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.
