversione irreducibile: "je ne lui trouve point le genie qu'on lui attribue; c'est peut-etre parce que les notres ne sont pas analogues" (p. 197). Osservandolo meglio, vale a dire con più malignità, finì per rinvenire in lui addirittura sentimenti bassi e mancanza di dignità: "J'entrevois de l'extravagance dans ses idées, de l'affectation dans ses manieres et de la bassesse dans ses sentimens. Il se plaint à tout moment de sa pauvretè. Il connoit peu la veritable dignitè de l'homme de lettres" (p. 204). Non gli sembrava di averne già detto male abbastanza. Peccato che il G. si tenga così nel vago a proposito delle "stravaganti" idee del suo interlocutore: tanto più che l'ultima conversazione, da quanto ne lascia intravedere, aveva contenuto politico, toccava anzi aspetti della vita politica inglese. Si sa che il Cocchi era ancor più anglofilo di suo padre; ed è ben nota la sua amicizia per Paoli e il suo attivo aiuto alla causa còrsa[22].
(22)...R. Cocchi e le sue "Lettere italiane sopra la Corsica, in: ASC, XVIII, 1942, 241-256. L'attribuzione delle Lettere al Cocchi è però errata: le Lettere italiane sono di Luca Magnanima (cfr. "Novelle Letterarie", Firenze 1775, col. 503). Il Paoli nella lettera al Cocchi da Londra del 13 settembre 1770 ("Oh qual piacere avrei di abbracciarla! per dimandarle ragione a cazzotti di non avermi mandato il libro che ha dato fuori sull'infelice mio paese") alludeva con molta probabilità alle Osservazioni di un viaggiatore inglese sopra l'Isola di Corsica scritte in Inglese sul luogo nel 1767 ed ora tradotte in Italiano (Londra 1769), che sono certamente opera del Cocchi (G. Livi, Lettere inedite di P. Paoli, in: "Arch. Stor. Italiano", 175, 1890, 268; G. Lessi, Elogio di R. Cocchi, in: "Atti dell'Imp. e Reale Acc. d. Crusca", I, 1819, 80). Composto in occasione di una "commissione politica" che il Cocchi svolse in Corsica per conto del governo inglese, questo interessante opuscolo è in gran parte una descrizione delle strutture politiche della Corsica di Pasquale Paoli, il governo "forse il più libero, dopo il nostro [chi parla è, si ricordi, un 'viaggiatore inglese'] che sia nel Mondo [...] " (Osservazioni, 10, Livi, 71-76). Poiché tutti i còrsi avevano preso parte alla lotta di liberazione, il Paoli era stato "in obbligo di dare a ciascun uomo il suo destino d'esser membro dello Stato", di creare cioè un governo popolare (Osserv., 15). Il fondamento della democrazia còrsa era la piccola proprietà agricola: "Vi ha una divisione agraria de' Territorj, non istabilita per legge, ma così di fatto sussistente. Vivono come se fossero in comune [...] " (Ibid., 36). Era proprio questa "idea di proprietà", oltre all'odio implacabile dei genovesi, che animava i còrsi e li faceva "disperati" nella lotta. Lo scopo pratico che il Cocchi perseguiva è rivelato senza ambagi alla fine dell'opuscolo: rimuovere l'editto, emanato dal governo inglese nel 1764, che proibiva a qualunque suddito inglese di commerciare con i còrsi. Tal divieto era incompatibile per i "principj di libertà". Il Cocchi riprendeva ancòra una volta il paragone con l'Inghilterra: "I Còrsi rappresentano oggidì la parte gloriosa, che noi rappresentammo al tempo della nostra rivoluzione. Sono essi infiammati dai medesimi giusti motivi, ed animati dal medesimo spirito di libertà [...] " (lbid., 39). Anglofilo dunque fino ad accettare delicati incarichi politici dal governo inglese, il Cocchi aveva composto per Horace Mann, "suo amicissimo", una Relazione della costituzione fisica, civile, ed economica della Toscana granducale che rimase inedita (Lessi, 80). Non mancano tra i suoi progetti intellettuali le stranezze: penso a quel suo tentativo, che risale forse al 1764, di epica popolare e cantabile che è il poema di Luni, presentato compiacentemente dal suo eulogista come una prova dell' "interesse ch'ei [Cocchi] prendeva a migliorare per ogni modo la sorte degli uomini" (Lessi, 76, 79).
Also of interest Gibbon's friendship with John Baker Holroyd, 1st Lord Sheffield as well as 2nd Lord Sheffield's part in transporting Michael Petrou Kokkini to Missolonghi early 1823 (greek records) confirmed by:
Lord Sheffield is arrived from Brundissium <sic> whe<re><9> he was obliged to perform Quarantine after having met with all sorts of disasters. We have sent you several papers & brochures & letters that came by the post from all parts
http://www.foxtalbot.arts.gla.ac.uk/...t=944#cnn01066
Saint Germain's brother: Raimondo Cocchi.
To meet our April the 2nd appointment, we better bring a little order in our house:
An important question was raised some posts back, if Saint Germain, staging his AHC death in 1784 and leaving France as he did, was a traitor!
A silly question to raise for a diplomat, it really sounds vulgar when it concerns the chief of the royal secret service, as stated.
So we might as well answer it here and now:
To begin with, anybody familiar with Gibbon's own life choices, cannot but laugh at his attempt to discredit Raimondo Cocchi by referring to his constant pauverty complaints (Il se plaint à tout moment de sa pauvretè) and his lack of philosophical dignity (Il connoit peu la veritable dignitè de l'homme de lettres).
Now let's examine the matter in more detail:
Gibbon, visiting Florence late 1764, writes that Raimondo was in charge of the Uffizi gallery but dr Smollet, visiting Florence February 1765 writes that
Bianchi, [This antiquarian is now imprisoned for Life, for having robbed the Gallery and then set it on fire.] who shows the gallery, thinks the statue represents the augur Attius Navius, who cut a stone with a knife, at the command of Tarquinius Priscus.
The good italian history scholar, who provided for us the text of previous post (his name was lost copypasting, sorry), speaking so oppenly for Raimondo's anglophilia and relating it to Corsica's revolt, is certainly unaware both of Raimondo's brother Gioachino position in France as well as of Corsica's strong greek community (that followed Paoli), he therefore, as a "nationalist", condemns Raimondo for leading Paoli to a revolt that resulted to Genoa, then under french protection anyway, loosing Corsica to France.
Raimondo is obviously following his brother's orders and, as such, he is certainly not betraying France.
Is he perhaps betraying Florence, then under the austrians?
As we said, Bianchi is in charge of the Uffizi Feb 1765, Francis I dies August 18, 1765, Bianchi is imprisoned for looting the gallery and then setting it on fire, end of 1765 the dauphin of Luis XV and Marie Leszczynska also dies, her father Stanislas, King of Poland and duc of Lorraine, too, France annexes Lorraine February 1766, Corsica in 1768 and 1770 Francis I daughter, Marie Antoinette marries future Luis XVI. Following that....
(as per a Florence history site):
1773 Espulsione dei gesuiti, Raimondo Cocchi, figlio di Antonio, è nominato direttore della galleria degli Uffizi.
The next Austrian emperor, therefore, instead of accusing Raimondo for betraying his country or his trust (for removing part of the Uffizi collection) he rewards and reinstates him.
Do we forget perhaps that in 1764 Catherine purchased a major collection of 225 western European paintings, laying the foundation for today's State Hermitage Museum in St. Petersburg, Russia?
No we don't: Art should serve people, not the opposite and, as for Giuseppe Bianchi, we really don't know if he remained imprisoned for life!
Buonjorno (with a smile) bella Italia!
....a big, tighlty linked, family UNTIL THEN...
with emphasis on their ----- extensive family archive... as well!
Members of the family residing longer in France, ie the parliamentarian descendents of the "confessor" of King Luis XIII-the documents the young dauphin had to sign to be pardoned for his crimes is anybody's guess-obviously had the upper hand in "family affairs" while the "italian" Cocchis, moving to Naples and France after the conquest of Florence by the Austrians, were in a disadvantage.
Thus Gioachino, the fake "Augustine Henry" Cochin and the "frontline" Saint Germain (a "wandering Jew" by title only, "monitored", as previously stated, by the well established in Paris, "Lev" married, "mercers-lawyers" friends of Voltaire)had therefore his very private reasons to state to Marie- Antoinette" his hands "were tied".
The same hierarchy is noticed in the Levant 1760-1826::The Cochinis (Caussinis etc) are positioned to the "front line", the outskirts of the "family empire", Egypt-Asia Minor while the "Cochins" stay in "safe base" Zante, allegedly planning their return to Paris when the time is "ripe" .
The first Cochin Paris reappearance is indeed 1826: They carry their philanthropic "cloak" then, their alleged daggers, true intentions and false identities left behind in Zante.
Yes, 1826 we'll keep us busy a while!
Before we proceed, we define here and now that the term "allegedly" will be ommitted from the remainder of the Announcement in order to prevent repetition, save forum space and author's patience. Aanyone in doubt can apply it reading the text as he pleases however, our heroes are "legendary" anyway, their "secret service" capabilities, indeed worth repeating, also to be avoided from now on.
In other words: As some parts of the story are the product of author's vivid imagination, any reference to real people is definitely, surely and beyond anydoubt whatsoever truly and purely coincidental!
Also: The term "cocooning" previously may read wrong: None of the heroes of this story are "monsters", they all are normal people who, because of conditions beyond their control, behaved as they did or as anybody else would have done in their position. The term was meant as "growing up in a (barely, in comparison to today) safe environment".
Found floating on the Nile
dedicated in admiration to french egyptologists (Mme D.V. ("dit" ou pas), and her coleaque Mme C.Z. at L.L) with compliments.
1826:July in Alex the first-ever armenian chevalier de l'ordre Wasa and consul of Sweden. His first "Cataloque General de la Collection" is published by his "serviteur & amis" P.Lavison.
....the egyptian department of the Louvre créé le 15 mai 1826 par ordonnance royale de Charles X. Il fit de Jean-François Champollion, qui venait d'acquérir la collection du consul anglais Salt (4 000 pièces), le conservateur de ce qu'on appelait alors le Musée égyptien.
Giovanni d'Anastasi (1780-1860)
Greek diplomat and collector
He was born in Egypt as the son of a Greek merchant who made a fortune as surveyor to Napoleon’s army. As one of Egypt’s leading tradesmen, Anastasi also served as Swedish-Norwegian Consul-General, and like his colleagues he started collecting antiquities. His first collection was acquired for the Leiden Museum in 1828, and contained the three statues of Maya and Meryt and other masterpieces from Saqqara. A second collection went to the British Museum in 1839, the remainder was auctioned in Paris in 1857.
http://www.let.leidenuniv.nl/saqqara..._Profiles.html
Jean Anastasi, an Armenian merchant from Damascus, served as Swedish Consul General in Egypt from 1828 to 1857.
http://www.agbu.org/agbunews/display.asp?A_ID=41
Our story begins with Giovanni d'Anastasi, collector of Egyptian antiquities extraordinaires. A successful merchant who saw the advantage of cashing in on Europe's taste in Egyptian antiquities, Anastasi employed several agents to gather antiquities for him, including one Piccinini who was working in Girga (Thinis) in 1828. Anastasi's full collections cut across boundaries of genre and time,but they were an amalgamation of smaller collections. He dispersed his massive collections in four installments: One of these was in 1826........
(Abracadabra, Isaac and Jacob Reviewed by John Gee "The book of Moses")
Abraham vs Ibrahim:The chicken and the egg!
Having recognised and already commented the fact that the Rite of Mizraim originated 1782 in Zante, the undersigned accepts that the devil of "personal involvement" was and is ever present, personal beliefs, emotions, "gut feelings" fully contradicting, seemingly objective, "facts". It did not fit together, it did not all make sense for a long time now.
This "personal" element, making no science absolut, is at its best in the science of "papyrology": Fitting together old fragments and then interpreting the barely readable "document" and its hieroglyphics truly has a high margin of error, excusable, if and when sincere, in such science.
Promoting religious geopolitical agendas however is both inexcusable and punishable, a "scientific" crime and a hypocritic idiocy, particularly when commited by those few who bash, with their "democratic" banners and such "biblical authorship", other societies for their parallel backwardness and unparallel sincerity.
If "Abraxas" followed by "Walsamos" was enough to raise some eyebrows, then D'Anastasy=Cochin= Caussin=Caussiny "de Valbelle" (dit ou pas)=De Perceval=Saint Germain obviously makes the case important enough to be placed under the microscope and, for eyptologists (and descendants alike) caught with the hand in the jar, so to speak, "silence" could, can and will not be an option!
The next cherry to be added therefore to our 1826 "tourte extraordinaire", also dedicated to them in admiration, now reads as follows:
A Cochini Andrianna was born that year "fille de Demetrio-Giacomo de Dion. Cochini, noble de Zante et Anna, fille de Giorgio Balsamo, noble de Zante". Unlike next children of the couple (1828-1837), Andrianna's day of birth is not recorded meaning she was not born in Zante.
Marking the beginnining of the 1835 "event" and relative family "divide"-too little too late-1826 is an important year and, as such, it will be given a "royal" treatment next!
BTW: Seasonal wishes were previously expressed to "scholarly" readers propably going on extended leave soon. Author "Yanni the greek" will continue posting "pre 1827" topics for his other readers to year's end.
