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75 Years of Marie Christine: The Birthday of Princess Michael of Kent

Princess Michael of Kent in 1999
Wedding of Baron Günther von Reibnitz and Countess Marianne Szapáry de Szapár, Muraszombat et Széchy-Sziget
Baroness Marie Christine Anna Agnes Hedwig Ida von Reibnitz was born on 15 January 1945, at Karlsbad, Germany (now Karlovy Vary, Czech Republic). Marie Christine was the daughter of Baron Günther von Reibnitz (1894 – 1983) and his second wife Countess Maria Anna (Marianne) Szapáry de Szapár, Muraszombat et Széchy-Sziget (1911-1998). Günther and Maria Anna had married in 1941, and had their only son Baron Friedrich von Reibnitz (b.1942), who was followed by their only daughter. In 1946, Marie Christine’s parents divorced; she was barely one year-old.

Marie Christine's maternal grandpa: Count Friedrich Szapáry de Szapár, Muraszombat et Széchy-Sziget
Marie Christine's maternal grandma Princess Hedwig zu Windisch-Grätz with mother Marianne as a baby
Baroness Marie Christine von Reibnitz’s paternal grandparents were Baron Hans Egon von Reibnitz (1856 - 1918) and Baroness Ida von Eickstedt (1867 - 1937). Her maternal grandparents were Count Friedrich Szapáry de Szapár, Muraszombat et Széchy-Sziget (1869 – 1935) and Princess Hedwig zu Windisch-Grätz (1878 – 1918). Marie Christine's mother Marianne was a fifth cousin of Queen Geraldine of Albania (1915 - 2002; née Countess Apponyi de Nagy-Appony; consort of King Zog of Albania). Countess Marianne and Queen Mother Geraldine of the Albanians were both descendants of Count Georg Christian von Waldstein (1743 - 1791) and Countess Elisabeth Ulfeldt (1747 - 1791). Princess Michael of Kent was thus a sixth cousin of the late King Leka I of the Albanians (1939 - 2011). In 2016, Prince and Princess Michael of Kent attended the wedding of Crown Prince Leka (II) and his wife Elia Zaharia in Tirana.

Countess Marianne Szapáry de Szapár, Muraszombat et Széchy-Sziget
Following her parents’ divorce, Marie Christine and her brother Fred were raised by their mother. Marianne decided to move the family to Australia, which is where her young children grew up. Marianne remarried in 1952 to Polish aristocrat Tadeusz Rogala-Koczorowski (1911 - 1989). From this union, Marie Christine gained a younger half-brother: Macio Rogala-Koczorowski (b.1953). Marie Christine was a pupil at the Kincoppal School, located in the Rose Bay suburb of Sydney. The baroness then went on to spend some time on her father's farm in Africa. After this, Marie Christine traveled to Europe and stayed with her maternal family in Austria. In Europe, she studied the History of Art; this compelled the baroness to move to London to study and found her own interior design company.

Marie Christine's first husband Thomas Troubridge
Whilst in London, Marie Christine met her first husband, Thomas Troubridge (1939 – 2015), a British banker and a descendant of the Troubridge baronets. Baroness Marie Christine von Reibnitz and Thomas Troubridge were married on 14 September 1971 at Chelsea Old Church, London. Alas, the couple separated in 1973, and their union ended in a civil divorce in 1977. A Roman Catholic annulment was granted in May 1978.

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On 30 June 1978 in Vienna, Baroness Marie Christine von Reibnitz married Prince Michael of Kent (b.1942), youngest child of Prince George, Duke of Kent, and Princess Marina of Greece and Denmark. The couple have two children: Lord Frederick Windsor (b.1979) and Lady Gabriella Kingston (b.1981; née Windsor).

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Today, Princess Michael of Kent celebrates her seventy-fifth birthday. 

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We wish HRH many happy returns!

The Italian Monarchist Union Condemns Move By Vittorio Emanuele of Savoy



The Unione Monarchica Italiana has condemned the unilateral move of Vittorio Emanuele, Prince of Naples, in his announcement today that he will be abolishing the Salic law that governs the Royal House of Savoy. Unfortunately for the Prince of Naples, the majority of Italian monarchists support his cousin Prince Amedeo, Duke of Savoy, as Head of the Royal House.

Following is the communiqué released by the UMI:

PRESS RELEASE OF THE ITALIAN MONARCHIST UNION

It seems evident to anyone with a limited knowledge of the law, and of the constitutional one in particular, that the matter of the succession to the throne of a state governed by a constitutional monarchy should necessarily be found in the fundamental Charter of the State, that is, in its Constitution. In fact, the Albertine Statute refers to art. 2 regarding the rules of succession to the throne, stating that "the throne is inherited according to the Salic law". It follows from this that only a new constitutional charter of the Kingdom, to be approved in the forms proper to a State "governed by a Representative Monarchical Government" (also in art. 2) could modify the rule of succession to the throne. The succession is vested in the Savoy Family, and can only be changed by the organs of the Representative State, that is to say, of the Parliament in its constituent function. It is deduced that the initiative announced today [by Vittorio Emmanuele di Savoia] constitutes an announcement devoid of any legal effect.

Rome, 01/15/2019

The National President
Alessandro Sacchi

Savoy Succession Dispute Deepens: Prince of Naples, Son of Last King of Italy, Abolishes Salic Law


The Secretariat of Vittorio Emanuele, Prince of Naples, has confirmed that the prince has decided to abolish to Salic Law, which governs the line of succession in the Royal House of Savoy, and to replace it with absolute primogenture. Vittorio Emanuele is the only son of the late King Umberto II of Italy and Queen Marie-José (née Belgium).  Since 2006, the claim to the Headship of the Royal House has been disputed between Vittorio Emanuele and his cousin Prince Amedeo, Duke of Aosta.

Victor Emmanuel of Savoy and Marina Doria
From his marriage to commoner Marina Doria, the Prince of Naples has one son: Emanuele Filiberto, who owns food trucks in Los Angeles. Emanuele Filiberto, titled as Prince of Venice by his late grandfather, has two daughters, Vittoria and Luisa, from his marriage to French actress Clotilde Courau. This move by the Prince of Naples to allow his granddaughters to become dynasts after their father, the Prince of Venice, whose dynastic status is already disputed by many Italian monarchists owing to his father's unequal and unauthorised marriage to his mother Marina.

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The documents released detailing the succession change for the main-line Savoys show that Vittorio Emanuele took the decision on 28 December 2019 at Geneva, where he lives. The Prince of Naples grants to his eldest granddaughter Vittoria (b.Geneva 28 December 2003) the titles "Princess of Carignano" (Principessa di Carignano) and "Marchioness of Ivrea" (Marchesa d'Ivrea). Vittoria of Savoy also becomes a Dame Grand Cross of the Order of Saints Maurice and Lazarus. Luisa of Savoy (b.Geneva 16 August 2006), the younger granddaughter of Vittorio Emmanuele, receives the titles of "Princess of Chieri" (Principessa di Chieri) and "Countess of Salemi" (Contessa di Salemi). Like her sister, Luisa becomes a Dame Grand Cross of the Order of Saints Maurice and Lazarus.

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The Prince of Naples states that his decision has effect immediately. It is noted that the Princesses Vittoria and Luisa will accompany their father the Prince of Venice to a service on 14 March 2020 at Hautecombe Abbey to commemorate King Umberto II and Queen Marie-José.

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This announcement will likely be condemned in due course by the Duke of Aosta and the Unione Monarchica Italiana (Italian Monarchist Union).






What Every Sherlockian Should Read

Publisher Steve Doyle and The Baker Street Journal

I’m sorry to put this in the past tense, but it used to be that every community had a newspaper, and that paper helped to hold the community together by giving it a common frame of reference.

Holding a community together is what The Baker Street Journaldoes for Sherlockians, especially in the United States but also around the world. The best reason to subscribe to the BSJ is that it’s great reading, but the next best reason is that it’s what other Sherlockians are reading.

If you need a third reason, the fifth issue every year is a Christmas Annual devoted to one topic. It’s always outstanding. The 2019 issue provided a fascinating look at William S. Baring-Gould, author of Sherlock Holmes of Baker Street and The Annotated Sherlock Holmes.

More than a year ago I gave a talk to a scion society about certain aspects of the Canon. One of the members was kind enough to say the talk should appear in the BSJ. With some embarrassment I replied that it already had. “I guess you can tell I don’t subscribe,” the person said.

Bad move. Every Sherlockian should subscribe. I did for a year in the early 1970s, then I fell into apostasy for about 40 years. I missed a lot, but I caught up by acquiring the incredibly useful e-Baker Street Journal, which has all the issues from 1946 through 2011 on CD-ROM.

If you’re not a current subscriber, check out the website.  

Full disclosure: I’ve had the great pleasure of seeing four of my articles published in the BSJ in the past three years, something I never dreamed of when I read the journal at the Cincinnati Public Library as a pre-teen. Canadian Holmes and England’s Sherlock Holmes Journalare also stellar publications.

Avustralya Yangınları

Amerikan Havacılık ve Uzay Dairesi (NASA), Avustralya'daki orman yangınlarından yükselen ve stratosfere ulaşan dumanların dünyanın çevresini dolanmasının beklendiğini duyurdu.

Ülkenin doğu kıyılarındaki orman yangınları Eylül ayından beri devam ediyor. Büyük Okyanus'a yönelen duman tabakası yeni yılın ilk gününde Güney Amerika'yı geçti ve 8 Ocak'ta dünyanın etrafındaki turunun yarısını tamamladı.
NASA uzmanları dumanların dünyanın çevresini en az bir kez dolanacağını söylüyor.


Pazarı Bekleyin




Hiç sormuyorsunuz, bu kişi her hafta bir sayı paylaşırdı, ne oldu diye. Paylaşıma tekrar başlayacağım. Ancak genel olarak işe yaramayan meşguliyetler paylaşıma biraz ara vermeme neden oldu. Görseller görsel amaçlıdır. Henüz ne paylaşacağıma tam olarak karar vermedim. Çalışmadığınız bir yerden de gelebilir, müfredattan da çıkabilir.

Alta güzel yorumlarınızı ve yüreklendirici mesajlarınızı bırakabilirsiniz.

Dmitri Shostakovich: Symphony No.7 in C major "Leningrad" – hr-Sinfonieorchester, Klaus Mäkelä (HD 1080p)














Under the baton of the young Finnish conductor and cellist Klaus Mäkelä, the hr-Sinfonieorchester performs Dmitri Shostakovich's Symphony No.7 in C major, Op.60 "Leningrad". Recorded at Alte Oper Frankfurt, on November 1, 2019.



The Symphony No.7 in C major, Op.60, by Dmitry Shostakovich, known as "Leningrad", premiered informally on March 5, 1942, at a rural retreat by the Volga, where the composer and many of his colleagues were seeking refuge from World War II. Five months later, it would be given in the city whose name it bore under highly dramatic circumstances; the work would come to stand for Russian courage in the face of crisis and still is imagined to represent survival against difficult odds.

Few important compositions ever been performed under quite so trying circumstances as Dmitri Shostakovich's Symphony No.7. It was August 9, 1942. Not only was Europe at war, but the German army stood at the gates of Leningrad. So long had the city been under siege that several orchestra members had succumbed to famine during the rehearsal period, and the ensemble, finding itself short of players, put out a call for help. The Russian military officer in command of defense forces released any soldier who could play an orchestral instrument reasonably well long enough for the performance, which was transmitted by loudspeakers around the perimeter of the city, both to hearten the Russian people and to make the point to the Germans that surrender was not at hand. During the concert, empty chairs were placed in the orchestra to represent musicians who had perished before the performance could be given.

That Leningrad performance had not been the Symphony's first hearing. Although he had begun the work in Leningrad the previous summer, that winter, Shostakovich and other prominent cultural resources of the nation had been forcibly evacuated for their own protection, sent to Kuybyshev in the Volga. The Symphony was finished there and premiered with a gathering of the composer’s colleagues on March 5, 1942. Then in a burst of foresight, Shostakovich arranged for the score to be microfilmed. In this form, it was then smuggled to Iran, driven to Egypt, and flown via South America to the U.S., where Toscanini and the NBC Symphony gave it an American premiere on July 19, 1942. So the Leningrad performance was its third hearing, though the first in the city for which it was named.

As for the composer himself, he was unable to attend the American performance in person, but was there in spirit, on the cover of Time magazine, with a photograph of him in fire-fighting gear. Given both his international fame and his near-sightedness, the Russian army had declined to give Shostakovich a front-line post and instead assigned him to a domestic fire-fighting team, quietly informing his colleagues that it was their responsibility to keep him out of harm's way.

Soviet authorities were quick to declare the Symphony a musical depiction of heroic military actions, though Shostakovich himself asserted that it was more emotional than pictorial. From either perspective, it is not exactly an optimistic work. The opening Allegretto movement sets powerful themes in contrast to gentler ones, the latter particularly for flute. A distant march develops, complete with snare drum, and growing gradually more fearsome. The procession, more sardonic than grim, is interrupted at times by outbursts of brass. Setting the march energy aside temporarily, Shostakovich brings in mournful themes for strings and an extended solo for bassoon, before closing the movement with a distant recollection of the martial theme.

The second movement, Moderato (poco allegretto), begins with the second violins, whose theme gradually reappears elsewhere in the orchestra in layers of counterpoint. A short spotlight for oboe adds further color to the textures, which until that point had largely been focused upon strings. The generally flowing spirit of the opening pages yields to increasing restlessness and anxiety, verging on desperation. As the close of the movement approaches, Shostakovich gives a prolonged solo to the oft-neglected bass clarinet, its low and somber voice contrasting nicely with the bassoon, which had been featured late in the first movement.

He does not label the third movement, Adagio, a "funeral march", but it is essentially that, with grim opening chords, despairing string lines, and a distant march beat developing. A melancholy theme heard first in the flute grows and evolves as it moves to other instruments. Brass and percussion bring a measure of even greater anguish as the movement progresses, though it will close with a return to the weary sorrows with which it had begun.

The last movement, Allegro non troppo, may be a vision of ultimate victory. Opening in a subdued fashion, it gradually builds in determination with a renewed march mood. It is not the despairing march of the Adagio, but rather one of firm resolution, as if to remind listeners of the forces lurking outside the city gates. Poignant passages appear, suggestive of remembered losses, though the last few minutes – built upon a repeating rhythmic fragment in the strings – brings back the firm energy of earlier pages. It is still not quite music of victory, but at least of survival.

Shostakovich's Symphony No.7, is indeed a work of heroic scope, roughly an hour in length and with an orchestra well supplied with additional winds and percussion. Although it set out to reflect a particular time and place, one can also perceive it in broader terms. Imagine it as a symphony reflecting any people persevering in the face of adversity, and it becomes a work with universal appeal.

Source: Betsy Schwarm, 2017 (britannica.com)




Dmitri Shostakovich (1906-1975)

♪ Symphony No.7 in C major, Op.60 "Leningrad" (1939-1940)

i. Allegretto
ii. Moderato (poco allegretto)
iii. Adagio
iv. Allegro non troppo

hr-Sinfonieorchester (Frankfurt Radio Symphony Orchestra)
Conductor: Klaus Mäkelä

Alte Oper Frankfurt, November 1, 2019

(HD 1080p)















Klaus Mäkelä (b. 1996, Helsinki) has established a strong international presence through his instant musical connection with orchestras around the world. Mäkelä is Chief Conductor and Artistic Advisor Designate of the Oslo Philharmonic Orchestra and will assume the position at the beginning of the 2020-2021 season. He is also Principal Guest Conductor of the Swedish Radio Symphony Orchestra, Artist in Association with Tapiola Sinfonietta, and Artistic Director of the Turku Music Festival.

In the 2019-2020 season, Mäkelä makes his first appearances with the NDR Elbphilharmonie, Münchner Philharmoniker, Bamberg Symphony Orchestra, Nederlands Radio Filharmonisch Orkest, Orchestre Philharmonique de Radio France, Orquesta Nacional de España, London Philharmonic Orchestra, City of Birmingham Symphony Orchestra, The Hallé and Scottish Chamber Orchestra. He returns to the Oslo Philharmonic Orchestra, MDR Leipzig, Frankfurt Radio Symphony Orchestra, The Minnesota Orchestra, NAC Ottawa, Gothenburg and Tokyo Metropolitan symphony orchestras, and Orchestre de Chambre de Lausanne. Mäkelä also continues his tenures with the Swedish Radio Symphony Orchestra, and Tapiola Sinfonietta where he has embarked on a Beethoven Cycle which will continue over the next two seasons. This seasons' concert programmes also include masterworks by Bruckner, Rachmaninov, Shostakovich, and Debussy, Ravel and Berlioz.


Highlights from last season include appearances with Orchestre de Paris, Orchestre National de Lyon, Frankfurt Radio, Antwerp, Bern, and Malmö symphony orchestras, Bergen Philharmonic, Iceland Symphony Orchestra and Orchestre National du Capitole de Toulouse which have led to immediate and consistent re-invitations.


Also working in opera, Mäkelä made his operatic debut in with the Finnish National Opera conducting The Magic Flute and a concertante performance of Erkki Melartin’s Aino.


Mäkelä studied conducting at the Sibelius Academy with Jorma Panula and cello with Marko Ylönen, Timo Hanhinen and Hannu Kiiski. As a soloist, he has performed with Finnish orchestras such as the Lahti Symphony, Kuopio Symphony and Jyväskylä Sinfonia as well as appearing at many Finnish festivals including the Kuhmo Chamber Music and Naantali Music Festival. He plays a Giovanni Grancino cello from 1698, kindly made available to him by the OP Art Foundation.


Source: klausmakela.com
























































































More photos


See also


Sauli Zinovjev: Un Grande Sospiro – Orchestre de Chambre de Lausanne, Klaus Mäkelä (HD 1080p)

Robert Schumann: Piano Concerto in A minor – Martin Helmchen, hr-Sinfonieorchester, Klaus Mäkelä (HD 1080p)

Ludwig van Beethoven: Symphony No.9 in D minor "Choral" – Lauren Fagan, Hanna Hipp, Tuomas Katajala, Shenyang, Oslo Philharmonic Choir & Orcestra, Klaus Mäkelä (4K Ultra High Definition)


Dmitri Shostakovich – All the posts

A New Old Photo of Marshallton

Our "newest" photo of historic Marshallton
Frequent readers of the blog will know that something I really enjoy is coming across "new" or "lost" old photographs of the area. In the decade or so I've been doing this I feel that I've seen most of the historic pictures out there, but once in a while I'll find (or more likely, as in this case, someone will send me) something I've never seen before. (Of course, like the "New World", these are only new because I was unfamiliar with them.) A recent example of this is an old postcard bearing a photograph of Marshallton, which is both very similar to others we've seen and at the same time, different. As a bonus, I've been able to piece together the very sad story of the recipient of the card.

First, though, we'll start with the picture itself. Like several others we've seen, it was taken on the NW side of Red Clay Creek, near the intersection of Greenbank and Duncan/Newport Roads. The photographer was looking up Duncan Road toward where Kirkwood Highway is now. Greenbank Road runs right/left, the wall you see is the small bridge over Ham Run, and the bridge over Red Clay would be behind you. Below is a current view from approximately the same place. The house on the left in the modern view was around for the old picture, but is obscured by the now-lost house that stood on the corner. The Bellew-Cain House further up Duncan Road can be seen in the old shot (bright white in the middle), but is obscured by trees in the new. Everything else visible in each shot is not now or was not then standing.

Current equivalent view to the postcard

That being said, as noted, we have seen other old photographs of the same area. The first photo below is taken looking back towards the location of our photographer. The house on the right there is the house on the left in our "new" picture. The next two, though, are even more interesting. The middle photo shows the home and general store of Mattie McCullen (remember that name). The end of it can be seen on the far right of our new photo. The bottom postcard is a view looking up Greenbank Road toward the mill, with McCullen's Store again visible on the left.




As I was looking at the newest photographic find one day, I realized that these three photos (new and bottom two) were taken in the same era, and from almost the same place. I started playing around with the idea of stitching them together to create a panoramic view of the area, circa 1910. While I'll take credit for coming up with the idea, I give full credit to Tommy Gears for perfecting it. After a few back-and-forths, Tommy came up with the image below. It's a combination of all three photos, showing what the main intersection of the village of Marshallton looked like over 100 years ago. I think he did a fantastic job. I suggest clicking on it to view it in all its glory.

Panorama view of Greenbank-Duncan intersection, courtesy Thomas Gears

That pretty much covers the image itself. However, keep in mind that this was a postcard, sold by Newark photographer Ed Herbener. We know that from the reverse side of the card, seen below. It has a name and an address (well, what sufficed for an address at the time), but no postage or postmarks. That means it was probably just given to the recipient, not mailed. The recipient was Miss Irene McCullen of Marshallton. (It may read "Irena". If so, perhaps she was called Irena, but I'm sure it was Irene McCullen.) Irene was, in fact, a Marshallton native, with connections to several sites. The story of her and her family is also a tragic one.

Reverse side of the postcard

Irene McCullen was born in Marshallton on March 21, 1894, the daughter of Thomas and Addie Barton McCullen. Addie's uncle was David Ecoff, owner of the store in the brick "Town Hall" building that now houses Events Unlimited -- just out of frame to the left of or picture. Thomas' brother William and wife Mattie ran the store on the right edge of our photo. That's probably Irene's aunt and grandmother on the porch in the store photo. Irene would have been very familiar with the scene portrayed on the postcard. It could even have been Mattie who gave it to her. The McCullen family was rounded out by another daughter, Marion, born in February 1898. In 1903, the two girls (who were nine and five at the time, despite what the notes say) wrote cute letters to Santa which were published in the News Journal. I'm not sure if that helps what comes next, or makes it worse. Sorry.

Letters to Santa from Irene and Marion McCullen, 1903

Thomas McCullen was an engineer for the Baltimore and Ohio Railroad, and sometime during the aughts the family moved to southwest Philadelphia (oddly enough, only a block from where my wife's grandparents would move to about 20 years later). In October 1909, 37 year old Addie McCullen died of tuberculosis. Sadly, she would not be the last. Three years later, Irene succumbed to the same ailment on January 18, at the age of 17. 1912 started out bad for the McCullen family, but would only get worse.

The accident that killed Thomas McCullen

At the end of May, the locomotive Thomas was driving was struck by lightning in South Philadelphia, derailed, and overturned. The conductor was crushed to death and Thomas received fatal scalds. He died on May 31. That left only Irene's little sister Marion, though sadly not for long. Perhaps weakened by the loss of her family, perhaps because she was susceptible to it, in August 1912 Marion also died of tuberculosis. All four members of the family gone within three years -- three of them within seven months. Yes, I realize this post about a cool old photo postcard of Marshallton turned dark awfully quick. Again, sorry. To make up for it, I'll leave you with this cute little picture of puppies.

See? So cute! And none of them probably died of tuberculosis

History of Medicine - Duchenne de Boulogne

The history of science fascinates me for many reasons. The most signficant being that it is a brazen example of the cumulative efforts of men and women separated by time & space but united through their ideas. Perhaps it is best described by the saying Isaac Newton popularised; "to be standing on the shoulders of giants". Today, I would like to briefly look at the history of neurology and see how (and why) many eponymous diseases and signs have obtained their names.
Duchenne de Boulogne

We start with Duchenne de Boulogne, a French neurologist in the 1800s, whose understanding of electrophysiology, neural pathways, diagnostic techniques have arguably made him a father of the speciality and one of the 19th century's original clinicians.

Born in Calais in 1805, he studied medicine in Paris and became a physician in 1831. At Paris, he was taught by the likes of Cruveilhier, Dupuytren, Velpeau, and Laennec (inventor of the stethoscope). He remained in Calais as a practitioner of general medicine until his wife died of puerperal fever in 1844. He returned to Paris to initiate his pioneering studies on electrical stimulation of muscles.

He pioneered the use of deep tissue biopsy using a trochar he constructed, and described an array of myopathies that bear his name today. This includes Duchenne's muscular dystrophy, Erb-Duchenne palsy amongst others.

Interestingly, he published a monographic album of the muscles involved in human expressions (see adjacent photo). This album would later serve as a resource for a young Charles Darwin in his own study on the genetics of behaviour.

Duchenne (right) and his patient, an "old toothless man, with a thin face, whose features, without being absolutely ugly, approached ordinary triviality".
Over the course of his career, he worked with Armand Trousseau, Pierre Rayer, and Jean-Martin Charcot - all of whom he described as his closest friends. Duchenne was a shy yet hard-working physician. Despite his contributions, he was never given any hospital appointments or academic chair, likely due to his modesty and speech difficulties when presenting at conferences. Most of his work would not have been published without the help of his friends, Trousseau and Charcot.

Duchenne died in Paris in 1875.

Duchenne had many students throughout his career passing down his methodology and theoretical knowledge, as was common for physicians in training the next generation. Perhaps his most famous student was Jean-Martin Charcot, the "founder of modern neurology" who has at least 15 eponymous medical diseases and signs named after him, and perhaps the bane of medical students worldwide. He will be covered in detail next time.

References:
1. Parent A. Duchenne De Boulogne: a pioneer in neurology and medical photography. Canadian journal of neurological sciences. 2005 Aug;32(3):369-77.
2. Broussolle E, Poirier J, Clarac F, Barbara JG. Figures and institutions of the neurological sciences in Paris from 1800 to 1950. Part III: neurology. Revue neurologique. 2012 Apr 1;168(4):301-20.

Iss Pyar Ko Kya Naam Doon / Ipkknd / Bir Garip Aşk 120