Francis I


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Fran·cis I

 (frăn′sĭs) 1494-1547.
King of France (1515-1547) who waged four wars against Holy Roman Emperor Charles V from 1521 to 1544. A patron of the arts, he reigned during the Renaissance in France.

Francis I

n
1. (Biography) 1494–1547, king of France (1515–47). His reign was dominated by his rivalry with Emperor Charles V for the control of Italy. He was a noted patron of the arts and learning
2. (Biography) 1708–65, duke of Lorraine (1729–37), grand duke of Tuscany (1737–65), and Holy Roman Emperor (1745–65). His marriage (1736) to Maria Theresa led to the War of the Austrian Succession (1740–48)
3. (Biography) title as emperor of Austria of Francis II

Fran•cis I

(ˈfræn sɪs)
n.
1. 1494–1547, king of France 1515–47.
2. 1768–1835, first emperor of Austria 1804–35; as Francis II, last emperor of the Holy Roman Empire 1792–1806.
References in periodicals archive ?
The appointments of John Paul II from Poland, Benedict XVI from Germany, and Francis I from Argentina are part of the Church's increasingly global orientation.
Henry VIII might have had Holbein in royal service, but his French contemporary and rival, Francis I, provided Leonardo da Vinci with a home and a pension in his final years: the artist arrived from Italy with several of his finest works, including the Mona Lisa which subsequently entered the king's collection.
Other bishops, while pleased at the choice, raised the concern that Pope Francis I might not have an extended tenure because of his age, a situation similar to that of his predecessor Pope Benedict XVI, who resigned because of health reasons.
Pope Francis I certainly needs all the prayers from the faithful, even as we keep tabs on this new papacy.
With the election of Pope Francis I as the new head of the Roman Catholic Church, a number of firsts were made 6 the first pope from the Americas and the first Jesuit pope.
1470-1537) was a scholar and diplomat during the reigns of Louis XII and Francis I.
Although the reign of Francis I promised a glittering era of royal magnificence, the religious tensions and civil wars that followed saw a shift in the direction and type of works produced.
ABOUT 4 AM ON SUNDAY May 11th, 2003, thieves broke into the Kunsthistorischesmuseum in Vienna and carried off one of the greatest treasures produced by the Italian Renaissance: the gold salt cellar made by Benvenuto Cellini for the French king, Francis I.
From his autobiography we learn that "[a]mong all historical figures of high rank who interact with the protagonist, King Francis I holds the highest esteem in Cellini's mind and develops the least stormy rapport with him" (Cervigni, The "Vita" of Benvenuto Cellini, 1979, 125; in this first and only account in English of Cellini from the perspective of literary criticism, Cervigni very aptly entitles the section just preceding the above quote "The Story of a Life's Journey").
113) He entertained the idea of lionizing Francis I of France as the great king, or new Charlemagne, who would collaborate with the pope in carrying out God's will.
This is an important and scholarly revisionist work that offers a fundamental re-evaluation of Venice under Francis I and, in doing so, is important not only for underlining the strength of conservative tendencies in early nineteenth-century Europe but also for challenging teleological assumptions about European development.
On March 11, 1810, Napoleon married Marie-Louise (1791-1847), daughter of Emperor Francis I of Austria.