A convent is either a community of priests, religious brothers, religious sisters, or nuns, or the building used by the community, particularly in the Roman Catholic Church and in the Anglican Communion. In modern English usage, "convent" almost invariably refers to a community of women, while "monastery," "priory" or "friary" are used for men; but in historical usage they are often interchangeable.

Technically, a "monastery" is a community of monastics, whereas a "convent" is a community of mendicants ("friary" specifying a male community specifically), and a "canonry" a community of canons [regular]. The terms "abbey" and "priory" can be applied to both monasteries and canonries and distinguish those headed by an Abbot from the lesser dependent houses headed by a Prior.

See also

Abbey

Christian monasticism

Monastery

External links

Carmelite Monastery of the Sacred Hearts —- an example of a modern-day convent

Category:Religious buildings Category:Types of communities Category:Christian communities Category:Nunneries

ca:Convent es:Convento fr:Couvent hr:Manastir io:Kuvento it:Convento nl:Convent pl:Zakon pt:Convento fi:Konventti sv:konvent (kloster) th:คอนแวนต์

subject name	St. Gallen
image photo	Sankt Gallen.jpg
municipality name	St. Gallen
municipality type	municipality
imagepath coa	Coa stgallen.svg
map	Karte Gemeinde St. Gallen 2007.png
languages	German
canton	St. Gallen
iso-code-region	CH-SG
district	St. Gallen
lat d	47|lat_m25|lat_NSN|long_d9|long_m22|long_EWE
postal code	9000
municipality code	3203
area	39.41
elevation	675|elevation_description|highestBirt|highest_m1074|lowestGoldachtobel|lowest_m496
population	|populationof | popofyear
website	www.stadt.sg.ch
mayor	Thomas Scheitlin|mayor_asof2008|mayor_partyFDP
mayor title	Stadtpräsident|list_of_mayors List of mayors of St. Gallen
places	West: Winkeln, Bruggen, Lachen; Centrum: Rosenberg, Riethüsli, St. Georgen, Innenstadt, St. Jakob, Linsenbühl-Dreilinden; Ost: Rotmonten, Langgass-Heiligkreuz, St. Fiden, Notkersegg, Neudorf-Industrie
neighboring municipalities	Eggersriet, Gaiserwald, Gossau, Herisau (AR), Mörschwil, Speicher (AR), Stein (AR), Teufen (AR), Untereggen, Wittenbach
twintowns	Liberec (Czech Republic)

St. Gallen ( or St. Gall; ; ; ) is the capital of the canton of St. Gallen in Switzerland. It evolved from the hermitage of Saint Gall, founded in the 7th century. Today, it is a large urban agglomeration (with around 160,000 inhabitants) and represents the center of eastern Switzerland. The town mainly relies on the service sector for its economic base.

The main tourist attraction is the Abbey of St. Gall, a UNESCO World Heritage Site. Its renowned library contains books which date back to the 9th century.

The city has good transport links to the rest of the country and to neighbouring Germany and Austria. It also functions as the gate to the Appenzell Alps.

Geography

St. Gallen is situated in the northeastern part of Switzerland in a valley around above sea level. It is one of the highest cities in Switzerland and it often receives a lot of snow in winter. The town is pleasantly situated between Lake Constance and the mountains of the Appenzell Alps (with the Säntis as the highest peak at ). It therefore offers excellent recreation areas nearby.

As the city center is built on an unstable turf ground (thanks to its founder Gallus who was looking for a hermitage and not founding a city), all buildings on the valley floor must be built on piles. For example, the entire foundation of the train station and its plaza are based on hundreds of piles.

St.Gallen has an area, , of . Of this area, 31.1% is used for agricultural purposes, while 28.9% is forested. Of the rest of the land, 38.4% is settled (buildings or roads) and the remainder (1.7%) is non-productive (rivers or lakes).

History

Native name	Reichsstadt Sankt Gallen
Conventional long name	Imperial City of St Gallen
Common name	Saint Gallen
Continent	Europe
Region	Alps
Country	Switzerland
Era	Middle Ages
Status	City
Empire	Holy Roman Empire
Government type	Republic
Status text	State of the Holy Roman Empire (to 1499 / 1648)Swiss associate and protectorate (1454–1798)
Year start	1401
Year end	1798
Event pre	City founded
Date pre	ca 612
Event start	Gained Reichsfreiheit
Date start
Event1	Abbey became Swissprotectorate
Date event1	17 August 1451
Event2	Associate & protect.of Swiss Confederacy
Date event2	13 June 1454
Event3	Swabian War: de factoindependent from HRE
Date event3	1499
Event4	Peace of Westphalia:de jure independence
Date event4	1648
Event end	Annexed to HelveticRep. canton of Säntis
Date end	1798
Event post	Helv. Rep. collapsed;city & abbey joinedcanton of St. Gallen
Date post	1803
P1	Duchy of Swabia
Image p1
S1	Canton of Säntis
Flag s1	Republiquehelv.svg
Capital	St. Gallen
Footnotes	}}

Founding of the city

The founding of St. Gallen is based on the Irish monk Gallus (ca 550–620 or 640), who built a hermitage by the river Steinach in 612.

Founding of the Abbey of St. Gall

Around 720, one hundred years after Gallus's death, the Alemannian priest Othmar built an abbey and gave it the name Abbey of St. Gallen. In 926 Hungarian raiders attacked the abbey and surrounding town. Saint Wiborada, the first woman formally canonized by the Vatican, reportedly saw a vision of the pending attack and warned the monks and citizens to flee. While the monks and the abbey treasure escaped, Wiborada chose to stay behind and was killed by the raiders.

About 954 the monastery was surrounded by walls as a protection against the Saracens, and the town grew up around these walls. About 1205 the abbot became a prince of the church in the Holy Roman Empire. In 1311 St. Gallen became a Free imperial city. By about 1353 the guilds, headed by the cloth-weavers guild, gained control of the civic government. In 1415 the city bought its liberty from the German king Sigismund.

Freedom from the Abbey

In 1405 the Appenzell estates of the abbot successfully rebelled and in 1411 they became allies of the Old Swiss Confederation. A few months later the town of St. Gallen also became allies. They joined the "everlasting alliance" as full members of the Confederation in 1454 and in 1457 became completely free from the abbot. However, in 1451 the abbey became an ally of Zurich, Lucerne, Schwyz and Glarus who were all members of the Confederation.

One of the earliest mayors of St. Gallen may be among the most colorful, Ulrich Varnbüler. Hans, the father of Ulrich, was prominent in city affairs in St. Gallen, Switzerland, in the early 15th century. Ulrich made his entry into public affairs in the early 1460s and gathered the various offices and honours that are available to a talented and ambitious man. He demonstrated fine qualities as field commander of the St. Gallen troops in the Burgundian Wars.

In the battle of Grandson in 1476 he and his troops were part of the advance units of the Confederation and took part in their famous attack. (A large painting of Ulrich returning triumphantly to a hero's welcome in St. Gallen can still be seen in St. Gallen).

After the war, he often represented St. Gallen at the various parliaments of the Confederation. In December 1480 he was offered the position of mayor for the first time. From that time on he served in several leading city positions and was considered the intellectual and political leader.

According to Vadian, who understood his contemporaries well, "Ulrich was a very intelligent, observant, and eloquent man who enjoyed the trust of the citizenry to a high degree."

His reputation among the Confederates was also substantial. However, in the late 1480s he became involved in a conflict that was to have serious negative consequences for him and for the city of which he was mayor. In 1463 Ulrich Rösch had assumed the management of the abbey of St. Gall. He was an ambitious prelate, whose goal it was to raise the abbey by every possible means to prominence again following the losses of the Appenzell War.

His restless ambitions offended the political and material interests of his neighbours. When he arranged for the help of the pope and the emperor to carry out a plan for moving the abbey to Rorschach on Lake Constance, he encountered stiff resistance from the St. Gallen citizenry, other clerics, and the Appenzell nobility in the Rhine Valley who were concerned for their holdings.

At this point, Varnbüler entered the conflict against the prelate. He wanted to restrict the increase of power of the abbey and simultaneously increase the power of the town that had been restricted in its development.

For this purpose he established contact with farmers and Appenzell residents (led by the fanatical Hermann Schwendiner) who were seeking an opportunity to weaken the abbot.

Initially, he protested to the abbot and the representatives of the four sponsoring Confederate cantons (Zurich, Lucerne, Schwyz, and Glarus) against the construction of the new abbey in Rorschach. Then, on July 28, 1489 he had armed troops from St. Gallen and Appenzell destroy the buildings already under construction.

When the abbot complained to the Confederates about the damages and demanded full compensation, Ulrich responded with a counter suit and in cooperation with Schwendiner rejected the arbitration efforts of the non-partisan Confederates.

He motivated the clerics from Wil to Rorschach to discard their loyalty to the abbey and spoke against the abbey at the meeting of the townspeople at Waldkirch, where the popular league was formed.

He was confident that the four sponsoring cantons would not intervene with force, due to the prevailing tensions between the Confederation and the Swabian League.

He was strengthened in his resolve by the fact that the people of St. Gallen elected him again to be the highest magistrate in 1490.

An Associate of the Confederation

It transpired that Ulrich Varnbüler had made a serious miscalculation. In early 1490 the four cantons decided to carry out their duty to the abbey and to invade the St. Gallen canton with an armed force. The people of Appenzell and the local clerics submitted to this force without noteworthy resistance, while the city of St. Gallen braced itself for a fight to the finish.

However, when they learned that their compatriots had given up the fight, they lost confidence; the end result was that they concluded a peace pact that greatly restricted the city's powers and burdened the city with serious penalties and reparation payments.

Ulrich, overwhelmed by the responsibility for his political decisions, panicked in the face of the approaching enemy who wanted him apprehended. His life was in great danger, and he was forced to disguise himself as a messenger and escape from the city.

He made his way to Lindau and to Innsbruck and the court of King Maximilian. The victors confiscated those of his properties that lay outside of the city of St. Gallen and banned him from the confines of the Confederation.

Ulrich then appealed to the imperial court (as did Schwendiner, who had fled with him) for the return of his property.

The suit had the support of Friedrich II and Maximilian and the trial threatened to drag on for years. It was continued by Ulrich's sons Hans and Ulrich after his death in 1496, and eventually they regained their properties.

However, other political ramifications resulted from the court action, because the Confederation took ownership of the city of St. Gallen and rejected the inroads of the empire.

Thus, the conflict strengthened the relationship between the Confederation and the city of St. Gallen. On the other hand the matter increased the alienation between Switzerland and the German Holy Roman Empire, which would eventually mean a total separation as a result of the Swabian War.

Despite the unpropitious end of his career, Varnbüler is immortalized in a famous woodcut by Albrecht Dürer, which is part of the Smithsonian Institution's woodcut collection(q.v.).

Of Varnbüler's sons, the elder (Hans/Johann) became the mayor of Lindau. He is the patriarch of the Baden and Württemberg Varnbülers.

Reformation

Starting in 1526 then-mayor and humanist Joachim von Watt (Vadian) introduced the reformation into the city of St. Gallen. The town converted to the new reformed religion while the Abbey remained Roman Catholic.

While iconoclastic riots forced the monks to flee the city and removed images from the city's churches, the fortified Abbey remained untouched. The Abbey was to remain a Catholic stronghold in the Protestant city until 1803.

Helvetic Republic and Act of Mediation

In 1798 Napoleon invaded the Old Swiss Confederation destroying the Ancien Régime. Under the Helvetic Republic both the abbey and the city lost their power and were combined with Appenzell into the Canton of Säntis.

The Helvetic Republic was widely unpopular in Switzerland and was overthrown a few years later in 1803. Following the Act of Mediation the city of St. Gallen became the capital of the Protestant Canton of St. Gallen.

One of the first acts of the new canton was to suppress the abbey. The monks were driven out of the abbey with the last abbot dying in Muri in 1829. In 1846 a rearrangement in the local dioceses made St. Gall a separate see, with the abbey church as its cathedral and a portion of the monastic buildings being designated the bishop's residence.

Gustav Adolf, former king of Sweden, spent the last years of his life in St. Gallen, and finally died there in 1837.

St. Gallen as a center of the textile-industry

In the 15th century St. Gallen became successful in producing textiles. In 1714 the climax was reached with a yearly production of 38,000 pieces of cloth. The first depression happened in the middle of the 18th century caused by strong foreign competition and the early days of cotton production. But St. Gallen was able to catch up and an even more glamorous era arrived.

At the beginning of the 19th century, the first embroidery machines were developed in St. Gallen. In 1910 the embroidery production was the largest export branch (18 percent of the total export value) in Switzerland and more than half of the global production originated in St. Gallen. One fifth of the population in the eastern part of Switzerland lived from the textile industry. World War I and the Great Depression thereafter let the St. Gallen embroidery fall into a second large crisis. Only in the 1950s a did a slight recovery start in the textile industry. Nowadays, only a small textile industry had been able to survive in St. Gallen because of high specialization and the production of powerful embroidery machines. St. Gallen embroideries (e.g. by Akris) are still in great demand from fashion designers in Parisian Haute Couture.

Education

St. Gallen is known for its business school, now named the University of St. Gallen (HSG). It was ranked as the top business school in Europe by Wirtschaftswoche, a weekly German business news magazine, and is highly ranked by several other sources. Recently, HSG has been building a reputation for Executive Education, with its International MBA recognised as one of Europe's leading programmes, and runs a PhD programme. HSG is a focused university that offers degrees in business and management, economics, political science and international relations as well as business law. It is comparatively small, with about 6,500 students enrolled at present, has both EQUIS and AACSB accredited, and is a member of CEMS (Community of European Management Schools). The university maintains student and faculty exchange programs around the world.

St. Gallen's state school system contains 64 Kindergartens, 21 primary schools and 7 secondary schools and about 6,800 students. In addition to the state system St. Gallen is home to the Institut auf dem Rosenberg — an elite boarding school attracting students from all over the world. The Institut provides an education in English, German and Italian and prepares the students to enter American, British, Swiss, Italian, German and other European university programs.

In St.Gallen about 68.8% of the population (between age 25–64) have completed either non-mandatory upper secondary education or additional higher education (either University or a Fachhochschule). Out of the total population in St. Gallen, , the highest education level completed by 15,035 people (20.7% of the population) was Primary, while 27,465 (37.8%) have completed their secondary education, 10,249 (14.1%) have attended a Tertiary school, and 2,910 (4.0%) are not in school. The remainder did not answer this question.

Coat of arms

The blazon of the municipal coat of arms is Argent a Bear rampant Sable langued and in his virility Gules and armed and gorged Or.

Demographics

St. Gallen has a population (as of ) of . , about 27.5% of the population was made up of foreign nationals. Of the foreign population, (), 2,363 are from Germany, 3,691 are from Italy, 7,111 are from ex-Yugoslavia, 794 are from Austria, 1,060 are from Turkey, and 4,405 are from another country. Over the last 10 years, the population has grown at a rate of 0.7%. Most of the population () speaks German (83.0%), with Italian being second most common (3.7%) and Serbo-Croatian being third (3.7%). Of the Swiss national languages (), 60,297 speak German, 575 people speak French, 2,722 people speak Italian, and 147 people speak Romansh.

The age distribution, , in St.Gallen is; 6,742 children or 9.3% of the population are between 0 and 9 years old and 7,595 teenagers or 10.5% are between 10 and 19. Of the adult population, 12,574 people or 17.3% of the population are between 20 and 29 years old. 11,735 people or 16.2% are between 30 and 39, 9,535 people or 13.1% are between 40 and 49, and 8,432 people or 11.6% are between 50 and 59. The senior population distribution is 6,461 people or 8.9% of the population are between 60 and 69 years old, 5,633 people or 7.8% are between 70 and 79, there are 3,255 people or 4.5% who are between 80 and 89, and there are 655 people or 0.9% who are between 90 and 99, and 9 people or 0.0% who are 100 or more.

there were 16,166 persons (or 22.3% of the population) who were living alone in private dwellings. There were 17,137 (or 23.6%) persons who were part of a couple (married or otherwise committed) without children, and 27,937 (or 38.5%) who were part of a couple with children. There were 4,533 (or 6.2%) people who lived in single parent home, while there are 419 persons who were adult children living with one or both parents, 475 persons who lived in a household made up of relatives, 2,296 who lived household made up of unrelated persons, and 3,663 who are either institutionalized or live in another type of collective housing.

In the 2007 federal election the most popular party was the SP which received 25.4% of the vote. The next three most popular parties were the SVP (23.2%), the CVP (17.3%) and the FDP (15.3%).

Historical population

The historical population is given in the following table: align="center">ca. 3,000–4,000 align="center" align="center" align="center" align="center" align="center" align="center" align="center" align="center" align="center" align="center" align="center" align="center" align="center" align="center"

year			! Swiss Nationals	German language>German Speaking	Italian language>Italian Speaking	! % Romansh Speaking	Protestantism>Protestant	! % Roman Catholic
1411	ca. 2,300–2,900	|
about 1500	|
1680	ca. 6,000||
1766	ca. 8,350||
1809	8,118||
1837	9,430||
1850	17,858 ||	16,529				50.4%	49.3%
1870b	26,398 ||	23,805				49.8%	49.9%
1888	43,296 ||	34,168	97.5%	1.4%	0.5%	49.0%	49.7%
1900	53,796 ||	40,342	94.9%	3.6%	0.7%	46.8%	52.1%
1910	75,482 ||	50,582	88.7%	9.5%	0.8%	43.5%	54.2%
1930	63,947 ||	52,679	95.9%	2.5%	0.8%	48.5%	49.0%
1950	68,011 ||	61,009	95.4%	2.6%	1.0%	49.3%	47.8%
1970	80,852 ||	66,270	86.3%	8.6%	0.8%	42.1%	55.1%
1990	75,237 ||	58,300	82.4%	5.6%	1.1%	35.1%	50.8%
2000	72,626 ||	53,132	83.0%	3.7%	0.8%	28.9%	44.0%

Economy

, St.Gallen had an unemployment rate of 2.69%. , there were 336 people employed in the primary economic sector and about 95 businesses involved in this sector. 11,227 people are employed in the secondary sector and there are 707 businesses in this sector. 48,729 people are employed in the tertiary sector, with 4,035 businesses in this sector. the average unemployment rate was 4.5%. There were 4857 businesses in the municipality of which 689 were involved in the secondary sector of the economy while 4102 were involved in the third. there were 28,399 residents who worked in the municipality, while 8,927 residents worked outside St.Gallen and 31,543 people commuted into the municipality for work.

Religion

According to the , 31,978 or 44.0% are Roman Catholic, while 19,578 or 27.0% belonged to the Swiss Reformed Church. Of the rest of the population, there are 112 individuals (or about 0.15% of the population) who belong to the Christian Catholic faith, there are 3,253 individuals (or about 4.48% of the population) who belong to the Orthodox Church, and there are 1,502 individuals (or about 2.07% of the population) who belong to another Christian church. There are 133 individuals (or about 0.18% of the population) who are Jewish, and 4,856 (or about 6.69% of the population) who are Islamic. There are 837 individuals (or about 1.15% of the population) who belong to another church (not listed on the census), 7,221 (or about 9.94% of the population) belong to no church, are agnostic or atheist, and 3,156 individuals (or about 4.35% of the population) did not answer the question.

Culture and Sightseeing

In 1992 St. Gallen was awarded the Wakker Prize for the city's effort to create a unified structure and appearance in current and future construction.

Heritage sites of national significance

There are 28 sites in St. Gallen that are listed as Swiss heritage sites of national significance. There are four religious buildings in St. Gallen that are on the inventory. Of course, the Abbey of St. Gallen is on the list. Additionally, the former Dominican Abbey of St. Katharina, the Reformed Church of St. Laurenzenkirche and the Catholic parish church of St. Maria Neudorf are also part of the inventory.

There are six museums or archives in the inventory. This includes the Textile museum, the Historical and ethnographical museum, the Cantonal library and city archives, the Art and Natural History museum, the Museum in Lagerhaus and the Cantonal archives. The entire city of St. Gallen is the only archeological heritage site. There are two bridges that are listed as well, the Eisenbahnbrücke BT (railroad bridge) and the Kräzern-Strassenbrücke with a custom house.

There are twelve other sites that are part of the inventory. These include the main train station, main post office, University of St. Gallen, Cantonal School, City Theatre as well as several other buildings. Two towers are part of the dozen sites, the Lokremise with Wasserturm and the Tröckneturm.

Theatre

In the modern and somewhat extravagant building of the Theater St. Gallen operas, operettas, ballet, musicals and plays are performed. It has an impressive average utilization of nearly 80 percent.

Since 2006 a series of open air operas have been performed in front of the Cathedral starting around the last weekend of June.''

In the nearby Concert Hall with its grand art nouveau style all sorts of concerts (classic, symphony, jazz etc.) are given.

===Museums===

Historical and ethnographical museum (collections of regional early history, city history, folk art, cultural history as well ethnographical collections from all over the world)

Art museum (painting and sculptures from the 19th and 20th century)

St. Gallen art gallery (national and international modern art)

Natural history museum (natural history collection)

Museum in the storehouse (Swiss native art and art brut)

Textile museum (historical laces, embroidery and cloth)

Lapidarium of the abbey (building blocks from 8th to 17th century)

Point Jaune museum (Mail Art, Postpostism)

Beer bottle museum (located at the Schützengarten brewery—the oldest brewery in Switzerland)

Music

The symphony orchestra St. Gallen performs besides its duty at the city theatre numerous symphony concerts in the city concert hall.

During the summer open air opera and various concerts are performed at numerous locations in town.

The well known St. Gallen Open Air Festival takes place in the nearby sitter valley the first weekend in July.

St. Gallen is also home to the Nordklang Festival, which takes place in February.

Buildings

Drei Weieren (three artificial water basins from the zenith of the textile industry with art nouveau-bath houses; reachable by the Mühleggbahn (train) from 1893). The Drei Weieren is a water park by day and a gathering place for young people by night. This results in many complaints by people who live in the vicinity about noise, drug abuse and vandalism. Locals jokingly call the three basins "Lakes with the most THC in the country". The young people who spend their time there claim that the Drei Weieren is a place where they can spend their time in a consumer-free environment.

Convent of St. Gall with the famous library and abbey (UNESCO World Heritage Site)

Greek Orthodox Church of St.Constantine and Helena, Athonite icons and a stained glass window of the Last Judgement.

Bank Wegelin, the oldest bank in Switzerland, founded in 1741

Tröckneturm Schönenwegen; the tower was built 1828 and was used to hang up freshly colored cloth panels for drying.

Protestant church Linsebühl, an impressive new renaissance building dating from 1897

University of St. Gallen (HSG; University for Business Administration, Economics and Law with an excellent reputation in the German-speaking world), founded 1898.

Embroidery exchange, splendid building with the god of trade Hermes on its roof.

Public bath, the oldest public bath in Switzerland dating from 1908.

Catholic church of St. Martin in the Bruggen district; the concrete church built in 1936 was at that time glaringly modern.

1992 the city of St. Gallen received the Wakker Prize.

Stadtlounge (City Lounge) – a pedestrian area in the town center designed to represent a lounge room, but in the street. German only, pictures are universal though. The Stadtlounge was designed by Pippilotti Rist.

Synagogue St.Gallen – Built by the architects Chiodera and Tschudy, it is the only synagogue in the Lake Constance region that has been preserved in its original state.

Parks

Wildlife park Peter and Paul

City park at the theater

Cantonal school park

Regular events

The St. Gallen Symposium attracts about 600 personalities from economics, science, politics and society to the University of St. Gallen every year. It hosts the world's largest student essay competition of its kind with about 1,000 participants, of whom the 100 best contributions are selected to participate in the St. Gallen Symposium. The Symposium celebrated its 40th anniversary in May 2010.

OLMA, traditional Swiss Fair for Agriculture and Nutrition in autumn as well as numerous other exhibitions at the OLMA Fairs St. Gallen.

Openair St. Gallen is an annual open air festival in the Sitter valley.

Children's Feast, originally a product of the textile industry. It is organized every third year.

Nordklang Festival takes place in multiple sites around St. Gallen

Sports

The football club FC St. Gallen play in the Swiss Challenge League. It is the oldest football club in Switzerland and second oldest in continental Europe, founded in 1879.

Transportation

The A1 motorway links St. Gallen with St. Margrethen, Zurich, Bern and Geneva. In 1987 the city motorway was opened, which conveys the traffic through two tunnels (Rosenberg and Stefanshorn) almost directly below the city center.

St. Gallen has its own small airport Airport St. Gallen-Altenrhein near Lake of Constance, with regular flights to Vienna and other destinations.

St. Gallen is closely tied to the national Swiss Federal Railways network and has InterCity connections to Zurich and the Zurich International Airport every half an hour. St. Gallen is the hub for many private railways such as the Südostbahn (SOB), connecting St. Gallen with Lucerne, the Appenzeller Bahnen with connections to Appenzell and the Trogenerbahn to Trogen, which also serves as a tram in downtown.

The town has a dense local bus transportation system operated by the VBSG, which is well established on the valley floor and less on the hills. As St. Gallen is located near the Appenzell mountain area, it offers also many Postauto (post bus) connections. The agglomeration also has its own S-Bahn System (overground local trains).

The large urban area Zurich is about 80 km south-west of St. Gallen and is reachable by car in about 50–90 minutes depending on traffic and by ICN train in 65 minutes.

Weather

St. Gallen has an average of 144 days of rain or snow per year and on average receives of precipitation. The wettest month is August during which time St.Gallen receives an average of of rain. During this month there is precipitation for an average of 13.5 days. The month with the most days of precipitation is May, with an average of 14.3, but with only of rain or snow. The driest month of the year is February with an average of of precipitation over 13.5 days.

Radioactivity in St. Gallen

St. Gallen is notable for reporting the highest maximum radioactivity measurements of any Swiss city, as published in the 2009 yearly report by BAG (Bundesamt für Gesundheit), the Swiss Federal Health Office. While the daily average level of gamma-ray radioactivity in the city is unremarkable at 105 nSv/h, the maximum can reach 195 nSv/h, as high as the average for Jungfraujoch, the location with the highest reported level of radioactivity in Switzerland, due to its high elevation and therefore greater exposure to cosmic rays. The same report explains that the unusually high spikes of radioactivity measured in St. Gallen are due to radioactive products of radon gas being washed to the ground during heavy rain or storms, but does not explain where the sufficient quantities of radon gas and its products to account for the anomaly would come from. The yearly report for 2009 on risks associated with radon published by the same governmental agency shows St. Gallen to lie in an area of the lowest level of radon exposure. In addition to the measured gamma-radiation, the city may be subject to radioactive Tritium pollution in Teufen, a satellite town situated 4km south of the city in the canton of Appenzell Outer Rhodes (this pollution is also covered in the report).

See also

List of mayors of St. Gallen

References

Newspaper articles

Auf Pantoffeln in goldene Zeiten in St. Galler Tagblatt

External links

Official Website

St. Gallen Symposium

VBSG (local bus)

QuickTime Virtual Reality (QTVR) images of St. Gallen

University of St Gallen

Category:Cities in Switzerland Category:Cantonal capitals of Switzerland Saint Gallen Saint Gallen Saint Gallen Saint Gallen Category:States and territories established in 1401 Category:Cultural property of national significance in the canton of St. Gallen Category:States and territories disestablished in 1648

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Name	Dr. Martin Luther King, Jr.
Birth name	Michael King, Jr.
Birth date	January 15, 1929
Birth place	Atlanta, Georgia, United States
Death date	April 04, 1968
Death place	Memphis, Tennessee, United States
Signature	Martin Luther King Jr Signature2.svg
Parents	Martin Luther King, Sr.Alberta Williams King
Spouse	Coretta Scott King (m. 1953–68)
Children	Yolanda Denise-King (deceased)Martin Luther King IIIDexter Scott KingBernice Albertine King
Movement	African-American Civil Rights Movement, Peace movement
Organization	Southern Christian Leadership Conference (SCLC)
Monuments	Martin Luther King, Jr. National Memorial
Alma mater	Morehouse College, Crozer Theological Seminary, Boston University
Awards	Nobel Peace Prize (1964), Presidential Medal of Freedom (1977, posthumous), Congressional Gold Medal (2004, posthumous)
Religion	Progressive National Baptist Convention
Influences	Jesus, Abraham Lincoln, Mahatma Gandhi, Benjamin Mays, Hosea Williams, Bayard Rustin, Henry David Thoreau, Howard Thurman, Leo Tolstoy
Influenced	}}

Martin Luther King, Jr. (January 15, 1929 – April 4, 1968) was an American clergyman, activist, and prominent leader in the African-American Civil Rights Movement. He is best known for being an iconic figure in the advancement of civil rights in the United States and around the world, using nonviolent methods following the teachings of Mahatma Gandhi. King is often presented as a heroic leader in the history of modern American liberalism.

A Baptist minister, King became a civil rights activist early in his career. He led the 1955 Montgomery Bus Boycott and helped found the Southern Christian Leadership Conference in 1957, serving as its first president. King's efforts led to the 1963 March on Washington, where King delivered his "I Have a Dream" speech. There, he expanded American values to include the vision of a color blind society, and established his reputation as one of the greatest orators in American history.

In 1964, King became the youngest person to receive the Nobel Peace Prize for his work to end racial segregation and racial discrimination through civil disobedience and other nonviolent means. By the time of his death in 1968, he had refocused his efforts on ending poverty and stopping the Vietnam War.

King was assassinated on April 4, 1968, in Memphis, Tennessee. He was posthumously awarded the Presidential Medal of Freedom in 1977 and Congressional Gold Medal in 2004; Martin Luther King, Jr. Day was established as a U.S. federal holiday in 1986.

Early life and education

Born Michael King, Jr. on January 15, 1929 in Atlanta, Georgia, Martin Luther King, Jr. was the middle child of the Reverend Martin Luther King, Sr. and Alberta Williams King. King Jr. had an older sister, Willie Christine King, and a younger brother, Alfred Daniel Williams King. King sang with his church choir at the 1939 Atlanta premiere of the movie Gone with the Wind.

King was originally skeptical of many of Christianity's claims. Most striking, perhaps, was his denial of the bodily resurrection of Jesus during Sunday school at the age of thirteen. From this point, he stated, "doubts began to spring forth unrelentingly."

Growing up in Atlanta, King attended Booker T. Washington High School. A precocious student, he skipped both the ninth and the twelfth grade and entered Morehouse College at age fifteen without formally graduating from high school. In 1948, he graduated from Morehouse with a Bachelor of Arts degree in sociology, and enrolled in Crozer Theological Seminary in Chester, Pennsylvania, from which he graduated with a Bachelor of Divinity degree in 1951. King married Coretta Scott, on June 18, 1953, on the lawn of her parents' house in her hometown of Heiberger, Alabama. They became the parents of four children; Yolanda King, Martin Luther King III, Dexter Scott King, and Bernice King. King became pastor of the Dexter Avenue Baptist Church in Montgomery, Alabama, when he was twenty-five years old, in 1954. King then began doctoral studies in systematic theology at Boston University and received his Doctor of Philosophy on June 5, 1955, with a dissertation on "A Comparison of the Conceptions of God in the Thinking of Paul Tillich and Henry Nelson Wieman." A 1980s inquiry concluded portions of his dissertation had been plagiarized and he had acted improperly but that his dissertation still "makes an intelligent contribution to scholarship."

Influences

Thurman

Civil rights leader, theologian, and educator Howard Thurman was an early influence on King. A classmate of King's father at Morehouse College, Thurman mentored the young King and his friends. Thurman's missionary work had taken him abroad where he had met and conferred with Mahatma Gandhi. When he was a student at Boston University, King often visited Thurman, who was the dean of Marsh Chapel. Walter Fluker, who has studied Thurman's writings, has stated, "I don't believe you'd get a Martin Luther King, Jr. without a Howard Thurman".

Gandhi and Rustin

With assistance from the Quaker group the American Friends Service Committee, and inspired by Gandhi's success with non-violent activism, King visited Gandhi's birthplace in India in 1959. The trip to India affected King in a profound way, deepening his understanding of non-violent resistance and his commitment to America's struggle for civil rights. In a radio address made during his final evening in India, King reflected, "Since being in India, I am more convinced than ever before that the method of nonviolent resistance is the most potent weapon available to oppressed people in their struggle for justice and human dignity. In a real sense, Mahatma Gandhi embodied in his life certain universal principles that are inherent in the moral structure of the universe, and these principles are as inescapable as the law of gravitation." African American civil rights activist Bayard Rustin had studied Gandhi's teachings. Rustin counseled King to dedicate himself to the principles of non-violence, served as King's main advisor and mentor throughout his early activism, and was the main organizer of the 1963 March on Washington. Rustin's open homosexuality, support of democratic socialism, and his former ties to the Communist Party USA caused many white and African-American leaders to demand King distance himself from Rustin.

Sermons and speeches

Throughout his career of service, King wrote and spoke frequently, drawing on his experience as a preacher. His "Letter from Birmingham Jail", written in 1963, is a "passionate" statement of his crusade for justice. His I Have a Dream speech is a 17 minute public speech delivered on August 28, 1963, in which he called for racial equality and an end to discrimination. On October 14, 1964, King became the youngest recipient of the Nobel Peace Prize, which was awarded to him for leading non-violent resistance to racial prejudice in the United States.

Montgomery Bus Boycott, 1955

In March 1955, a fifteen-year-old school girl, Claudette Colvin, refused to give up her bus seat to a white man in compliance with the Jim Crow laws. King was on the committee from the Birmingham African-American community that looked into the case; because Colvin was pregnant and unmarried, ED Nixon and Clifford Durr decided to wait for a better case to pursue. On December 1, 1955, Rosa Parks was arrested for refusing to give up her seat. The Montgomery Bus Boycott, urged and planned by Nixon and led by King, soon followed. The boycott lasted for 385 days, and the situation became so tense that King's house was bombed. King was arrested during this campaign, which ended with a United States District Court ruling in Browder v. Gayle that ended racial segregation on all Montgomery public buses.

Southern Christian Leadership Conference

In 1957, King, Ralph Abernathy, and other civil rights activists founded the Southern Christian Leadership Conference (SCLC). The group was created to harness the moral authority and organizing power of black churches to conduct non-violent protests in the service of civil rights reform. King led the SCLC until his death.

On September 20, 1958, while signing copies of his book Stride Toward Freedom in Blumstein's department store on 125th Street, in Harlem, King was stabbed in the chest with a letter opener by Izola Curry, a deranged black woman, and narrowly escaped death.

Gandhi's nonviolent techniques were useful to King's campaign to change the civil rights laws implemented in Alabama. King applied non-violent philosophy to the protests organized by the SCLC. In 1959, he wrote The Measure of A Man, from which the piece What is Man?, an attempt to sketch the optimal political, social, and economic structure of society, is derived. His SCLC secretary and personal assistant in this period was Dora McDonald.

The FBI, under written directive from Attorney General Robert F. Kennedy, began telephone tapping King in the fall of 1963. Concerned that allegations (of Communists in the SCLC), if made public, would derail the Administration's civil rights initiatives, Kennedy warned King to discontinue the suspect associations, and later felt compelled to issue the written directive authorizing the FBI to wiretap King and other leaders of the Southern Christian Leadership Conference. J Edgar Hoover feared Communists were trying to infiltrate the Civil Rights Movement, but when no such evidence emerged, the bureau used the incidental details caught on tape over the next five years in attempts to force King out of the preeminent leadership position.

King believed that organized, nonviolent protest against the system of southern segregation known as Jim Crow laws would lead to extensive media coverage of the struggle for black equality and voting rights. Journalistic accounts and televised footage of the daily deprivation and indignities suffered by southern blacks, and of segregationist violence and harassment of civil rights workers and marchers, produced a wave of sympathetic public opinion that convinced the majority of Americans that the Civil Rights Movement was the most important issue in American politics in the early 1960s.

King organized and led marches for blacks' right to vote, desegregation, labor rights and other basic civil rights. Most of these rights were successfully enacted into the law of the United States with the passage of the Civil Rights Act of 1964 and the 1965 Voting Rights Act.

King and the SCLC put into practice many of the principles of the Christian Left and applied the tactics of nonviolent protest with great success by strategically choosing the method of protest and the places in which protests were carried out. There were often dramatic stand-offs with segregationist authorities. Sometimes these confrontations turned violent.

Albany movement

The Albany Movement was a desegregation coalition formed in Albany, Georgia in November, 1961. In December, King and the SCLC became involved. The movement mobilized thousands of citizens for a broad-front nonviolent attack on every aspect of segregation within the city and attracted nationwide attention. When King first visited on December 15, 1961, he "had planned to stay a day or so and return home after giving counsel." But the following day he was swept up in a mass arrest of peaceful demonstrators, and he declined bail until the city made concessions. "Those agreements", said King, "were dishonored and violated by the city," as soon as he left town. King returned in July 1962, and was sentenced to forty-five days in jail or a $178 fine. He chose jail. Three days into his sentence, Chief Pritchett discreetly arranged for King's fine to be paid and ordered his release. "We had witnessed persons being kicked off lunch counter stools... ejected from churches... and thrown into jail... But for the first time, we witnessed being kicked out of jail."

After nearly a year of intense activism with few tangible results, the movement began to deteriorate. King requested a halt to all demonstrations and a "Day of Penance" to promote non-violence and maintain the moral high ground. Divisions within the black community and the canny, low-key response by local government defeated efforts. However, it was credited as a key lesson in tactics for the national civil rights movement.

Birmingham campaign

The Birmingham campaign was a strategic effort by the SCLC to promote civil rights for African Americans. Many of its tactics of "Project C" were developed by Rev. Wyatt Tee Walker, Executive Director of SCLC from 1960–64. Based on actions in Birmingham, Alabama, its goal was to end the city's segregated civil and discriminatory economic policies. The campaign lasted for more than two months in the spring of 1963. To provoke the police into filling the city's jails to overflowing, King and black citizens of Birmingham employed nonviolent tactics to flout laws they considered unfair. King summarized the philosophy of the Birmingham campaign when he said, "The purpose of ... direct action is to create a situation so crisis-packed that it will inevitably open the door to negotiation".

Protests in Birmingham began with a boycott to pressure businesses to offer sales jobs and other employment to people of all races, as well as to end segregated facilities in the stores. When business leaders resisted the boycott, King and the SCLC began what they termed Project C, a series of sit-ins and marches intended to provoke arrest. After the campaign ran low on adult volunteers, SCLC's strategist, James Bevel, initiated the action and recruited the children for what became known as the "Children's Crusade". During the protests, the Birmingham Police Department, led by Eugene "Bull" Connor, used high-pressure water jets and police dogs to control protesters, including children. Not all of the demonstrators were peaceful, despite the avowed intentions of the SCLC. In some cases, bystanders attacked the police, who responded with force. King and the SCLC were criticized for putting children in harm's way. By the end of the campaign, King's reputation improved immensely, Connor lost his job, the "Jim Crow" signs in Birmingham came down, and public places became more open to blacks.

St. Augustine, Florida, and Selma, Alabama

King and SCLC were also driving forces behind the protest in St. Augustine, Florida, in 1964. The movement engaged in nightly marches in the city met by white segregationists who violently assaulted them. Hundreds of the marchers were arrested and jailed.

King and the SCLC joined forces with the Student Nonviolent Coordinating Committee (SNCC) in Selma, Alabama, in December 1964, where SNCC had been working on voter registration for several months. A sweeping injunction issued by a local judge barred any gathering of 3 or more people under sponsorship of SNCC, SCLC, or DCVL, or with the involvement of 41 named civil rights leaders. This injunction temporarily halted civil rights activity until King defied it by speaking at Brown Chapel on January 2, 1965.

March on Washington, 1963

King, representing SCLC, was among the leaders of the so-called "Big Six" civil rights organizations who were instrumental in the organization of the March on Washington for Jobs and Freedom, which took place on August 28, 1963. The other leaders and organizations comprising the Big Six were: Roy Wilkins from the National Association for the Advancement of Colored People; Whitney Young, National Urban League; A. Philip Randolph, Brotherhood of Sleeping Car Porters; John Lewis, SNCC; and James L. Farmer, Jr. of the Congress of Racial Equality. The primary logistical and strategic organizer was King's colleague Bayard Rustin. For King, this role was another which courted controversy, since he was one of the key figures who acceded to the wishes of President John F. Kennedy in changing the focus of the march. Kennedy initially opposed the march outright, because he was concerned it would negatively impact the drive for passage of civil rights legislation, but the organizers were firm that the march would proceed.

The march originally was conceived as an event to dramatize the desperate condition of blacks in the southern United States and a very public opportunity to place organizers' concerns and grievances squarely before the seat of power in the nation's capital. Organizers intended to denounce and then challenge the federal government for its failure to safeguard the civil rights and physical safety of civil rights workers and blacks, generally, in the South. However, the group acquiesced to presidential pressure and influence, and the event ultimately took on a far less strident tone. As a result, some civil rights activists felt it presented an inaccurate, sanitized pageant of racial harmony; Malcolm X called it the "Farce on Washington," and the Nation of Islam forbid its members from attending the march.

The march did, however, make specific demands: an end to racial segregation in public schools; meaningful civil rights legislation, including a law prohibiting racial discrimination in employment; protection of civil rights workers from police brutality; a $2 minimum wage for all workers; and self-government for Washington, D.C., then governed by congressional committee. Despite tensions, the march was a resounding success. More than a quarter million people of diverse ethnicities attended the event, sprawling from the steps of the Lincoln Memorial onto the National Mall and around the reflecting pool. At the time, it was the largest gathering of protesters in Washington's history. King's "I Have a Dream" speech electrified the crowd. It is regarded, along with Abraham Lincoln's Gettysburg Address and Franklin D. Roosevelt's Infamy Speech, as one of the finest speeches in the history of American oratory.

The March, and especially King's speech, helped put civil rights at the very top the liberal political agenda in the United States and facilitated passage of the Civil Rights Act of 1964.

Stance on compensation

Martin Luther King Jr. expressed a view that black Americans, as well as other disadvantaged Americans, should be compensated for historical wrongs. In an interview conducted for Playboy in 1965, he said that granting black Americans only equality could not realistically close the economic gap between them and whites. King said that he did not seek a full restitution of wages lost to slavery, which he believed impossible, but proposed a government compensatory program of $50 billion over ten years to all disadvantaged groups. He posited that "the money spent would be more than amply justified by the benefits that would accrue to the nation through a spectacular decline in school dropouts, family breakups, crime rates, illegitimacy, swollen relief rolls, rioting and other social evils". He presented this idea as an application of the common law regarding settlement of unpaid labor, but clarified that he felt that the money should not be spent exclusively on blacks. He stated, "It should benefit the disadvantaged of all races".

"Bloody Sunday", 1965

King, James Bevel, and the SCLC, in partial collaboration with SNCC, attempted to organize a march from Selma to the state capital of Montgomery, for March 7, 1965. The first attempt to march on March 7 was aborted because of mob and police violence against the demonstrators. This day has since become known as Bloody Sunday, and was a major turning point in the effort to gain public support for the Civil Rights Movement, the clearest demonstration up to that time of the dramatic potential of King's nonviolence strategy. King, however, was not present. King met with officials in the Johnson administration on March 5 in order to request an injunction against any prosecution of the demonstrators. He did not attend the march due to church duties but, he later wrote, "If I had any idea that the state troopers would use the kind of brutality they did, I would have felt compelled to give up my church duties altogether to lead the line." Footage of police brutality against the protesters was broadcast extensively and aroused national public outrage.

King next attempted to organize a march for March 9. The SCLC petitioned for an injunction in federal court against the State of Alabama; this was denied and the judge issued an order blocking the march until after a hearing. Nonetheless, King led marchers on March 9 to the Edmund Pettus Bridge in Selma, then held a short prayer session before turning the marchers around and asking them to disperse so as not to violate the court order. The unexpected ending of this second march aroused the surprise and anger of many within the local movement. The march finally went ahead fully on March 25, 1965. At the conclusion of the march and on the steps of the state capitol, King delivered a speech that has become known as "How Long, Not Long".

Chicago, 1966

In 1966, after several successes in the South, King and others in the civil rights organizations tried to spread the movement to the North, with Chicago as its first destination. King and Ralph Abernathy, both from the middle class, moved into a building at 1550 S. Hamlin Ave., in the slums of North Lawndale on the West Side of Chicago, as an educational experience and to demonstrate their support and empathy for the poor.

The SCLC formed a coalition with CCCO, Coordinating Council of Community Organizations, an organization founded by Albert Raby, and the combined organizations' efforts were fostered under the aegis of The Chicago Freedom Movement. During that spring, several dual white couple/black couple tests on real estate offices uncovered the practice (now banned in the U.S.) of racial steering. These tests revealed the racially selective processing of housing requests by couples who were exact matches in income, background, number of children, and other attributes, with the only difference being their race.

The needs of the movement for radical change grew, and several larger marches were planned and executed, including those in the following neighborhoods: Bogan, Belmont Cragin, Jefferson Park, Evergreen Park (a suburb southwest of Chicago), Gage Park and Marquette Park, among others.

In Chicago, Abernathy later wrote that they received a worse reception than they had in the South. Their marches, especially the one through Marquette Park on August 5, 1966, were met by thrown bottles and screaming throngs, and they were truly afraid of starting a riot. King's beliefs militated against his staging a violent event, and he negotiated an agreement with Mayor Richard J. Daley to cancel a march in order to avoid the violence that he feared would result from the demonstration. King, who received death threats throughout his involvement in the civil rights movement, was hit by a brick during one march but continued to lead marches in the face of personal danger.

When King and his allies returned to the south, they left Jesse Jackson, a seminary student who had previously joined the movement in the South, in charge of their organization. Jackson continued their struggle for civil rights by organizing the Operation Breadbasket movement that targeted chain stores that did not deal fairly with blacks.

Opposition to the Vietnam War

Starting in 1965, King began to express doubts about the United States' role in the Vietnam War. In an April 4, 1967 appearance at the New York City Riverside Church—exactly one year before his death—King delivered a speech titled "Beyond Vietnam". He spoke strongly against the U.S.'s role in the war, insisting that the U.S. was in Vietnam "to occupy it as an American colony" and calling the U.S. government "the greatest purveyor of violence in the world today". He also argued that the country needed larger and broader moral changes:

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King also was opposed to the Vietnam War on the grounds that the war took money and resources that could have been spent on social welfare services like the War on Poverty. The United States Congress was spending more and more on the military and less and less on anti-poverty programs at the same time. He summed up this aspect by saying, "A nation that continues year after year to spend more money on military defense than on programs of social uplift is approaching spiritual death".

King's opposition cost him significant support among white allies, including President Johnson, union leaders and powerful publishers. "The press is being stacked against me," King complained. Life magazine called the speech "demagogic slander that sounded like a script for Radio Hanoi", and The Washington Post declared that King had "diminished his usefulness to his cause, his country, his people."

King stated that North Vietnam "did not begin to send in any large number of supplies or men until American forces had arrived in the tens of thousands". King also criticized the United States' resistance to North Vietnam's land reforms. He accused the United States of having killed a million Vietnamese, "mostly children."

The speech was a reflection of King's evolving political advocacy in his later years, which paralleled the teachings of the progressive Highlander Research and Education Center, with whom King was affiliated. King began to speak of the need for fundamental changes in the political and economic life of the nation. Towards the time of his murder, King more frequently expressed his opposition to the war and his desire to see a redistribution of resources to correct racial and economic injustice. Though his public language was guarded, so as to avoid being linked to communism by his political enemies, in private he sometimes spoke of his support for democratic socialism. In one speech, he stated that "something is wrong with capitalism" and claimed, "There must be a better distribution of wealth, and maybe America must move toward a democratic socialism."

King had read Marx while at Morehouse, but while he rejected "traditional capitalism," he also rejected Communism because of its "materialistic interpretation of history" that denied religion, its "ethical relativism," and its "political totalitarianism."

King also stated, in his "Beyond Vietnam", speech that "true compassion is more than flinging a coin to a beggar ... it comes to see that an edifice which produces beggars needs restructuring". King quoted a United States official who said that, from Vietnam to Latin America, the country was "on the wrong side of a world revolution." King condemned America's "alliance with the landed gentry of Latin America," and said that the United States should support "the shirtless and barefoot people" in the Third World rather than suppressing their attempts at revolution.

King spoke at an Anti-Vietnam demonstration where he also brought up issues of civil rights and the draft.

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In 1967, King gave another speech, in which he lashed out against what he called the "cruel irony" of American blacks fighting and dying for a country which treated them as second class citizens:

On January 13, 1968, the day after President Johnson's State of the Union Address, King called for a large march on Washington against "one of history's most cruel and senseless wars".

Poor People's Campaign, 1968

In 1968, King and the SCLC organized the "Poor People's Campaign" to address issues of economic justice. The campaign culminated in a march on Washington, D.C., demanding economic aid to the poorest communities of the United States. King traveled the country to assemble "a multiracial army of the poor" that would march on Washington to engage in nonviolent civil disobedience at the Capitol until Congress created a bill of rights for poor Americans.

However, the campaign was not unanimously supported by other leaders of the Civil Rights Movement. Rustin resigned from the march stating that the goals of the campaign were too broad, the demands unrealizable, and thought these campaigns would accelerate the backlash and repression on the poor and the black. Throughout his participation in the civil rights movement, King was criticized by many groups. This included opposition by more militant blacks and such prominent critics as Nation of Islam member Malcolm X. Stokely Carmichael was a separatist and disagreed with King's plea for racial integration because he considered it an insult to a uniquely African-American culture. Omali Yeshitela urged Africans to remember the history of violent European colonization and how power was not secured by Europeans through integration, but by violence and force.

King and the SCLC called on the government to invest in rebuilding America's cities. He felt that Congress had shown "hostility to the poor" by spending "military funds with alacrity and generosity". He contrasted this with the situation faced by poor Americans, claiming that Congress had merely provided "poverty funds with miserliness". His vision was for change that was more revolutionary than mere reform: he cited systematic flaws of "racism, poverty, militarism and materialism", and argued that "reconstruction of society itself is the real issue to be faced".

Assassination and its aftermath

On March 29, 1968, King went to Memphis, Tennessee, in support of the black sanitary public works employees, represented by AFSCME Local 1733, who had been on strike since March 12 for higher wages and better treatment. In one incident, black street repairmen received pay for two hours when they were sent home because of bad weather, but white employees were paid for the full day.

On April 3, King addressed a rally and delivered his "I've Been to the Mountaintop" address at Mason Temple, the world headquarters of the Church of God in Christ. King's flight to Memphis had been delayed by a bomb threat against his plane. In the close of the last speech of his career, in reference to the bomb threat, King said the following:

King was booked in room 306 at the Lorraine Motel, owned by Walter Bailey, in Memphis. The Reverend Ralph Abernathy, King's close friend and colleague who was present at the assassination, testified under oath to the United States House Select Committee on Assassinations that King and his entourage stayed at room 306 at the Lorraine Motel so often it was known as the "King-Abernathy suite."

According to Jesse Jackson, who was present, King's last words on the balcony prior to his assassination were spoken to musician Ben Branch, who was scheduled to perform that night at an event King was attending: "Ben, make sure you play "Take My Hand, Precious Lord" in the meeting tonight. Play it real pretty."

Then, at 6:01 p.m., April 4, 1968, a shot rang out as King stood on the motel's second floor balcony. The bullet entered through his right cheek, smashing his jaw, then traveled down his spinal cord before lodging in his shoulder. Abernathy heard the shot from inside the motel room and ran to the balcony to find King on the floor. The events following the shooting have been disputed, as some people have accused Jackson of exaggerating his response.

After emergency chest surgery, King was pronounced dead at St. Joseph's Hospital at 7:05 p.m. According to biographer Taylor Branch, King's autopsy revealed that though only thirty-nine years old, he had the heart of a sixty-year-old man, perhaps a result of the stress of thirteen years in the civil rights movement.

The assassination led to a nationwide wave of race riots in Washington D.C., Chicago, Baltimore, Louisville, Kentucky, Kansas City, and dozens of other cities. Presidential candidate Robert Kennedy was on his way to Indianapolis for a campaign rally when he was informed of King's death. He gave a short speech to the gathering of supporters informing them of the tragedy and urging them to continue King's ideal of non-violence. James Farmer, Jr. and other civil rights leaders also called for non-violent action, while the more militant Stokely Carmichael called for a more forceful response. Vice-President Hubert Humphrey attended King's funeral on behalf of the President, as there were fears that Johnson's presence might incite protests and perhaps violence.

At his widow's request, King's last sermon at Ebenezer Baptist Church was played at the funeral, a recording of his "Drum Major" sermon, given on February 4, 1968. In that sermon, King made a request that at his funeral no mention of his awards and honors be made, but that it be said that he tried to "feed the hungry", "clothe the naked", "be right on the [Vietnam] war question", and "love and serve humanity". His good friend Mahalia Jackson sang his favorite hymn, "Take My Hand, Precious Lord", at the funeral.

The city of Memphis quickly settled the strike on terms favorable to the sanitation workers.

Two months after King's death, escaped convict James Earl Ray was captured at London Heathrow Airport while trying to leave the United Kingdom on a false Canadian passport in the name of Ramon George Sneyd on his way to white-ruled Rhodesia. Ray was quickly extradited to Tennessee and charged with King's murder. He confessed to the assassination on March 10, 1969, though he recanted this confession three days later. On the advice of his attorney Percy Foreman, Ray pleaded guilty to avoid a trial conviction and thus the possibility of receiving the death penalty. Ray was sentenced to a 99-year prison term. Ray fired Foreman as his attorney, from then on derisively calling him "Percy Fourflusher". He claimed a man he met in Montreal, Quebec, with the alias "Raoul" was involved and that the assassination was the result of a conspiracy. He spent the remainder of his life attempting, unsuccessfully, to withdraw his guilty plea and secure the trial he never had. On June 10, 1977, shortly after Ray had testified to the House Select Committee on Assassinations that he did not shoot King, he and six other convicts escaped from Brushy Mountain State Penitentiary in Petros, Tennessee. They were recaptured on June 13 and returned to prison.

Allegations of conspiracy

Ray's lawyers maintained he was a scapegoat similar to the way that John F. Kennedy assassin Lee Harvey Oswald is seen by conspiracy theorists. One of the claims used to support this assertion is that Ray's confession was given under pressure, and he had been threatened with the death penalty. Ray was a thief and burglar, but he had no record of committing violent crimes with a weapon.

Those suspecting a conspiracy in the assassination point to the two successive ballistics tests which while proving that a rifle similar to Ray's Remington Gamemaster had been the murder weapon, did not prove that his specific rifle had been the one used. Moreover, witnesses surrounding King at the moment of his death say the shot came from another location, from behind thick shrubbery near the rooming house – which had been inexplicably cut away in the days following the assassination – and not from the rooming house window.

In 1997, King's son Dexter Scott King met with Ray, and publicly supported Ray's efforts to obtain a new trial. Two years later, Coretta Scott King, King's widow, along with the rest of King's family, won a wrongful death claim against Loyd Jowers and "other unknown co-conspirators". Jowers claimed to have received $100,000 to arrange King's assassination. The jury of six whites and six blacks found Jowers guilty and that government agencies were party to the assassination. William F. Pepper represented the King family in the trial. King biographer David Garrow disagrees with William F. Pepper's claims that the government killed King. He is supported by author Gerald Posner who has researched and written about the assassination.

In 2000, the United States Department of Justice completed the investigation about Jowers' claims but did not find evidence to support allegations about conspiracy. The investigation report recommended no further investigation unless some new reliable facts are presented. In 2002, The New York Times reported a church minister, Rev. Ronald Denton Wilson, claimed his father, Henry Clay Wilson—not James Earl Ray—assassinated Martin Luther King, Jr. He stated, "It wasn't a racist thing; he thought Martin Luther King was connected with communism, and he wanted to get him out of the way." Wilson provided no evidence to back up his claims.

King's friend and colleague, James Bevel, disputed the argument that Ray acted alone, stating, "There is no way a ten-cent white boy could develop a plan to kill a million-dollar black man." In 2004, Jesse Jackson, who was with King at the time of his death, noted:

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FBI and wiretapping

Allegations of Communist connections

J. Edgar Hoover, the director of the Federal Bureau of Investigation, for years had been suspicious about potential influence of communists in social movements such as labor unions and civil rights. Hoover directed the FBI to track King in 1957, and the SCLC as it was established (it did not have a full-time executive director until 1960); its investigations were largely superficial until 1962, when it learned that one of King's most trusted advisers was New York City lawyer Stanley Levison. The FBI found Levison had been involved with the Communist Party USA. The FBI had observed his alienation from the Party leadership, but it feared he had taken a low profile in order to work as an "agent of influence" in order to manipulate King, a view it continued to hold despite its own reports in 1963 that Levison had left the Party. Another King lieutenant, Hunter Pitts O'Dell, was also linked to the Communist Party by sworn testimony before the House Un-American Activities Committee (HUAC). However, by 1976 the FBI had acknowledged that it had not obtained any evidence that King himself or the SCLC were actually involved with any communist organizations.

The Bureau received authorization to proceed with wiretapping from Attorney General Robert F. Kennedy in the fall of 1963 and informed President John F. Kennedy, both of whom unsuccessfully tried to persuade King to dissociate himself from Levison. Although Robert Kennedy only gave written approval for limited wiretapping of King's phones "on a trial basis, for a month or so", Hoover extended the clearance so his men were "unshackled" to look for evidence in any areas of King's life they deemed worthy. The Bureau placed wiretaps on Levison's and King's home and office phones, and bugged King's rooms in hotels as he traveled across the country.

For his part, King adamantly denied having any connections to Communism, stating in a 1965 Playboy interview that "there are as many Communists in this freedom movement as there are Eskimos in Florida", and claiming that Hoover was "following the path of appeasement of political powers in the South" and that his concern for communist infiltration of the civil rights movement was meant to "aid and abet the salacious claims of southern racists and the extreme right-wing elements". Hoover did not believe his pledge of innocence and replied by saying that King was "the most notorious liar in the country." After King gave his "I Have A Dream" speech during the March on Washington on August 28, 1963, the FBI described King as "the most dangerous and effective Negro leader in the country". In December 1963, FBI officials who were gathered to a special conference alleged that King was "knowingly, willingly and regularly cooperating with and taking guidance from communists" whose long-term strategy was to create a "Negro-labor" coalition detrimental to American security.

The attempt to prove that King was a Communist was related to the feeling of many segregationists that blacks in the South were happy with their lot but had been stirred up by "communists" and "outside agitators". The civil rights movement arose from activism within the black community dating back to before World War I. Levison did have ties with the Communist Party in various business dealings, but the FBI refused to believe its own intelligence bureau reports that Levison was no longer associated in that capacity. In response to the FBI's comments regarding communists directing the civil rights movement, King said that "the Negro revolution is a genuine revolution, born from the same womb that produces all massive social upheavals—the womb of intolerable conditions and unendurable situations."

Allegations of adultery

Having concluded that King was dangerous due to communist infiltration, the focus of the Bureau's investigations shifted to attempting to discredit King through revelations regarding his private life. FBI surveillance of King, some of it since made public, attempted to demonstrate that he also engaged in numerous extramarital affairs. Further remarks on King's lifestyle were made by several prominent officials, such as Lyndon Johnson, who once said that King was a "hypocritical preacher". Ralph Abernathy, a close associate of King's, stated in his 1989 autobiography And the Walls Came Tumbling Down that King had a "weakness for women", although, they "...all understood and believed in the biblical prohibition against sex outside of marriage. It was just that he had a particularly difficult time with that temptation". In a later interview, Abernathy said he only wrote the term "womanizing", and did not specifically say King had extramarital sex. King's biographer David Garrow wrote about a number of extramarital affairs, including one with a woman King saw almost daily. According to Garrow, "that relationship, rather than his marriage, increasingly became the emotional centerpiece of King's life, but it did not eliminate the incidental couplings that were a commonplace of King's travels." King explained his extramarital affairs as "a form of anxiety reduction." Garrow noted that King's promiscuity was the cause of "painful and overwhelming guilt".

The FBI distributed reports regarding such affairs to the executive branch, friendly reporters, potential coalition partners and funding sources of the SCLC, and King's family. The Bureau also sent anonymous letters to King threatening to reveal information if he did not cease his civil rights work. One anonymous letter sent to King just before he received the Nobel Peace Prize read, in part, "The American public, the church organizations that have been helping—Protestants, Catholics and Jews will know you for what you are—an evil beast. So will others who have backed you. You are done. King, there is only one thing left for you to do. You know what it is. You have just 34 days in which to do (this exact number has been selected for a specific reason, it has definite practical significant [sic]). You are done. There is but one way out for you. You better take it before your filthy fraudulent self is bared to the nation." King interpreted this as encouragement for him to commit suicide, although William Sullivan, head of the Domestic Intelligence Division at the time, argued that it may have only been intended to "convince Dr. King to resign from the SCLC." King refused to give in to the FBI's threats.

On January 31, 1977, United States district Judge John Lewis Smith, Jr., ordered all known copies of the recorded audiotapes and written transcripts resulting from the FBI's electronic surveillance of King between 1963 and 1968 to be held in the National Archives and sealed from public access until 2027.

Across from the Lorraine Motel, next to the rooming house in which James Earl Ray was staying, was a fire station. Police officers were stationed in the fire station to keep King under surveillance. Using papered-over windows with peepholes cut into them, the agents were watching the scene while Martin Luther King was shot. Immediately following the shooting, officers rushed out of the station to the motel, and Marrell McCollough, an undercover police officer, was the first person to administer first aid to King. The antagonism between King and the FBI, the lack of an all points bulletin to find the killer, and the police presence nearby have led to speculation that the FBI was involved in the assassination.

Legacy

King's main legacy was to secure progress on civil rights in the United States, which has enabled more Americans to reach their potential. He is frequently referenced as a human rights icon today. His name and legacy have often been invoked since his death as people have debated his likely position on various modern political issues.

On the international scene, King's legacy included influences on the Black Consciousness Movement and Civil Rights Movement in South Africa. King's work was cited by and served as an inspiration for South African leader Albert Lutuli, another black Nobel Peace prize winner who fought for racial justice in his country. The day following King's assassination, school teacher Jane Elliott conducted her first "Blue Eyes/Brown Eyes" exercise with her class of elementary school students in Riceville, Iowa. Her purpose was to help them understand King's death as it related to racism, something they little understood from having lived in a predominately white community.

King's wife, Coretta Scott King, followed her husband's footsteps and was active in matters of social justice and civil rights until her death in 2006. The same year that Martin Luther King was assassinated, she established the King Center in Atlanta, Georgia, dedicated to preserving his legacy and the work of championing nonviolent conflict resolution and tolerance worldwide. Their son, Dexter King, currently serves as the center's chairman. Daughter Yolanda King, who died in 2007, was a motivational speaker, author and founder of Higher Ground Productions, an organization specializing in diversity training.

Followers and people within the King family disagree on what the civil rights leader's religious and political views may have been about gay, lesbian, bisexual and transgender people, or how they might have changed over time. King's widow Coretta said publicly that she believed her husband would have supported gay rights. But, his daughter Bernice believed he would have been opposed to gay marriage. The King Center includes discrimination, and lists homophobia as one of its examples, in its list of "The Triple Evils" that should be opposed.

In 1980, the Department of Interior designated King's boyhood home in Atlanta and several nearby buildings as the Martin Luther King, Jr. National Historic Site. In 1996, United States Congress authorized the Alpha Phi Alpha fraternity to establish a foundation to manage fund raising and design of a Martin Luther King, Jr. National Memorial on the Mall in Washington, D.C. King was a member of Alpha Phi Alpha fraternity, established by and for African Americans. The memorial had its official opening in August 2011, on the anniversary of the 1963 march. King is the first African American honored with a memorial in the National Mall area and the first non-President to be commemorated in such a way. The King Memorial will be administered by the National Park Service.

King's life and assassination inspired many artistic works. A 1976 Broadway production, I Have a Dream, was directed by Robert Greenwald and starred Billy Dee Williams as King. In the spring of 2006, a stage play Passages of Martin Luther King, was produced in Beijing, China, with King portrayed by the Chinese actor Cao Li. The play was written by a Stanford University professor, Clayborne Carson.

King spoke earlier about what people should remember him for if they are around for his funeral. He said rather than his awards and where he went to school, people should talk about how he fought peacefully for justice:

The King Center

"Martin Luther King Jr. Collection", Morehouse College, RWWL

The Martin Luther King, Jr. Papers Project

The King Legacy, publishing partnership between Beacon Press and the Estate of Dr. Martin Luther King, Jr.

Martin Luther King Jr., "A New Sense of Direction (1968)"

"Martin Luther King Jr.", The Seattle Times

1956 Comic Book: Martin Luther King and the Montgomery Story

Kirk, John A., "Martin Luther King, Jr.", New Georgia Encyclopedia

"Martin Luther King, Jr. and the Global Freedom Struggle", online encyclopedia, chronology and document library, The Martin Luther King, Jr. Research and Education Institute, Stanford University.

"Martin Luther King, Jr.", Encyclopedia of Alabama

;Images

"Martin Luther King Jr.: Peacemaker", slideshow by Life magazine

The Life and Death of Martin Luther King, slideshow by The First Post

Photo Essay: "The Last Days of Martin Luther King, Jr.", Time

;Speeches and interviews

Audio from April 1961 King, "The Church on the Frontier of Racial Tensions", speech at Southern Seminary

"Dr. Martin Luther King, Jr., 1929–1968", one hour documentary report by Democracy Now!

"Martin Luther King, Jr. Historic Speeches and Interviews"

The New Negro, King interviewed by J. Waites Waring

"Interview with Dr. Kenneth Clark", PBS

"Beyond Vietnam" speech text and audio

King Institute Encyclopedia multimedia

Why I Am Oppposed to the War in Vietnam, sermon at the Ebenezer Baptist Church on April 30, 1967 (audio of speech with video 23:31)

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Name	Martin Luther
Birth date	November 10, 1483
Birth place	Eisleben, Saxony, Holy Roman Empire
Death date	February 18, 1546
Death place	Eisleben, Saxony, Holy Roman Empire
Titles	Monk, Priest, Theologian
Spouse	Katharina von Bora
Parents	Hans and Margarethe Luther (née Lindemann)
Children	Hans (Johannes), Elisabeth, Magdalena, Martin, Paul, Margarethe
notableworks	The Ninety-Five Theses, Luther's Large Catechism, Luther's Small Catechism, On the Freedom of a Christian
influences	Paul the Apostle, Augustine of Hippo
influenced	Philipp Melanchthon, Lutheranism
Signature	Martin Luther Signature.svg }}

Martin Luther (10 November 1483 – 18 February 1546) was a German priest and professor of theology who initiated the Protestant Reformation. He strongly disputed the claim that freedom from God's punishment of sin could be purchased with money. He confronted indulgence salesman Johann Tetzel with his Ninety-Five Theses in 1517. His refusal to retract all of his writings at the demand of Pope Leo X in 1520 and the Holy Roman Emperor Charles V at the Diet of Worms in 1521 resulted in his excommunication by the pope and condemnation as an outlaw by the emperor.

Luther taught that salvation is not earned by good deeds but received only as a free gift of God's grace through faith in Jesus Christ as redeemer from sin. His theology challenged the authority of the Pope of the Roman Catholic Church by teaching that the Bible is the only source of divinely revealed knowledge and opposed sacerdotalism by considering all baptized Christians to be a holy priesthood. Those who identify with Luther's teachings are called Lutherans.

His translation of the Bible into the language of the people (instead of Latin) made it more accessible, causing a tremendous impact on the church and on German culture. It fostered the development of a standard version of the German language, added several principles to the art of translation, and influenced the translation into English of the King James Bible. His hymns influenced the development of singing in churches. His marriage to Katharina von Bora set a model for the practice of clerical marriage, allowing Protestant priests to marry.

In his later years, while suffering from several illnesses and deteriorating health, Luther became increasingly antisemitic, writing that Jewish homes should be destroyed, their synagogues burned, money confiscated and liberty curtailed. These statements have contributed to his controversial status.

Early life

Birth and education

Martin Luther was born to Hans Luder (or Ludher, later Luther) and his wife Margarethe (née Lindemann) on 10 November 1483 in Eisleben, Germany, then part of the Holy Roman Empire. He was baptized as a Catholic the next morning on the feast day of St. Martin of Tours. His family moved to Mansfeld in 1484, where his father was a leaseholder of copper mines and smelters and served as one of four citizen representatives on the local council. The religious scholar Martin Marty describes Luther's mother as a hard-working woman of "trading-class stock and middling means" and notes that Luther's enemies would later wrongly describe her as a whore and bath attendant. He had several brothers and sisters, and is known to have been close to one of them, Jacob. Hans Luther was ambitious for himself and his family, and he was determined to see Martin, his eldest son, become a lawyer. He sent Martin to Latin schools in Mansfeld, then Magdeburg in 1497, where he attended a school operated by a lay group called the Brethren of the Common Life, and Eisenach in 1498. The three schools focused on the so-called "trivium": grammar, rhetoric, and logic. Luther later compared his education there to purgatory and hell.

In 1501, at the age of nineteen, he entered the University of Erfurt – which he later described as a beerhouse and whorehouse. The schedule called for waking at four every morning for what has been described as "a day of rote learning and often wearying spiritual exercises." He received his master's degree in 1505.

In accordance with his father's wishes, Luther enrolled in law school at the same university that year but dropped out almost immediately, believing that law represented uncertainty. Luther sought assurances about life and was drawn to theology and philosophy, expressing particular interest in Aristotle, William of Ockham, and Gabriel Biel. He was deeply influenced by two tutors, Bartholomaeus Arnoldi von Usingen and Jodocus Trutfetter, who taught him to be suspicious of even the greatest thinkers and to test everything himself by experience. Philosophy proved to be unsatisfying, offering assurance about the use of reason but none about loving God, which to Luther was more important. Reason could not lead men to God, he felt, and he thereafter developed a love-hate relationship with Aristotle over the latter's emphasis on reason. For Luther, reason could be used to question men and institutions, but not God. Human beings could learn about God only through divine revelation, he believed, and Scripture therefore became increasingly important to him.

He later attributed his decision to an event: on 2 July 1505, he was on horseback during a thunderstorm and a lightning bolt struck near him as he was returning to university after a trip home. Later telling his father he was terrified of death and divine judgment, he cried out, "Help! Saint Anna, I will become a monk!" He came to view his cry for help as a vow he could never break. He left law school, sold his books, and entered a closed Augustinian friary in Erfurt on 17 July 1505. One friend blamed the decision on Luther's sadness over the deaths of two friends. Luther himself seemed saddened by the move. Those who attended a farewell supper walked him to the door of the Black Cloister. "This day you see me, and then, not ever again," he said. His father was furious over what he saw as a waste of Luther's education.

Monastic and academic life

Luther dedicated himself to monastic life, devoting himself to fasting, long hours in prayer, pilgrimage, and frequent confession. He would later remark, "If anyone could have gained heaven as a monk, then I would indeed have been among them." Luther described this period of his life as one of deep spiritual despair. He said, "I lost touch with Christ the Savior and Comforter, and made of him the jailor and hangman of my poor soul."

Johann von Staupitz, his superior, concluded that Luther needed more work to distract him from excessive introspection and ordered him to pursue an academic career. In 1507, he was ordained to the priesthood, and in 1508 began teaching theology at the University of Wittenberg. He received a Bachelor's degree in Biblical studies on 9 March 1508, and another Bachelor's degree in the Sentences by Peter Lombard in 1509. On 19 October 1512, he was awarded his Doctor of Theology and, on 21 October 1512, was received into the senate of the theological faculty of the University of Wittenberg, having been called to the position of Doctor in Bible. He spent the rest of his career in this position at the University of Wittenberg.

The start of the Reformation

In 1516–17, Johann Tetzel, a Dominican friar and papal commissioner for indulgences, was sent to Germany by the Roman Catholic Church to sell indulgences to raise money to rebuild St. Peter's Basilica in Rome. Roman Catholic theology stated that faith alone, whether fiduciary or dogmatic, cannot justify man; and that only such faith as is active in charity and good works (fides caritate formata) can justify man. The benefits of good works could be obtained by donating money to the church.

On 31 October 1517, Luther wrote to his bishop, Albert of Mainz, protesting the sale of indulgences. He enclosed in his letter a copy of his "Disputation of Martin Luther on the Power and Efficacy of Indulgences," which came to be known as The Ninety-Five Theses. Hans Hillerbrand writes that Luther had no intention of confronting the church, but saw his disputation as a scholarly objection to church practices, and the tone of the writing is accordingly "searching, rather than doctrinaire." Hillerbrand writes that there is nevertheless an undercurrent of challenge in several of the theses, particularly in Thesis 86, which asks: "Why does the pope, whose wealth today is greater than the wealth of the richest Crassus, build the basilica of St. Peter with the money of poor believers rather than with his own money?"

Luther objected to a saying attributed to Johann Tetzel that "As soon as the coin in the coffer rings, the soul from purgatory [also attested as 'into heaven'] springs."

He insisted that, since forgiveness was God's alone to grant, those who claimed that indulgences absolved buyers from all punishments and granted them salvation were in error. Christians, he said, must not slacken in following Christ on account of such false assurances.

However, this oft-quoted saying of Tetzel was by no means representative of the official Catholic teaching on indulgences, but rather, more a reflection of his capacity to exaggerate. Yet if Tetzel overstated the matter in regard to indulgences for the dead, his teaching on indulgences for the living was pure.

According to scholars Walter Krämer, Götz Trenkler, Gerhard Ritter and Gerhard Prause, the story of the posting on the door, even though it has settled as one of the pillars of history, has little foundation in truth. In his preface to the posthumous second pressing of Luther’s compiled work, humanist and reformist Philipp Melanchthon writes "reportedly, Luther, burning with passion and just devoutness, posted the Ninety-Five Theses at the Castle Church in Wittenberg, Germany at All Saints Eve, October 31" (Old calendar). At the time he wrote the preface, Melanchthon lived in Tübingen, far from Wittenberg. In the preface, Melanchthon presents more untrue assertions: that indulgence salesman Johann Tetzel publicly burned Luther’s Ninety-Five Theses, that Luther held colleges on nature and physics, and that Luther had visited Rome in 1511. For a professor of the Wittenberg University to post theses on doors is unparalleled in history. Even further, Luther was strongly law abiding and it would have been against his character to publish his thoughts and direction in this manner. Moreover, Luther never mentioned anything in this direction in his writings, and the only contemporary account of the publishing of the theses is the Latin account by his servant Johannes Agricola, who states that Luther presents "certain theses in the year of 1517 according to the customs of University of Wittenberg as part of a scientific discussion. The presentation of the theses was done in a modest and respectful way, preventing to mock or insult anybody". He makes no mention of nailing the theses to a door, nor does any other source report this. In actuality, Luther presented a hand-written copy, accompanied with honorable comments to the archbishop Albrecht of Mainz and Magdeburg, responsible for the practice of the indulgence sales, and to the bishop of Brandenburg, Luther's superior.

It wasn’t until January 1518 that friends of Luther translated the 95 Theses from Latin into German, printed, and widely copied, making the controversy one of the first in history to be aided by the printing press. Within two weeks, copies of the theses had spread throughout Germany; within two months throughout Europe.

Luther's writings circulated widely, reaching France, England, and Italy as early as 1519. Students thronged to Wittenberg to hear Luther speak. He published a short commentary on Galatians and his Work on the Psalms. This early part of Luther's career was one of his most creative and productive. Three of his best-known works were published in 1520: To the Christian Nobility of the German Nation, On the Babylonian Captivity of the Church, and On the Freedom of a Christian.

Justification by faith

From 1510 to 1520, Luther lectured on the Psalms, the books of Hebrews, Romans, and Galatians. As he studied these portions of the Bible, he came to view the use of terms such as penance and righteousness by the Catholic Church in new ways. He became convinced that the church was corrupt in its ways and had lost sight of what he saw as several of the central truths of Christianity. The most important for Luther was the doctrine of justification – God's act of declaring a sinner righteous – by faith alone through God's grace. He began to teach that salvation or redemption is a gift of God's grace, attainable only through faith in Jesus as the Messiah. "This one and firm rock, which we call the doctrine of justification," he wrote, "is the chief article of the whole Christian doctrine, which comprehends the understanding of all godliness."

Luther came to understand justification as entirely the work of God. This teaching by Luther was clearly expressed in his 1525 publication On the Bondage of the Will, which was written in response to On Free Will by Desiderius Erasmus (1524). Luther based his position on Predestination on St. Paul's epistle to the . Against the teaching of his day that the righteous acts of believers are performed in cooperation with God, Luther wrote that Christians receive such righteousness entirely from outside themselves; that righteousness not only comes from Christ but actually is the righteousness of Christ, imputed to Christians (rather than infused into them) through faith. "That is why faith alone makes someone just and fulfills the law," he wrote. "Faith is that which brings the Holy Spirit through the merits of Christ." Faith, for Luther, was a gift from God; the experience of being justified by faith was "as though I had been born again." His entry into Paradise, no less, was a discovery about "the righteousness of God" – a discovery that "the just person" of whom the Bible speaks (as in Romans 1:17) lives by faith. He explained his concept of "justification" in the Smalcald Articles:

The first and chief article is this: Jesus Christ, our God and Lord, died for our sins and was raised again for our justification (Romans 3:24–25). He alone is the Lamb of God who takes away the sins of the world (John 1:29), and God has laid on Him the iniquity of us all (Isaiah 53:6). All have sinned and are justified freely, without their own works and merits, by His grace, through the redemption that is in Christ Jesus, in His blood (Romans 3:23–25). This is necessary to believe. This cannot be otherwise acquired or grasped by any work, law or merit. Therefore, it is clear and certain that this faith alone justifies us ... Nothing of this article can be yielded or surrendered, even though heaven and earth and everything else falls (Mark 13:31).

Breach with the papacy

Archbishop Albrecht of Mainz and Magdeburg did not reply to Luther's letter containing the 95 Theses. He had the theses checked for heresy and in December 1517 forwarded them to Rome. He needed the revenue from the indulgences to pay off a papal dispensation for his tenure of more than one bishopric. As Luther later noted, "the pope had a finger in the pie as well, because one half was to go to the building of St Peter's Church in Rome".

Pope Leo X was used to reformers and heretics, and he responded slowly, "with great care as is proper." Over the next three years he deployed a series of papal theologians and envoys against Luther, which only served to harden the reformer's anti-papal theology. First, the Dominican theologian Sylvester Mazzolini drafted a heresy case against Luther, whom Leo then summoned to Rome. The Elector Frederick persuaded the pope to have Luther examined at Augsburg, where the Imperial Diet was held. There, in October 1518, Luther informed the papal legate Cardinal Cajetan that he did not consider the papacy part of the biblical Church, and the hearings degenerated into a shouting match. More than his writing the 95 Theses, Luther's confrontation of the church cast him as an enemy of the pope. Cajetan's original instructions had been to arrest Luther if he failed to recant, but he lacked the means in Augsburg, where the Elector guaranteed Luther's security. Luther slipped out of the city at night, without leave from Cajetan.

In January 1519, at Altenburg in Saxony, the papal nuncio Karl von Miltitz adopted a more conciliatory approach. Luther made certain concessions to the Saxon, who was a relative of the Elector, and promised to remain silent if his opponents did. The theologian Johann Maier von Eck, however, was determined to expose Luther's doctrine in a public forum. In June and July 1519, he staged a disputation with Luther's colleague Andreas Karlstadt at Leipzig and invited Luther to speak. Luther's boldest assertion in the debate was that Matthew 16:18 does not confer on popes the exclusive right to interpret scripture, and that therefore neither popes nor church councils were infallible. For this, Eck branded Luther a new Jan Hus, referring to the Czech reformer and heretic burned at the stake in 1415. From that moment, he devoted himself to Luther's defeat.

Excommunication

On 15 June 1520, the Pope warned Luther with the papal bull (edict) Exsurge Domine that he risked excommunication unless he recanted 41 sentences drawn from his writings, including the 95 Theses, within 60 days. That autumn, Johann Eck proclaimed the bull in Meissen and other towns. Karl von Miltitz, a papal nuncio, attempted to broker a solution, but Luther, who had sent the Pope a copy of On the Freedom of a Christian in October, publicly set fire to the bull and decretals at Wittenberg on 10 December 1520, an act he defended in Why the Pope and his Recent Book are Burned and Assertions Concerning All Articles. As a consequence, Luther was excommunicated by Pope Leo X on 3 January 1521, in the bull Decet Romanum Pontificem.

Diet of Worms

The enforcement of the ban on the 95 Theses fell to the secular authorities. On 18 April 1521, Luther appeared as ordered before the Diet of Worms. This was a general assembly of the estates of the Holy Roman Empire that took place in Worms, a town on the Rhine. It was conducted from 28 January to 25 May 1521, with Emperor Charles V presiding. Prince Frederick III, Elector of Saxony, obtained a safe conduct for Luther to and from the meeting.

Johann Eck, speaking on behalf of the Empire as assistant of the Archbishop of Trier, presented Luther with copies of his writings laid out on a table and asked him if the books were his, and whether he stood by their contents. Luther confirmed he was their author, but requested time to think about the answer to the second question. He prayed, consulted friends, and gave his response the next day:

Unless I am convinced by the testimony of the Scriptures or by clear reason (for I do not trust either in the pope or in councils alone, since it is well known that they have often erred and contradicted themselves), I am bound by the Scriptures I have quoted and my conscience is captive to the Word of God. I cannot and will not recant anything, since it is neither safe nor right to go against conscience. May God help me. Amen.

Luther is sometimes also quoted as saying: "Here I stand. I can do no other". Recent scholars consider the evidence for these words to be unreliable, since they were inserted before "May God help me" only in later versions of the speech and not recorded in witness accounts of the proceedings.

Over the next five days, private conferences were held to determine Luther's fate. The Emperor presented the final draft of the Diet of Worms on 25 May 1521, declaring Luther an outlaw, banning his literature, and requiring his arrest: "We want him to be apprehended and punished as a notorious heretic." It also made it a crime for anyone in Germany to give Luther food or shelter. It permitted anyone to kill Luther without legal consequence.

At Wartburg Castle

Luther's disappearance during his return trip was planned. Frederick III, Elector of Saxony had him intercepted on his way home by masked horsemen and escorted to the security of the Wartburg Castle at Eisenach. During his stay at Wartburg, which he referred to as "my Patmos", Luther translated the New Testament from Greek into German and poured out doctrinal and polemical writings. These included a renewed attack on Archbishop Albrecht of Mainz, whom he shamed into halting the sale of indulgences in his episcopates, and a "Refutation of the Argument of Latomus," in which he expounded the principle of justification to Jacobus Latomus, an orthodox theologian from Louvain.

In this work, one of his most emphatic statements on faith, he argued that every good work designed to attract God's favor is a sin. All humans are sinners by nature, he explained, and God's grace, which cannot be earned, alone can make them just. On 1 August 1521, Luther wrote to Melanchthon on the same theme: "Be a sinner, and let your sins be strong, but let your trust in Christ be stronger, and rejoice in Christ who is the victor over sin, death, and the world. We will commit sins while we are here, for this life is not a place where justice resides."

In the summer of 1521, Luther widened his target from individual pieties like indulgences and pilgrimages to doctrines at the heart of Church practices. In On the Abrogation of the Private Mass, he condemned as idolatry the idea that the mass is a sacrifice, asserting instead that it is a gift, to be received with thanksgiving by the whole congregation. His essay On Confession, Whether the Pope has the Power to Require It rejected compulsory confession and encouraged private confession and absolution, since "every Christian is a confessor." In November, Luther wrote The Judgement of Martin Luther on Monastic Vows. He assured monks and nuns that they could break their vows without sin, because vows were an illegitimate and vain attempt to win salvation.

Luther made his pronouncements from Wartburg in the context of rapid developments at Wittenberg, of which he was kept fully informed. Andreas Karlstadt, supported by the ex-Augustinian Gabriel Zwilling, embarked on a radical programme of reform there in June 1521, exceeding anything envisaged by Luther. The reforms provoked disturbances, including a revolt by the Augustinian monks against their prior, the smashing of statues and images in churches, and denunciations of the magistracy. After secretly visiting Wittenberg in early December 1521, Luther wrote A Sincere Admonition by Martin Luther to All Christians to Guard Against Insurrection and Rebellion. Wittenberg became even more volatile after Christmas when a band of visionary zealots, the so-called Zwickau prophets, arrived, preaching revolutionary doctrines such as the equality of man, adult baptism, and Christ's imminent return. When the town council asked Luther to return, he decided it was his duty to act.

Return to Wittenberg

Luther secretly returned to Wittenberg on 6 March 1522. "During my absence," he wrote to the Elector, "Satan has entered my sheepfold, and committed ravages which I cannot repair by writing, but only by my personal presence and living word." For eight days in Lent, beginning on Invocavit Sunday, 9 March, Luther preached eight sermons, which became known as the "Invocavit Sermons." In these sermons, he hammered home the primacy of core Christian values such as love, patience, charity, and freedom, and reminded the citizens to trust God's word rather than violence to bring about necessary change.

Do you know what the Devil thinks when he sees men use violence to propagate the gospel? He sits with folded arms behind the fire of hell, and says with malignant looks and frightful grin: "Ah, how wise these madmen are to play my game! Let them go on; I shall reap the benefit. I delight in it." But when he sees the Word running and contending alone on the battle-field, then he shudders and shakes for fear.

The effect of Luther's intervention was immediate. After the sixth sermon, the Wittenberg jurist Jerome Schurf wrote to the elector: "Oh, what joy has Dr. Martin’s return spread among us! His words, through divine mercy, are bringing back every day misguided people into the way of the truth."

Luther next set about reversing or modifying the new church practices. By working alongside the authorities to restore public order, he signalled his reinvention as a conservative force within the Reformation. After banishing the Zwickau prophets, he now faced a battle not only against the established Church but against radical reformers who threatened the new order by fomenting social unrest and violence.

Peasants' War

Despite his victory in Wittenberg, Luther was unable to stifle radicalism further afield. Preachers such as Zwickau prophet Nicholas Storch and Thomas Müntzer helped instigate the German Peasants' War of 1524–25, during which many atrocities were committed, often in Luther's name. There had been revolts by the peasantry on a smaller scale since the 15th century. Luther's pamphlets against the Church and the hierarchy, often worded with "liberal" phraseology, now led many peasants to believe he would support an attack on the upper classes in general. Revolts broke out in Franconia, Swabia, and Thuringia in 1524, even drawing support from disaffected nobles, many of whom were in debt. Gaining momentum under the leadership of radicals such as Müntzer in Thuringia and Michael Gaismair in Tyrol, the revolts turned into war.

Luther sympathised with some of the peasants' grievances, as he showed in his response to the Twelve Articles in May 1525, but he reminded the aggrieved to obey the temporal authorities. During a tour of Thuringia, he became enraged at the widespread burning of convents, monasteries, bishops’ palaces, and libraries. In Against the Murderous, Thieving Hordes of Peasants, written on his return to Wittenberg, he explained the Gospel teaching on wealth, condemned the violence as the devil's work, and called for the nobles to put down the rebels like mad dogs:

Therefore let everyone who can, smite, slay, and stab, secretly or openly, remembering that nothing can be more poisonous, hurtful, or devilish than a rebel ... For baptism does not make men free in body and property, but in soul; and the gospel does not make goods common, except in the case of those who, of their own free will, do what the apostles and disciples did in Acts 4 [:32–37]. They did not demand, as do our insane peasants in their raging, that the goods of others—of Pilate and Herod—should be common, but only their own goods. Our peasants, however, want to make the goods of other men common, and keep their own for themselves. Fine Christians they are! I think there is not a devil left in hell; they have all gone into the peasants. Their raving has gone beyond all measure.

Luther justified his opposition to the rebels on three grounds. First, in choosing violence over lawful submission to the secular government, they were ignoring Christ's counsel to "Render unto Caesar the things that are Caesar's"; St. Paul had written in his epistle to the that all authorities are appointed by God and therefore should not be resisted. This reference from the Bible forms the foundation for the doctrine known as the Divine Right of Kings, or, in the German case, the divine right of the princes. Second, the violent actions of rebelling, robbing, and plundering placed the peasants "outside the law of God and Empire," so they deserved "death in body and soul, if only as highwaymen and murderers." Lastly, Luther charged the rebels with blasphemy for calling themselves "Christian brethren" and committing their sinful acts under the banner of the Gospel.

Without Luther's backing for the uprising, many rebels laid down their weapons; others felt betrayed. Their defeat by the Swabian League at the Battle of Frankenhausen on 15 May 1525, followed by Müntzer’s execution, brought the revolutionary stage of the Reformation to a close. Thereafter, radicalism found a refuge in the anabaptist movement and other sects, while Luther's Reformation flourished under the wing of the secular powers.

Marriage

Martin Luther married Katharina von Bora, one of 12 nuns he had helped escape from the Nimbschen Cistercian convent in April 1523, when he arranged for them to be smuggled out in herring barrels. "Suddenly, and while I was occupied with far different thoughts," he wrote to Wenceslaus Link, "the Lord has plunged me into marriage." Katherina was 26 years old, Luther was 41 years old.

On 13 June 1525, the couple was engaged with Johannes Bugenhagen, Justus Jonas, Johannes Apel, Philipp Melanchthon and Lucas Cranach the Elder and his wife as witnesses. On the evening of the same day, the couple was married by Bugenhagen. The ceremonial walk to the church and the wedding banquet were left out, and were made up two weeks later on 27 June.

Some priests and former monks had already married, including Andreas Karlstadt and Justus Jonas, but Luther's wedding set the seal of approval on clerical marriage. He had long condemned vows of celibacy on Biblical grounds, but his decision to marry surprised many, not least Melanchthon, who called it reckless. Luther had written to George Spalatin on 30 November 1524, "I shall never take a wife, as I feel at present. Not that I am insensible to my flesh or sex (for I am neither wood nor stone); but my mind is averse to wedlock because I daily expect the death of a heretic." Before marrying, Luther had been living on the plainest food, and, as he admitted himself, his mildewed bed was not properly made for months at a time.

Luther and his wife moved into a former monastery, "The Black Cloister," a wedding present from the new elector John the Steadfast (1525–32). They embarked on what appeared to have been a happy and successful marriage, though money was often short. Between bearing six children, Hans – June 1526, Elizabeth – 10 December 1527 died within a few months, Magdalene – 1529 died in Luthers arms in 1542, Martin – 1531, Paul – January 1533, and Margaret – 1534, Katharina helped earn the couple a living by farming the land and taking in boarders. Luther confided to Michael Stiefel on 11 August 1526: "My Katie is in all things so obliging and pleasing to me that I would not exchange my poverty for the riches of Croesus."

Organising the church

By 1526, Luther found himself increasingly occupied in organising a new church. His Biblical ideal of congregations' choosing their own ministers had proved unworkable. According to Bainton: "Luther's dilemma was that he wanted both a confessional church based on personal faith and experience and a territorial church including all in a given locality. If he were forced to choose, he would take his stand with the masses, and this was the direction in which he moved." From 1525 to 1529, he established a supervisory church body, laid down a new form of worship service, and wrote a clear summary of the new faith in the form of two catechisms.

To avoid confusing or upsetting the people, Luther avoided extreme change. He also did not wish to replace one controlling system with another. He concentrated on the church in the Electorate of Saxony, acting only as an adviser to churches in new territories, many of which followed his Saxon model. He worked closely with the new elector, John the Steadfast, to whom he turned for secular leadership and funds on behalf of a church largely shorn of its assets and income after the break with Rome. For Luther's biographer Martin Brecht, this partnership "was the beginning of a questionable and originally unintended development towards a church government under the temporal sovereign". The elector authorised a visitation of the church, a power formerly exercised by bishops. At times, Luther's practical reforms fell short of his earlier radical pronouncements. For example, the Instructions for the Visitors of Parish Pastors in Electoral Saxony (1528), drafted by Melanchthon with Luther's approval, stressed the role of repentance in the forgiveness of sins, despite Luther's position that faith alone ensures justification. The Eisleben reformer Johannes Agricola challenged this compromise, and Luther condemned him for teaching that faith is separate from works. The Instruction is a problematic document for those seeking a consistent evolution in Luther's thought and practice.

In response to demands for a German liturgy, Luther wrote a German Mass, which he published in early 1526. He did not intend it as a replacement for his 1523 adaptation of the Latin Mass but as an alternative for the "simple people", a "public stimulation for people to believe and become Christians." Luther based his order on the Catholic service but omitted "everything that smacks of sacrifice"; and the Mass became a celebration where everyone received the wine as well as the bread. He retained the elevation of the host and chalice, while trappings such as the Mass vestments, altar, and candles were made optional, allowing freedom of ceremony. Some reformers, including followers of Huldrych Zwingli, considered Luther's service too papistic; and modern scholars note the conservatism of his alternative to the Catholic mass. Luther's service, however, included congregational singing of hymns and psalms in German, as well as of parts of the liturgy, including Luther's unison setting of the Creed. To reach the simple people and the young, Luther incorporated religious instruction into the weekday services in the form of the catechism. He also provided simplified versions of the baptism and marriage services.

Luther and his colleagues introduced the new order of worship during their visitation of Electoral Saxony, which began in 1527. They also assessed the standard of pastoral care and Christian education in the territory. "Merciful God, what misery I have seen," Luther wrote, "the common people knowing nothing at all of Christian doctrine ... and unfortunately many pastors are well-nigh unskilled and incapable of teaching."

Catechisms

Luther devised the catechism as a method of imparting the basics of Christianity to the congregations. In 1529, he wrote the Large Catechism, a manual for pastors and teachers, as well as a synopsis, the Small Catechism, to be memorised by the people themselves. The catechisms provided easy-to-understand instructional and devotional material on the Ten Commandments, the Apostles' Creed, the Lord's Prayer, baptism, and the Lord's Supper. Luther incorporated questions and answers in the catechism so that the basics of Christian faith would not just be learned by rote, "the way monkeys do it", but understood.

The catechism is one of Luther's most personal works. "Regarding the plan to collect my writings in volumes," he wrote, "I am quite cool and not at all eager about it because, roused by a Saturnian hunger, I would rather see them all devoured. For I acknowledge none of them to be really a book of mine, except perhaps the Bondage of the Will and the Catechism." The Small Catechism has earned a reputation as a model of clear religious teaching. It remains in use today, along with Luther's hymns and his translation of the Bible.

Luther's Small Catechism proved especially effective in helping parents teach their children; likewise the Larger Catechism was effective for pastors. Using the German vernacular they expressed the Apostles' Creed in simpler, more personal, Trinitarian language. He rewrote each article of the Creed to express the character of the Father, the Son, or the Holy Spirit. Luther's goal was to enable the catechumens to see themselves as a personal object of the work of the three persons of the Trinity, each of which works in the catechumen's life. That is, Luther depicted the Trinity not as a doctrine to be learned, but as persons to be known. The Father creates, the Son redeems, and the Spirit sanctifies, a divine unity with separate personalities. Salvation originates with the Father and draws the believer to the Father. Luther's treatment of the Apostles Creed must be understood in the context of the Decalogue (the Ten Commandments) and the Lord's Prayer, which are also part of the Lutheran catechical teaching.

Translation of the Bible

Luther had published his German translation of the New Testament in 1522, and he and his collaborators completed the translation of the Old Testament in 1534, when the whole Bible was published. He continued to work on refining the translation until the end of his life. Others had translated the Bible into German, but Luther tailored his translation to his own doctrine. When he was criticised for inserting the word "alone" after "faith" in Romans 3:28, he replied in part: "[T]he text itself and the meaning of St. Paul urgently require and demand it. For in that very passage he is dealing with the main point of Christian doctrine, namely, that we are justified by faith in Christ without any works of the Law . . . But when works are so completely cut away – and that must mean that faith alone justifies – whoever would speak plainly and clearly about this cutting away of works will have to say, 'Faith alone justifies us, and not works'."

Luther's translation used the variant of German spoken at the Saxon chancellery, intelligible to both northern and southern Germans. He intended his vigorous, direct language to make the Bible accessible to everyday Germans, "for we are removing impediments and difficulties so that other people may read it without hindrance."

Published at a time of rising demand for German-language publications, Luther's version quickly became a popular and influential Bible translation. As such, it made a significant contribution to the evolution of the German language and literature. Furnished with notes and prefaces by Luther, and with woodcuts by Lucas Cranach that contained anti-papal imagery, it played a major role in the spread of Luther's doctrine throughout Germany. The Luther Bible influenced other vernacular translations, such as William Tyndale's English Bible (1525 forward), a precursor of the King James Bible.

Hymns

Luther was a prolific hymn writer, authoring hymns such as Ein feste Burg ist unser Gott (A Mighty Fortress Is Our God), based on Psalm 46. Luther connected high art and folk music, also all classes, clergy and laity, men, women and children. His device for this linking was the singing of German hymns in connection with worship, school, home, and the public arena.

Luther's 1524 creedal hymn Wir glauben all an einen Gott (We All Believe in One True God) is a three-stanza confession of faith prefiguring Luther's 1529 three-part explanation of the Apostles' Creed in the Small Catechism. Luther's hymn, adapted and expanded from an earlier German creedal hymn, gained widespread use in vernacular Lutheran liturgies as early as 1525. Sixteenth-century Lutheran hymnals also included Wir glauben all among the catechetical hymns, although 18th-century hymnals tended to label the hymn as Trinitarian rather than catechetical, and 20th-century Lutherans rarely use the hymn because of the perceived difficulty of its tune.

Luther's 1538 hymnic version of the Lord's Prayer, Vater unser im Himmelreich, corresponds exactly to Luther's explanation of the prayer in the Small Catechism, with one stanza for each of the seven prayer petitions, plus opening and closing stanzas. The hymn functioned both as a liturgical setting of the Lord's Prayer and as a means of examining candidates on specific catechism questions. The extant manuscript shows multiple revisions, demonstrating Luther's concern to clarify and strengthen the text and to provide an appropriately prayerful tune. Other 16th- and 20th-century versifications of the Lord's Prayer have adopted Luther's tune, although modern texts are considerably shorter.

Luther wrote Aus tiefer Not schrei ich zu dir (From depths of woe I cry to you) in 1523 as a hymnic version of Psalm 130 and sent it as a sample to encourage evangelical colleagues to write psalm-hymns for use in German worship. In a collaboration with Paul Speratus, this and seven more hymns were published in the first Lutheran hymnal, also called Achtliederbuch. In 1524 Luther developed his original four-stanza psalm paraphrase into a five-stanza Reformation hymn that developed the theme of "grace alone" more fully. Because it expressed essential Reformation doctrine, this expanded version of Aus tiefer Not was designated as a regular component of several regional Lutheran liturgies and was widely used at funerals, including Luther's own. Along with Erhart Hegenwalt's hymnic version of Psalm 51, Luther's expanded hymn was also adopted for use with the fifth part of Luther's catechism, concerning confession.

Luther's 1540 hymn Christ unser Herr zum Jordan kam (To Jordan came the Christ our Lord) reflects the structure and substance of his questions and answers concerning baptism in the Small Catechism. Luther adopted a preexisting Johann Walter tune associated with a hymnic setting of Psalm 67's prayer for grace; Wolf Heintz's four-part setting of the hymn was used to introduce the Lutheran Reformation in Halle in 1541. Preachers and composers of the 18th century, including J. S. Bach, used this rich hymn as a subject for their own work, although its objective baptismal theology was displaced by more subjective hymns under the influence of late-19th-century Lutheran pietism.

Luther wrote Ach Gott, vom Himmel sieh darein (Oh God, look down from heaven). He wrote Nun komm, der Heiden Heiland (Now come, Savior of the gentiles) based on Veni redemptor gentium. It became the main hymn (Hauptlied) for Advent. He transformed A solus ortus cardine to Christum wir sollen loben schon (We should now praise Christ) and Veni creator spiritus to Komm, Gott Schöpfer, Heiliger Geist (Come, Holy Spirit, Lord God). He wrote two hymns on the Ten Commandments, Dies sind die heilgen Zehn Gebot and Mensch, willst du leben seliglich. His Gelobet seist du, Jesu Christ (Praise be to You, Jesus Christ) became the main hymn for Christmas. He wrote for Pentecost Nun bitten wir den heiligen Geist and for Easter Christ ist erstanden (Christ is risen), based on Victimae paschali laudes.

Luther's hymns inspired composers to write music. Johann Sebastian Bach included several verses as chorales in his cantatas and based chorale cantatas entirely on them, namely Christ lag in Todes Banden, BWV 4, as early as possibly 1707, in his second annual cycle (1724 to 1725) Ach Gott, vom Himmel sieh darein, BWV 2, Christ unser Herr zum Jordan kam, BWV 7, Nun komm, der Heiden Heiland, BWV 62, Gelobet seist du, Jesu Christ, BWV 91, and Aus tiefer Not schrei ich zu dir, BWV 38, later Ein feste Burg ist unser Gott, BWV 80, and in 1735 Wär Gott nicht mit uns diese Zeit, BWV 14.

Marburg Colloquy and Eucharist controversy

In October 1529, Philip I, Landgrave of Hesse convoked an assembly of German and Swiss theologians at the Marburg Colloquy, to establish doctrinal unity in the emerging Protestant states. Agreement was achieved on fourteen points out of fifteen, the exception being the nature of the Eucharist – the sacrament of the Lord's Supper—an issue crucial to Luther.

The theologians, including Zwingli, Melanchthon, Martin Bucer, and Johannes Oecolampadius, differed on the significance of the words spoken by Jesus at the Last Supper: "This is my body which is for you" and "This cup is the new covenant in my blood" (1 Corinthians 11:23–26). Luther insisted on the Real Presence of the body and blood of Christ in the consecrated bread and wine, which he called the sacramental union, while his opponents believed God to be only spiritually or symbolically present. Zwingli, for example, denied Jesus's ability to be in more than one place at a time but Luther stressed his ubiquity. According to transcripts, the debate sometimes became confrontational. Citing Jesus's words "The flesh profiteth nothing" (John 6.63), Zwingli said, "This passage breaks your neck". "Don't be too proud," Luther retorted, "German necks don't break that easily. This is Hesse, not Switzerland." On his table Luther wrote the words "Hoc est corpus meum" ("This is my body") in chalk, to continually indicate his firm stance.

Despite the disagreements on the Eucharist, the Marburg Colloquy paved the way for the signing in 1530 of the Augsburg Confession, and for the formation of the Schmalkaldic League the following year by leading Protestant nobles such as John of Saxony, Philip of Hesse, and George, Margrave of Brandenburg-Ansbach. The Calvinist Swiss cities, however, did not sign these agreements.

On the soul after death

In contrast to the views of Calvin and Melanchthon, through his life Luther maintained the idea that the soul was unconscious in death, and from this Luther came also to dispute traditional interpretations of some Bible passages, such as the parable of the rich man and Lazarus. This also led Luther to reject the idea of torments for the saints: "It is enough for us to know that souls do not leave their bodies to be threatened by the torments and punishments of hell, but enter a prepared bedchamber in which they sleep in peace" However, Luther affirmed the continuation of one's personal identity beyond death. For example, in his Smalcald Articles he described the saints as currently residing "in their graves and in heaven."

Franz August Otto Pieper argues that Luther's apparent teaching of "soul sleep" (German Seelenschlaf) was a source of embarrassment to some later Lutherans, such as Johann Gerhard. This was also the view of Lessing (1755) in his analysis of late Lutheran Orthodoxy to these passages.

Luther's Commentary on Genesis contains a passage which concludes "...the soul does not sleep (anima non sic dormit), but wakes (sed vigilat) and experiences visions". Francis Blackburne in 1765 argued that John Jortin misread this and other passages from Luther, while Gottfried Fritschel pointed out in 1867 that it actually refers to the soul of a man "in this life" (homo enim in hac vita) tired from his daily labour (defatigus diurno labore) who at night enters his bedchamber (sub noctem intrat in cubiculum suum) and whose sleep is interrupted by dreams.

Henry Eyster Jacobs' English translation from 1898 reads: :"Nevertheless, the sleep of this life and that of the future life differ; for in this life, man, fatigued by his daily labour, at nightfall goes to his couch, as in peace, to sleep there, and enjoys rest; nor does he know anything of evil, whether of fire or of murder."

On Islam

At the time of the Marburg Colloquy, Suleiman the Magnificent was besieging Vienna with a vast Ottoman army. Luther had argued against resisting the Turks in his 1518 Explanation of the Ninety-five Theses, provoking accusations of defeatism. He saw the Turks as a scourge sent to punish Christians by God, as agents of the Biblical apocalypse that would destroy the antichrist, whom Luther believed to be the papacy, and the Roman Church. He consistently rejected the idea of a Holy War, "as though our people were an army of Christians against the Turks, who were enemies of Christ. This is absolutely contrary to Christ's doctrine and name". On the other hand, in keeping with his doctrine of the two kingdoms, Luther did support non-religious war against the Turks. In 1526, he argued in Whether Soldiers can be in a State of Grace that national defence is reason for a just war. By 1529, in On War against the Turk, he was actively urging Emperor Charles V and the German people to fight a secular war against the Turks. He made clear, however, that the spiritual war against an alien faith was separate, to be waged through prayer and repentance. Around the time of the Siege of Vienna, Luther wrote a prayer for national deliverance from the Turks, asking God to "give to our emperor perpetual victory over our enemies".

In 1542, Luther read a Latin translation of the Qur'an. He went on to produce several critical pamphlets on the Islamic faith, which he called Mohammedanism or the Turk. Though Luther saw the Muslim faith as a tool of the devil, he was indifferent to its practice: "Let the Turk believe and live as he will, just as one lets the papacy and other false Christians live." He opposed banning the publication of the Qur'an, wanting it exposed to scrutiny.

Augsburg Confession

Shaken by the Siege of Vienna, Charles V convened the Imperial Diet at Augsburg in 1530, aiming to unite the empire against the Turks. To achieve this, he needed first to resolve the religious controversies in his lands, "considering with love and kindness the views of everybody". He asked for a statement of the evangelical case, and one was duly devised by Luther, Melanchthon, and their colleagues at Wittenberg. Melanchthon drafted the document, known as the Augsburg Confession, and travelled with the elector's party to Augsburg, where it was read to the emperor and diet on 25 June 1530. (Luther was left behind at the Coburg fortress in southern Saxony because he remained under the imperial ban and lacked a safe-conduct to attend the diet.) Luther's writings during his 165 days at Coburg, including the Exhortation to all Clergy Assembled at Augsburg, show that, unlike Melanchthon, he was set against making concessions.

Despite the Confession's avoidance of strident language or abuse of the pope, the diet rejected it on 22 September and ordered the reformers to renounce heresy and submit to the control of the Roman Catholic Church by the following April or face the imperial army. That decision confirmed Luther's belief that the mission had been futile. It prompted the Lutheran princes to form a military alliance, the Schmalkaldic League, which Luther cautiously supported on grounds of self-defence in his Warning to His Dear German People of 1531. The Augsburg Confession had become the statement of faith on which Lutherans were prepared to stand or fall. Though a modification of Luther's own position, it nevertheless is regarded as the first Lutheran treatise.

Anti-Antinomianism

Early in 1537, Johannes Agricola (1494–1566) – serving at the time as pastor in Luther's birthplace, Eisleben – preached a sermon in which he claimed that God's gospel, not God's moral law (the Ten Commandments), revealed God's wrath to Christians. Based on this sermon and others by Agricola, Luther suspected that Agricola was behind certain anonymous antinomian theses circulating in Wittenberg. These theses asserted that the law is no longer to be taught to Christians but belonged only to city hall. Luther responded to these theses with six series of theses against Agricola and the antinomians, four of which became the basis for disputations between 1538 and 1540. He also responded to these assertions in other writings, such as his 1539 open letter to C. Güttel Against the Antinomians, and his book On the Councils and the Church from the same year.

In his theses and disputations against the antinomians, Luther reviews and reaffirms, on the one hand, what has been called the "second use of the law," that is, the law as the Holy Spirit's tool to work sorrow over sin in man's heart, thus preparing him for Christ's fulfillment of the law offered in the gospel. Luther states that everything that is used to work sorrow over sin is called the law, even if it is Christ's life, Christ's death for sin, or God's goodness experienced in creation. Simply refusing to preach the Ten Commandments among Christians – thereby, as it were, removing the three letters l-a-w from the church – does not eliminate the accusing law. Claiming that the law – in any form – should not be preached to Christians anymore would be tantamount to asserting that Christians are no longer sinners in themselves and that the church consists only of essentially holy people.

On the other hand, Luther also points out that the Ten Commandments – when considered not as God's condemning judgment but as an expression of his eternal will, that is, of the natural law – also positively teach how the Christian ought to live. This has traditionally been called the "third use of the law." For Luther, also Christ's life, when understood as an example, is nothing more than an illustration of the Ten Commandments, which a Christian should follow in his or her vocations on a daily basis.

The Ten Commandments, and the beginnings of the renewed life of Christians accorded to them by the sacrament of baptism, are a present foreshadowing of the believers' future angel-like life in heaven in the midst of this life. Luther's teaching of the Ten Commandments, therefore, has clear eschatological overtones, which, characteristically for Luther, do not encourage world-flight but direct the Christian to service to the neighbor in the common, daily vocations of this perishing world.

In the 20th century, there have been attempts to show that the "third use of the law" was a typical "Reformed" doctrine and that Luther himself never taught this, but in light of Luther's disputations against the antinomians and other texts, this position cannot be maintained.

Philip of Hesse controversy

From December 1539, Luther became implicated in the bigamy of Philip I, Landgrave of Hesse, who wanted to marry one of his wife's ladies-in-waiting. Philip solicited the approval of Luther, Melanchthon, and Bucer, citing as a precedent the polygamy of the patriarchs. The theologians were not prepared to make a general ruling, and they reluctantly advised the landgrave that if he was determined, he should marry secretly and keep quiet about the matter. As a result, on 4 March 1540, Philip married a second wife, Margarethe von der Sale, with Melanchthon and Bucer among the witnesses. However, Philip was unable to keep the marriage secret, and he threatened to make Luther's advice public. Luther told him to "tell a good, strong lie" and deny the marriage completely, which Philip did during the subsequent public controversy. In the view of Luther's biographer Martin Brecht, "giving confessional advice for Philip of Hesse was one of the worst mistakes Luther made, and, next to the landgrave himself, who was directly responsible for it, history chiefly holds Luther accountable". Brecht argues that Luther's mistake was not that he gave private pastoral advice, but that he miscalculated the political implications. The affair caused lasting damage to Luther's reputation.

Anti-Judaism and antisemitism

Luther wrote about the Jews throughout his career, though only a few of his works dealt with them directly. Luther rarely encountered Jews during his life, but his attitudes reflected a theological and cultural tradition which saw Jews as a rejected people guilty of the murder of Christ, and he lived within a local community that had expelled Jews some ninety years earlier. He considered the Jews blasphemers and liars because they rejected the divinity of Jesus, whereas Christians believed Jesus was the Messiah. At the same time, Luther believed that all human beings who set themselves against God shared one and the same guilt. As early as 1516, Luther wrote, "...[M]any people are proud with marvelous stupidity when they call the Jews dogs, evildoers, or whatever they like, while they too, and equally, do not realize who or what they are in the sight of God". In 1523, Luther advised kindness toward the Jews in That Jesus Christ was Born a Jew, but only with the aim of converting them to Christianity. When his efforts at conversion failed, he grew increasingly bitter toward them.

Luther's other major works on the Jews were his 60,000-word treatise Von den Juden und Ihren Lügen (On the Jews and Their Lies), and Vom Schem Hamphoras und vom Geschlecht Christi (On the Holy Name and the Lineage of Christ), both published in 1543, three years before his death. Luther argued that the Jews were no longer the chosen people but "the devil's people": he referred to them with violent, vile language. Luther advocated setting synagogues on fire, destroying Jewish prayerbooks, forbidding rabbis from preaching, seizing Jews' property and money, and smashing up their homes, so that these "poisonous envenomed worms" would be forced into labour or expelled "for all time". In Robert Michael's view, Luther's words "We are at fault in not slaying them" amounted to a sanction for murder. Luther's "recommendations" for how to treat the Jews was a clear reference to the "sharp mercy" of Deuteronomy 13, the punishments prescribed by Moses for those who led others to "false gods".

Luther spoke out against the Jews in Saxony, Brandenburg, and Silesia. Josel of Rosheim, the Jewish spokesman who tried to help the Jews of Saxony in 1537, later blamed their plight on "that priest whose name was Martin Luther—may his body and soul be bound up in hell!—who wrote and issued many heretical books in which he said that whoever would help the Jews was doomed to perdition." Josel asked the city of Strasbourg to forbid the sale of Luther's anti-Jewish works: they refused initially, but relented when a Lutheran pastor in Hochfelden used a sermon to urge his parishioners to murder Jews. Luther's influence persisted after his death. Throughout the 1580s, riots led to the expulsion of Jews from several German Lutheran states.

Luther was the most widely read author of his generation, and he acquired the status of a prophet within Germany. According to the prevailing view among historians, his anti-Jewish rhetoric contributed significantly to the development of antisemitism in Germany, and in the 1930s and 1940s provided an "ideal underpinning" for the National Socialists' attacks on Jews. Reinhold Lewin writes that "whoever wrote against the Jews for whatever reason believed he had the right to justify himself by triumphantly referring to Luther." According to Michael, just about every anti-Jewish book printed in the Third Reich contained references to and quotations from Luther. Heinrich Himmler wrote admiringly of his writings and sermons on the Jews in 1940. The city of Nuremberg presented a first edition of On the Jews and their Lies to Julius Streicher, editor of the Nazi newspaper Der Stürmer, on his birthday in 1937; the newspaper described it as the most radically anti-Semitic tract ever published. It was publicly exhibited in a glass case at the Nuremberg rallies and quoted in a 54-page explanation of the Aryan Law by Dr. E.H. Schulz and Dr. R. Frercks. On 17 December 1941, seven Protestant regional church confederations issued a statement agreeing with the policy of forcing Jews to wear the yellow badge, "since after his bitter experience Luther had already suggested preventive measures against the Jews and their expulsion from German territory." According to Daniel Goldhagen, Bishop Martin Sasse, a leading Protestant churchman, published a compendium of Luther's writings shortly after Kristallnacht, for which Diarmaid MacCulloch, Professor of the History of the Church in the University of Oxford argued that Luther's writing was a "blueprint." Sasse applauded the burning of the synagogues and the coincidence of the day, writing in the introduction, "On 10 November 1938, on Luther's birthday, the synagogues are burning in Germany." The German people, he urged, ought to heed these words "of the greatest antisemite of his time, the warner of his people against the Jews." According to Professor Dick Geary, the Nazis won a larger share of the vote in Protestant than in Catholic areas of Germany in elections of 1928 to November 1932.

At the heart of scholars' debate about Luther's influence is whether it is anachronistic to view his work as a precursor of the racial antisemitism of the National Socialists. Some scholars see Luther's influence as limited, and the Nazis' use of his work as opportunistic. Biographer Martin Brecht points out that "There is a world of difference between his belief in salvation and a racial ideology. Nevertheless, his misguided agitation had the evil result that Luther fatefully became one of the 'church fathers' of anti-Semitism and thus provided material for the modern hatred of the Jews, cloaking it with the authority of the Reformer." Johannes Wallmann argues that Luther's writings against the Jews were largely ignored in the 18th and 19th centuries, and that there was no continuity between Luther's thought and Nazi ideology. Uwe Siemon-Netto agreed, arguing that it was because the Nazis were already anti-Semites that they revived Luther's work. Hans J. Hillerbrand agreed that to focus on Luther was to adopt an essentially ahistorical perspective of Nazi antisemitism that ignored other contributory factors in German history. Similarly, Roland Bainton, noted church historian and Luther biographer, wrote "One could wish that Luther had died before ever [On the Jews and Their Lies] was written. His position was entirely religious and in no respect racial."

Other scholars argue that, even if his views were merely anti-Judaic, their violence lent a new element to the standard Christian suspicion of Judaism. Ronald Berger writes that Luther is credited with "Germanizing the Christian critique of Judaism and establishing anti-Semitism as a key element of German culture and national identity." Paul Rose argues that he caused a "hysterical and demonizing mentality" about Jews to enter German thought and discourse, a mentality that might otherwise have been absent.

Since the 1980s, Lutheran Church denominations have repudiated Martin Luther's statements against the Jews and have rejected the use of them to incite hatred against Lutherans.

Final years and death

Luther had been suffering from ill health for years, including Ménière's disease, vertigo, fainting, tinnitus, and a cataract in one eye. From 1531 to 1546, his health deteriorated further. The years of struggle with Rome, the antagonisms with and among his fellow reformers, and the scandal which ensued from the bigamy of the Philip of Hesse incident, in which Luther had played a leading role, all may have contributed. In 1536, he began to suffer from kidney and bladder stones, and arthritis, and an ear infection ruptured an ear drum. In December 1544, he began to feel the effects of angina.

His poor physical health made him short-tempered and even harsher in his writings and comments. His wife Katharina was overheard saying, "Dear husband, you are too rude," and he responded, "They are teaching me to be rude."

His last sermon was delivered at Eisleben, his place of birth, on 15 February 1546, three days before his death. It was "entirely devoted to the obdurate Jews, whom it was a matter of great urgency to expel from all German territory," according to Léon Poliakov. James Mackinnon writes that it concluded with a "fiery summons to drive the Jews bag and baggage from their midst, unless they desisted from their calumny and their usury and became Christians." Luther said, "we want to practice Christian love toward them and pray that they convert," but also that they are "our public enemies ... and if they could kill us all, they would gladly do so. And so often they do."

Luther's final journey, to Mansfeld, was taken because of his concern for his siblings' families continuing in their father Hans Luther's copper mining trade. Their livelihood was threatened by Count Albrecht of Mansfeld bringing the industry under his own control. The controversy that ensued involved all four Mansfeld counts: Albrecht, Philip, John George, and Gerhard. Luther journeyed to Mansfeld twice in late 1545 to participate in the negotiations for a settlement, and a third visit was needed in early 1546 for their completion.

The negotiations were successfully concluded on 17 February 1546. After 8:00 pm, he experienced chest pains. When he went to his bed, he prayed, "Into your hand I commit my spirit; you have redeemed me, O Lord, faithful God" (Ps. 31:5), the common prayer of the dying. At 1:00 am he awoke with more chest pain and was warmed with hot towels. He thanked God for revealing his Son to him in whom he had believed. His companions, Justus Jonas and Michael Coelius, shouted loudly, "Reverend father, are you ready to die trusting in your Lord Jesus Christ and to confess the doctrine which you have taught in his name?" A distinct "Yes" was Luther's reply.

An apoplectic stroke deprived him of his speech, and he died shortly afterwards at 2:45 am on 18 February 1546, aged 62, in Eisleben, the city of his birth. He was buried in the Castle Church in Wittenberg, beneath the pulpit. The funeral was held by his friends Johannes Bugenhagen and Philipp Melanchthon. A year later, troops of Luther's adversary Charles V, Holy Roman Emperor entered the town, but were ordered by Charles not to disturb the grave.

A piece of paper was later found on which Luther had written his last statement. The statement was in Latin, apart from "We are beggars," which was in German.

1. No one can understand Virgil's Bucolics unless he has been a shepherd for five years. No one can understand Virgil's Georgics, unless he has been a farmer for five years.

2. No one can understand Cicero's Letters (or so I teach), unless he has busied himself in the affairs of some prominent state for twenty years.

3. Know that no one can have indulged in the Holy Writers sufficiently, unless he has governed churches for a hundred years with the prophets, such as Elijah and Elisha, John the Baptist, Christ and the apostles.

Do not assail this divine Aeneid; nay, rather prostrate revere the ground that it treads.

We are beggars: this is true.

Luther is honoured on 18 February with a commemoration in the Lutheran Calendar of Saints and a feast day in the Episcopal (United States) Calendar of Saints; in the Church of England's Calendar of Saints he is commemorated on 31 October.

Works and editions

Exegetica opera latina – Latin exegetical works.

The standard German edition of Luther's Latin and German works is the Weimarer Ausgabe, indicated by the abbreviation "WA". This is continued into "WA Br" Weimarer Ausgabe, Briefwechsel (correspondence), "WA Tr" Weimarer Ausgabe, Tischreden (tabletalk) and "WA DB" Weimarer Ausgaber, Deutsche Bibel (German Bible).

See also

Christianity and antisemitism

Consubstantiation

List of Erasmus's correspondents

John Calvin

John Wycliffe

Lutheran Marian theology

Propaganda during the Reformation

Theologia Germanica

Theology of Martin Luther

Martin Luther University of Halle-Wittenberg (Germany)

References

Further reading

For works by and about Luther, see Martin Luther (resources) or Luther's works at Wikisource.

Luther, M. The Bondage of the Will. Eds. J. I. Packer and O. R. Johnson. Old Tappan, N.J.: Revell, 1957. OCLC 22724565.

Luther's Works, 55 vols. Eds. H. T. Lehman and J. Pelikan. St Louis Missouri, and Philadelphia, Pennsylvania, 1955–86. Also on CD-ROM. Minneapolis and St Louis: Fortress Press and Concordia Publishing House, 2002.

Reu, Johann Michael Thirty-five Years of Luther Research Chicago: Wartburg Publishing House, 1917.

External links

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name	Maria Callas
alt	Maria Callas
birth name	Sophia Cecelia Kalos
birth date	December 02, 1923
birth place	Fifth Avenue, Manhattan, New York City, New York metropolitan area, United States
disappeared date
death date	September 16, 1977
death cause	Myocardial infarction
resting place	Père Lachaise Cemetery
resting place coordinates
ethnicity
occupation	Soprano, opera singer
years active	19421974
height
weight
religion
denomination
criminal charge
spouse	Giovanni Battista Meneghini (19491959)
parents	George Kalogeropoulos (father)Evangelia Dimitriadou (mother)
relatives	Louise Caselotti (vocal coach)Elvira de Hidalgo (vocal coach)
website

Maria Callas () (December 2, 1923September 16, 1977) was an American-born Greek soprano and one of the most renowned opera singers of the 20th century. She combined an impressive bel canto technique, a wide-ranging voice and great dramatic gifts. An extremely versatile singer, her repertoire ranged from classical opera seria to the bel canto operas of Donizetti, Bellini and Rossini; further, to the works of Verdi and Puccini; and, in her early career, to the music dramas of Wagner. Her remarkable musical and dramatic talents led to her being hailed as La Divina.

Born in New York City and raised by an overbearing mother, she received her musical education in Greece and established her career in Italy. Forced to deal with the exigencies of wartime poverty and with myopia that left her nearly blind onstage, she endured struggles and scandal over the course of her career. She turned herself from a heavy woman into a svelte and glamorous one after a mid-career weight loss, which might have contributed to her vocal decline and the premature end of her career. The press exulted in publicizing Callas's allegedly temperamental behaviour, her supposed rivalry with Renata Tebaldi and her love affair with Aristotle Onassis. Her dramatic life and personal tragedy have often overshadowed Callas the artist in the popular press. However, her artistic achievements were such that Leonard Bernstein called her "The Bible of opera"; and her influence was so enduring that, in 2006, Opera News wrote of her: "Nearly thirty years after her death, she's still the definition of the diva as artist—and still one of classical music's best-selling vocalists."

Early life

Family life, childhood and move to Greece

According to her birth certificate, Maria Callas was born Sophia Cecelia Kalos at Flower Hospital (now the Terence Cardinal Cooke Health Care Center), at 1249 Fifth Avenue in Manhattan, on December 2, 1923 to Greek parents George Kalogeropoulos and Evangelia "Litsa" (sometimes "Litza") Dimitriadou, though she was christened Anna Maria Sofia Cecilia Kalogeropoulou – the genitive of the patronymic Kalogeropoulos – (). Callas's father had shortened the surname Kalogeropoulos first to "Kalos" and subsequently to "Callas" in order to make it more manageable.

George and Evangelia were an ill-matched couple from the beginning; he was easy-going and unambitious, with no interest in the arts, while his wife was vivacious and socially ambitious, and had held dreams of a life in the arts for herself. The situation was aggravated by George's philandering and was improved neither by the birth of a daughter, named Yakinthi (later called Jackie), in 1917 nor the birth of a son, named Vassilis, in 1920. Vassilis's death from meningitis in the summer of 1922 dealt another blow to the marriage. In 1923, after realizing that Evangelia was pregnant again, George made the unilateral decision to move his family to America, a decision which Yakinthi recalled was greeted with Evangelia "shouting hysterically" followed by George "slamming doors". The family left for New York in July 1923, moving first into an apartment in Astoria, Queens. When Maria was 4, George Callas opened his own pharmacy, settling the family in Manhattan on 192nd Street in Washington Heights where Callas grew up.

Evangelia was convinced that her third child would be a boy; her disappointment at the birth of another daughter was so great that she refused to even look at her new baby for four days. Around the age of three, Maria's musical talent began to manifest itself, and after Evangelia discovered that her youngest daughter also had a voice, she began pressing "Mary" to sing. Callas would later recall, "I was made to sing when I was only five, and I hated it." George was unhappy with his wife favouring their elder daughter, as well as the pressure put upon young Mary to sing and perform. The marriage continued to deteriorate and in 1937 Evangelia decided to return to Athens with her two daughters.

Deteriorating relationship with mother

Callas's relationship with Evangelia continued to erode during the years in Greece, and in the prime of her career, it became a matter of great public interest, especially after a 1956 cover story in Time magazine which focused on this relationship and later, by Evangelia's book My Daughter – Maria Callas. In public, Callas blamed the strained relationship with Evangelia on her unhappy childhood spent singing and working at her mother's insistence, saying,

My sister was slim and beautiful and friendly, and my mother always preferred her. I was the ugly duckling, fat and clumsy and unpopular. It is a cruel thing to make a child feel ugly and unwanted... I'll never forgive her for taking my childhood away. During all the years I should have been playing and growing up, I was singing or making money. Everything I did for them was mostly good and everything they did to me was mostly bad.

In 1957, she told Norman Ross, "Children should have a wonderful childhood. I have not had it – I wish I had." On the other hand, biographer Pestalis-Diomidis asserts that it was actually Evangelia's hateful treatment of George in front of their young children which led to resentment and dislike on Callas's part. However, according to both Callas' husband and her close friend Giulietta Simionato, Callas related to them that her mother, who did not work, pressed her to "go out with various men", mainly Italian and German soldiers, to bring home money and food during the Axis occupation of Greece during World War II. Simionato was convinced that Callas "managed to remain untouched", but Callas never forgave Evangelia for what she perceived as a kind of prostitution forced on her by her mother. In an attempt to patch things up with her mother, Callas took Evangelia along on her first visit to Mexico in 1950, but this only reawakened the old frictions and resentments, and after leaving Mexico, the two never met again. After a series of angry and accusatory letters from Evangelia lambasting Callas's father and husband, Callas ceased communication with her mother altogether.

Education

Callas received her musical education in Athens. Initially, her mother tried to enrol her at the prestigious Athens Conservatoire, without success. At the audition, her voice, still untrained, failed to impress, while the conservatoire's director Filoktitis Oikonomidis refused to accept her without her satisfying the theoretic prerequisites (solfege). In the summer of 1937, her mother visited Maria Trivella at the younger Greek National Conservatoire, asking her to take Mary as a student for a modest fee. In 1957, Trivella recalled her impression of "Mary, a very plump young girl, wearing big glasses for her myopia":

The tone of the voice was warm, lyrical, intense; it swirled and flared like a flame and filled the air with melodious reverberations like a carillon. It was by any standards an amazing phenomenon, or rather it was a great talent that needed control, technical training and strict discipline in order to shine with all its brilliance.

Trivella agreed to tutor Callas completely, waiving her tuition fees, but no sooner had Callas started her formal lessons and vocal exercises than Trivella began to feel that Mary was not a contralto, as she had been told, but a dramatic soprano. Subsequently, they began working on raising the tessitura of Mary's voice and to lighten its timbre. Trivella recalled Mary as "A model student. Fanatical, uncompromising, dedicated to her studies heart and soul. Her progress was phenomenal. She studied five or six hours a day. ...Within six months, she was singing the most difficult arias in the international opera repertoire with the utmost musicality". On April 11, 1938, in her public debut, Callas ended the recital of Trivella's class at the Parnassos music hall with a duet from Tosca. Callas recalled that Trivella "had a French method, which was placing the voice in the nose, rather nasal... and I had the problem of not having low chest tones, which is essential in bel canto... And that's where I learned my chest tones." However, when interviewed by Pierre Desgraupes on the French program L'Invitee Du Dimanche, Callas attributed the development of her chest voice not to Trivella, but to her next teacher, the well-known Spanish coloratura soprano Elvira de Hidalgo.

Callas studied with Trivella for two years before her mother secured another audition at the Athens Conservatoire with de Hidalgo. Callas auditioned with "Ocean, Thou Mighty Monster." De Hidalgo recalled hearing "tempestuous, extravagant cascades of sounds, as yet uncontrolled but full of drama and emotion". She agreed to take her as a pupil immediately, but Callas's mother asked de Hidalgo to wait for a year, as Callas would be graduating from the National Conservatoire and could begin working. On April 2, 1939, Callas undertook the part of Santuzza in a student production of Mascagni's Cavalleria rusticana at the Olympia Theatre, and in the fall of the same year she enrolled at the Athens Conservatoire in Elvira de Hidalgo's class.

In 1968, Callas told Lord Harewood,

De Hildalgo had the real great training, maybe even the last real training of the real bel canto. As a young girl—thirteen years old—I was immediately thrown into her arms, meaning that I learned the secrets, the ways of this bel canto, which of course as you well know, is not just beautiful singing. It is a very hard training; it is a sort of a straight-jacket that you're supposed to put on, whether you like it or not. You have to learn to read, to write, to form your sentences, how far you can go, fall, hurt yourself, put yourself back on your feet continuously. De Hidalgo had one method, which was the real bel canto way, where no matter how heavy a voice, it should always be kept light, it should always be worked on in a flexible way, never to weigh it down. It is a method of keeping the voice light and flexible and pushing the instrument into a certain zone where it might not be too large in sound, but penetrating. And teaching the scales, trills, all the bel canto embellishments, which is a whole vast language of its own.

De Hidalgo would later recall Callas as "a phenomenon... She would listen to all my students, sopranos, mezzos, tenors... She could do it all." Callas herself said that she would go to "the conservatoire at 10 in the morning and leave with the last pupil ... devouring music" for 10 hours a day. When asked by her teacher why she did this, her answer was that even "with the least talented pupil, he can teach you something that you, the most talented, might not be able to do."

Early operatic career in Greece

After several appearances as a student, Callas began appearing in secondary roles at the Greek National Opera. De Hidalgo was instrumental in securing roles for her, allowing Callas to earn a small salary, which would help her and her family get through the difficult war years.

Callas made her professional debut in February 1942 in the small role of Beatrice in Franz von Suppé's Boccaccio. Soprano Galatea Amaxopoulous, who sang in the chorus, later recalled, "Even in rehearsal, Mary's fantastic performing ability had been obvious, and from then on, the others started trying to find ways of preventing her from appearing." Fellow singer Maria Alkeou similarly recalled that the established sopranos Nafiska Galanou and Anna (Zozó) Remmoundou "used to stand in the wings while Mary was singing and make remarks about her, muttering, laughing, and point their fingers at her". Despite these hostilities, Callas managed to continue and made her debut in a leading role in August 1942 as Tosca, going on to sing the role of Marta in Eugen d'Albert's Tiefland at the Olympia Theatre. Callas's performance as Marta received glowing reviews. Critic Spanoudi declared Callas "an extremely dynamic artist possessing the rarest dramatic and musical gifts", and Vangelis Mangliveras evaluated Callas's performance for the weekly To Radiophonon:

The singer who took the part of Marta, that new star in the Greek firmament, with a matchless depth of feeling, gave a theatrical interpretation well up to the standard of a tragic actress. About her exceptional voice with its astonishing natural fluency, I do not wish to add anything to the words of Alexandra Lalaouni: 'Kaloyeropoulou is one of those God-given talents that one can only marvel at.'

Following these performances, even Callas's detractors began to refer to her as "The God-Given". Some time later, watching Callas rehearse Beethoven's Fidelio, rival soprano Remoundou asked a colleague, "Could it be that there is something divine and we haven't realized it?" Following Tiefland, Callas sang the role of Santuzza in Cavalleria rusticana again and followed it with O Protomastoras at the ancient Odeon of Herodes Atticus theatre at the foot of the Acropolis.

During August and September 1944, Callas performed the role of Leonore in a Greek language production of Fidelio, again at the Odeon of Herodes Atticus. German critic Friedrich Herzog, who witnessed the performances, declared Leonore Callas's "greatest triumph":

When Maria Kaloyeropoulou's Leonore let her soprano soar out radiantly in the untrammelled jubilation of the duet, she rose to the most sublime heights.... Here she gave bud, blossom and fruit to that harmony of sound that also ennobled the art of the prima donne.

After the liberation of Greece, de Hidalgo advised Callas to establish herself in Italy. Callas proceeded to give a series of concerts around Greece, and then, against her teacher's advice, she returned to America to see her father and to further pursue her career. When she left Greece on September 14, 1945, two months short of her 22nd birthday, Callas had given 56 performances in seven operas and had appeared in around 20 recitals. Callas considered her Greek career as the foundation of her musical and dramatic upbringing, saying, "When I got to the big career, there were no surprises for me."

Main operatic career

After returning to the United States and reuniting with her father in September 1945, Callas made the round of auditions. In December of that year, she auditioned for Edward Johnson, general manager of the Metropolitan Opera, and was favourably received: "Exceptional voice—ought to be heard very soon on stage". Callas maintained that the Met offered her Madama Butterfly and Fidelio, to be performed in Philadelphia and sung in English, both of which she declined, feeling she was too fat for Butterfly and did not like the idea of opera in English. Although no written evidence of this offer exists in the Met's records, in a 1958 interview with The New York Post, Johnson corroborated Callas's story: "We offered her a contract, but she didn't like it—because of the contract, not because of the roles. She was right in turning it down—it was frankly a beginner's contract."

Italy, Meneghini, and Serafin

In 1946, Callas was engaged to re-open the opera house in Chicago as Turandot, but the company folded before opening. Basso Nicola Rossi-Lemeni, who also was to star in this opera, was aware that Tullio Serafin was looking for a dramatic soprano to cast as La Gioconda at the Arena di Verona. He would later recall the young Callas as being "amazing—so strong physically and spiritually; so certain of her future. I knew in a big outdoor theatre like Verona's, this girl, with her courage and huge voice, would make a tremendous impact." Subsequently he recommended Callas to retired tenor and impresario Giovanni Zenatello. During her audition, Zenatello became so excited that he jumped up and joined Callas in the Act 4 duet. It was in this role that Callas made her Italian debut.

Upon her arrival in Verona, Callas met Giovanni Battista Meneghini, an older, wealthy industrialist, who began courting her. They married in 1949, and he assumed control of her career until 1959, when the marriage dissolved. It was Meneghini's love and support that gave Callas the time needed to establish herself in Italy, and throughout the prime of her career, she went by the name Maria Meneghini Callas.

After La Gioconda, Callas had no further offers, and when Serafin, looking for someone to sing Isolde, called on her, she told him that she already knew the score, even though she had looked at only the first act out of curiosity while at the conservatory. She sight-read the opera's second act for Serafin, who praised her for knowing the role so well, whereupon she admitted to having bluffed and having sight-read the music. Even more impressed, Serafin immediately cast her in the role. Serafin thereafter served as Callas's mentor and supporter.

According to Lord Harewood, "Very few Italian conductors have had a more distinguished career than Tullio Serafin, and perhaps none, apart from Toscanini, more influence". In 1968, Callas would recall that working with Serafin was the "really lucky" opportunity of her career, because "he taught me that there must be an expression; that there must be a justification. He taught me the depth of music, the justification of music. That's where I really really drank all I could from this man".

I puritani and path to bel canto

The great turning point in Callas's career occurred in Venice in 1949. She was engaged to sing the role of Brünnhilde in Die Walküre at the Teatro la Fenice, when Margherita Carosio, who was engaged to sing Elvira in I puritani in the same theatre, fell ill. Unable to find a replacement for Carosio, Maestro Serafin told Callas that she would be singing Elvira in six days; when Callas protested that she not only did not know the role, but also had three more Brünnhildes to sing, he told her "I guarantee that you can." In Michael Scott's words, "the notion of any one singer embracing music as divergent in its vocal demands as Wagner's Brünnhilde and Bellini's Elvira in the same career would have been cause enough for surprise; but to attempt to essay them both in the same season seemed like folie de grandeur". Before the performance actually took place, one incredulous critic would snort, "We hear that Serafin has agreed to conduct I puritani with a dramatic soprano... When can we expect a new edition of La traviata with [baritone] Gino Bechi's Violetta?" After the performance, critics would write, "Even the most sceptical had to acknowledge the miracle that Maria Callas accomplished... the flexibility of her limpid, beautifully poised voice, and her splendid high notes. Her interpretation also has a humanity, warmth and expressiveness that one would search for in vain in the fragile, pellucid coldness of other Elviras." Franco Zeffirelli recalled, "What she did in Venice was really incredible. You need to be familiar with opera to realize the enormity of her achievement. It was as if someone asked Birgit Nilsson, who is famous for her great Wagnerian voice, to substitute overnight for Beverly Sills, who is one of the great coloratura sopranos of our time."

Scott asserts that "Of all the many roles Callas undertook, it is doubtful if any had a more far-reaching effect." This initial foray into the bel canto repertoire changed the course of Callas's career and set her on a path leading to Lucia di Lammermoor, La traviata, Armida, La sonnambula, Il pirata, Il turco in Italia, Medea and Anna Bolena, and reawakened interest in the long-neglected operas of Cherubini, Bellini, Donizetti and Rossini. In the words of soprano Montserrat Caballé,

She opened a new door for us, for all the singers in the world, a door that had been closed. Behind it was sleeping not only great music but great idea of interpretation. She has given us the chance, those who follow her, to do things that were hardly possible before her. That I am compared with Callas is something I never dared to dream. It is not right. I am much smaller than Callas.

As with I puritani, Callas also learned and performed Cherubini's Medea, Giordano's Andrea Chénier and Rossini's Armida on a few days' notice. Throughout her career, Callas displayed her vocal versatility in recitals that pitched dramatic soprano arias alongside coloratura pieces, including in a 1952 RAI recital in which she opened with Lady Macbeth's "letter scene", followed by the "Mad Scene" from Lucia di Lammermoor, then Abigaile's treacherous recitative and aria from Nabucco, finishing with the "Bell Song" from Lakmé capped by a ringing high E in alt (E6).

Important debuts

Although by 1951 Callas had sung at all the major theatres in Italy, she had not yet made her official debut at Italy's most prestigious opera house, Teatro alla Scala in Milan. According to composer Gian-Carlo Menotti, Callas had substituted for Renata Tebaldi in the role of Aida in 1950, and La Scala's general manager, Antonio Ghiringhelli, had taken an immediate dislike to Callas. Menotti recalls that Ghiringhelli had promised him any singer he wanted for the premiere of The Consul, but when he suggested Callas, Ghiringhelli said that he would never have Callas at La Scala except as a guest artist. However, as Callas's fame grew, and especially after her great success in I vespri siciliani in Florence, Ghiringhelli had to relent: Callas made her official debut at La Scala in Verdi's I vespri siciliani on opening night in December 1951, and this theatre became her artistic home throughout the 1950s. La Scala mounted many new productions specially for Callas by directors such as Herbert von Karajan, Margherita Wallmann, Franco Zeffirelli and, most importantly, Luchino Visconti. Visconti stated later that he began directing opera only because of Callas, and he directed her in lavish new productions of La vestale, La traviata, La sonnambula, Anna Bolena and Iphigénie en Tauride. Callas was notably instrumental in arranging Franco Corelli's debut at La Scala in 1954, where he sang Licinio in Spontini's La vestale opposite Callas's Julia. The two had sung together for the first time the year previously in Rome in a production of Norma. Anthony Tommasini wrote that Corelli had "earned great respect from the fearsomely demanding Callas, who, in Mr Corelli, finally had someone with whom she could act." The two collaborated several more times at La Scala, singing opposite each other in productions of Fedora (1956), Il pirata (1958) and Poliuto (1960). Their partnership continued throughout the rest of Callas's career.

Callas made her American debut in Chicago in 1954, and "with the Callas Norma, Lyric Opera of Chicago was born." Her Metropolitan Opera debut, opening the Met's seventy-second season on October 29, 1956, was again with Norma, but was preceded with an unflattering cover story in Time magazine, which rehashed all of the Callas clichés, including her temper, her supposed rivalry with Renata Tebaldi and especially her difficult relationship with her mother. As she had done with Lyric Opera of Chicago, on November 21, 1957, Callas gave a concert to inaugurate what then was billed as the Dallas Civic Opera, and helped establish that company with her friends from Chicago, Lawrence Kelly and Maestro Nicola Rescigno. She further consolidated this company's standing when, in 1958, she gave "a towering performance as Violetta in La Traviata, and that same year, in her only American performances of Medea, gave an interpretation of the title role worthy of Euripides."

In 1958 a feud with Rudolf Bing led to Callas's Metropolitan Opera contract being cancelled. Impresario Allen Oxenburg realised that this situation provided him with an opportunity to hire Callas for his own company, the American Opera Society, and he accordingly approached Callas with a contract to perform Imogene in Il pirata. She accepted and sang the role in a January 1959 performance that according to opera critic Allan Kozinn "quickly became legendary in operatic circles". Bing and Callas later reconciled their differences and she returned to the house in 1965 to sing the title role in two performances as Tosca opposite Franco Corelli as Cavaradossi for one performance (March 19, 1965) and Richard Tucker (March 25, 1965) with Tito Gobbi as Scarpia for her final performances at the Met.

In 1952, she made her London debut at the Royal Opera House in Norma with veteran mezzo soprano Ebe Stignani as Adalgisa, a performance which survives on record and also features the young Joan Sutherland in the small role of Clotilde. Callas and the London public had what she herself called "a love affair", and she returned to the Royal Opera House in 1953, 1957, 1958, 1959, and 1964 to 1965. It was at the Royal Opera House where, on July 5, 1965, Callas ended her stage career in the role of Tosca, in a production designed and mounted for her by Franco Zeffirelli and featuring her friend and colleague Tito Gobbi.

Weight loss

In the early years of her career, Callas was a heavy and full-figured woman; in her own words, " Heavy—one can say—yes I was; but I'm also a tall woman, 5' 8½" [174 centimeters], and I used to weigh no more than 200 pounds [91 kilograms]." Tito Gobbi relates that during a lunch break while recording Lucia in Florence, Serafin commented to Callas that she was eating too much and allowing her weight to become a problem. When she protested that she wasn't so heavy, Gobbi suggested she should "put the matter to test" by stepping on the weighing machine outside the restaurant. The result was "somewhat dismaying, and she became rather silent." In 1968, Callas told Edward Downes that during her initial performances in Cherubini's Medea in May 1953, she realized that she needed a leaner face and figure to do dramatic justice to this as well as the other roles she was undertaking. She adds,

I was getting so heavy that even my vocalizing was getting heavy. I was tiring myself, I was perspiring too much, and I was really working too hard. And I wasn't really well, as in health; I couldn't move freely. And then I was tired of playing a game, for instance playing this beautiful young woman, and I was heavy and uncomfortable to move around. In any case, it was uncomfortable and I didn't like it. So I felt now if I'm going to do things right—I've studied all my life to put things right musically, so why don't I diet and put myself into a certain condition where I'm presentable.

During 1953 and early 1954, she lost almost 80 pounds (36 kg), turning herself into what Maestro Rescigno called "possibly the most beautiful lady on the stage". Sir Rudolf Bing, who remembered Callas as being "monstrously fat" in 1951, stated that after the weight loss, Callas was an "astonishing, svelte, striking woman" who "showed none of the signs one usually finds in a fat woman who has lost weight: she looked as though she had been born to that slender and graceful figure, and had always moved with that elegance." Various rumours spread regarding her weight loss method; one had her swallowing a tapeworm, while Rome's Pantanella Mills pasta company claimed she lost weight by eating their "physiologic pasta", prompting Callas to file a lawsuit. Callas stated that she lost the weight by eating a sensible low-calorie diet of mainly salads and chicken.

Some believe that the loss of body mass made it more difficult for her to support her voice, triggering the vocal strain that became apparent later in the decade (see vocal decline), while others believed the weight loss effected a newfound softness and femininity in her voice, as well as a greater confidence as a person and performer. Tito Gobbi said, "Now she was not only supremely gifted both musically and dramatically—she was a beauty too. And her awareness of this invested with fresh magic every role she undertook. What it eventually did to her vocal and nervous stamina I am not prepared to say. I only assert that she blossomed into an artist unique in her generation and outstanding in the whole range of vocal history." Walter Legge stated that Callas possessed that most essential ingredient for a great singer: an instantly recognizable voice. During "The Callas Debate", Italian critic Rodolfo Celletti stated, "The timbre of Callas's voice, considered purely as sound, was essentially ugly: it was a thin sound, which gave the impression of dryness, of aridity. It lacked those elements which, in a singer's jargon, are described as velvet and varnish... yet I really believe that part of her appeal was precisely due to this fact. Why? Because for all its natural lack of varnish, velvet and richness, this voice could acquire such distinctive colours and timbres as to be unforgettable." However, in his review of Callas's 1951 live recording of I vespri siciliani, Ira Siff writes, "Accepted wisdom tells us that Callas possessed, even early on, a flawed voice, unattractive by conventional standards — an instrument that signaled from the beginning vocal problems to come. Yet listen to her entrance in this performance and one encounters a rich, spinning sound, ravishing by any standard, capable of delicate dynamic nuance. High notes are free of wobble, chest tones unforced, and the middle register displays none of the "bottled" quality that became more and more pronounced as Callas matured."

Nicola Rossi-Lemeni relates that Callas's mentor Tullio Serafin used to refer to her as "Una grande vociaccia"; he continues, "Vociaccia is a little bit pejorative—it means an ugly voice—but grande means a big voice, a great voice. A great ugly voice, in a way." Callas herself did not like the sound of her own voice; in one of her last interviews, answering whether or not she was able to listen to her own voice, she replies,

Yes, but I don't like it. I have to do it, but I don't like it at all because I don't like the kind of voice I have. I really hate listening to myself! The first time I listened to a recording of my singing was when we were recording San Giovanni Battista by Stradella in a church in Perugia in 1949. They made me listen to the tape and I cried my eyes out. I wanted to stop everything, to give up singing... Also now even though I don't like my voice, I've become able to accept it and to be detached and objective about it so I can say, "Oh, that was really well sung," or "It was nearly perfect."

Maestro Carlo Maria Giulini has described the appeal of Callas's voice:

It is very difficult to speak of the voice of Callas. Her voice was a very special instrument. Something happens sometimes with string instruments—violin, viola, cello—where the first moment you listen to the sound of this instrument, the first feeling is a bit strange sometimes. But after just a few minutes, when you get used to, when you become friends with this kind of sound, then the sound becomes a magical quality. This was Callas.

Vocal category

Callas's voice has been difficult to place in the modern vocal classification or fach system, especially since in her prime, her repertoire contained the heaviest dramatic soprano roles as well as roles usually undertaken by the highest, lightest and most agile coloratura sopranos. Regarding this versatility, Maestro Tullio Serafin said, "This woman can sing anything written for the female voice". Michael Scott argues that Callas's voice was a natural high soprano, and going by evidence of Callas's early recordings, Rosa Ponselle likewise felt that "At that stage of its development, her voice was a pure but sizable dramatic coloratura––that is to say, a sizable coloratura voice with dramatic capabilities, not the other way around." On the other hand, music critic John Ardoin has argued that Callas was the reincarnation of the nineteenth century soprano sfogato or "unlimited soprano", a throwback to Maria Malibran and Giuditta Pasta, for whom many of the famous bel canto operas were written. He avers that like Pasta and Malibran, Callas was a natural mezzo-soprano whose range was extended through training and willpower, resulting in a voice which "lacked the homogeneous color and evenness of scale once so prized in singing. There were unruly sections of their voices never fully under control. Many who heard Pasta, for example, remarked that her uppermost notes seemed produced by ventriloquism, a charge which would later be made against Callas". Ardoin points to the writings of Henry Fothergill Chorley about Pasta which bear an uncanny resemblance to descriptions of Callas:

"There was a portion of the scale which differed from the rest in quality and remained to the last 'under a veil.' ...out of these uncouth materials she had to compose her instrument and then to give it flexibility. Her studies to acquire execution must have been tremendous; but the volubility and brilliancy, when acquired, gained a character of their own... There were a breadth, an expressiveness in her roulades, an evenness and solidity in her shake, which imparted to every passage a significance totally beyond the reach of lighter and more spontaneous singers... The best of her audience were held in thrall, without being able to analyze what made up the spell, what produced the effect--as soon as she opened her lips".

Callas herself appears to have been in agreement not only with Ardoin's assertions that she started as a natural mezzo-soprano, but also saw the similarities between herself and Pasta and Malibran. In 1957, she described her early voice as: "The timbre was dark, almost black—when I think of it, I think of thick molasses", and in 1968 she added, "They say I was not a true soprano, I was rather toward a mezzo". Regarding her ability to sing the heaviest as well as the lightest roles, she told James Fleetwood,

"It's study; it's Nature. I’m doing nothing special, you know. Even Lucia, Anna Bolena, Puritani, all these operas were created for one type of soprano, the type that sang Norma, Fidelio, which was Malibran of course. And a funny coincidence last year, I was singing Anna Bolena and Sonnambula, same months and the same distance of time as Giuditta Pasta had sung in the Nineteenth Century... So I’m really not doing anything extraordinary. You wouldn’t ask a pianist not to be able to play everything; he has to. This is Nature and also because I had a wonderful teacher, the old kind of teaching methods... I was a very heavy voice, that is my nature, a dark voice shall we call it, and I was always kept on the light side. She always trained me to keep my voice limber".

Vocal size and range

Regarding the sheer size of Callas's instrument, Celletti says, "Her voice was penetrating. The volume as such was average: neither small nor powerful. But the penetration, allied to this incisive quality (which bordered on the ugly because it frequently contained an element of harshness) ensured that her voice could be clearly heard anywhere in the auditorium." Yet, paradoxically enough, in "Le Grande voci", Celletti states that Callas had not a mere penetrating voice but "a voluminous, resonant and dark" one ("una voce voluminosa, squillante e di timbro scuro"). After her first performance of Medea in 1953, the critic for Musical Courier would write, "she displayed a vocal generosity that was scarecely believable for its amplitude and resilience.". In a 1982 Opera News interview with Joan Sutherland and Richard Bonynge, Bonynge stated, "But before she slimmed down, I mean this was such a colossal voice. It just poured out of her, the way Flagstad's did... Callas had a huge voice. When she and Stignani sang Norma, at the bottom of the range you could barely tell who was who... Oh it was colossal. And she took the big sound right up to the top." In his book, Michael Scott makes the distinction that whereas Callas's pre-1954 voice was a "dramatic soprano with an exceptional top", after the weight loss, it became, as one Chicago critic described the voice in Lucia, a "huge soprano leggiero".

In performance, Callas's range was just short of three octaves, from F-sharp (F3) below middle C (C4) heard in "Arrigo! Ah parli a un core" from I vespri siciliani to E-natural (E6) above high C (C6), heard in the aria "Mercè, dilette amiche" in the final act of the same opera, as well as in Rossini's Armida and Lakmés Bell Song. Whether or not Callas ever sang a high F-natural in performance has been open to debate. After her June 11, 1951 concert in Florence, Rock Ferris of Musical Courier said, "Her high E's and F's are taken full voice." Although no definite recording of Callas singing high F's have surfaced, the presumed E-natural at the end of Rossini's Armida—a poor-quality bootleg recording of uncertain pitch—has been referred to as a high F by Italian musicologists and critics Eugenio Gara and Rodolfo Celletti. Callas expert Dr. Robert Seletsky, however, stated that since the finale of Armida is in the key of E, the final note could not have been an F, as it would have been dissonant. Author Eve Ruggieri has referred to the penultimate note in "Mercè, dilette amiche" from the 1951 Florence performances of I vespri siciliani as a high F; however, this claim is refuted by John Ardoin's review of the live recording of the performance as well as by the review of the recording in Opera News, both of which refer to the note as a high E-natural. In a 1969 French television interview with Pierre Desgraupes on the program L'invitée du dimanche, maestro Francesco Siciliani speaks of Callas's voice going to a high F, but within the same program, Callas's teacher, Elvira de Hidalgo, speaks of the voice soaring to a high E-natural, but does not mention a high F; meanwhile, Callas herself remains silent on the subject, neither agreeing nor disagreeing with either claim.

Vocal registers

Callas's voice was noted for its three distinct registers: Her low or chest register was extremely dark and almost baritonal in power, and she used this part of her voice for dramatic effect, often going into this register much higher on the scale than most sopranos. Her middle register had a peculiar and highly personal sound—"part oboe, part clarinet", as Claudia Cassidy described it—and was noted for its veiled or "bottled" sound, as if she were singing into a jug. Walter Legge attributed this sound to the "extraordinary formation of her upper palate, shaped like a Gothic arch, not the Romanesque arch of the normal mouth". The upper register was ample and bright, with an impressive extension above high C, which—in contrast to the light flute-like sound of the typical coloratura, "she would attack these notes with more vehemence and power—quite differently therefore, from the very delicate, cautious, 'white' approach of the light sopranos." Legge adds, "Even in the most difficult fioriture there were no musical or technical difficulties in this part of the voice which she could not execute with astonishing, unostentatious ease. Her chromatic runs, particularly downwards, were beautifully smooth and staccatos almost unfailingly accurate, even in the trickiest intervals. There is hardly a bar in the whole range of nineteenth century music for high soprano that seriously tested her powers." And as she demonstrated in the finale of La sonnambula on the commercial EMI set and the live recording from Cologne, she was able to execute a diminuendo on the stratospheric high E-flat, which Scott describes as "a feat unrivaled in the history of the gramophone."

Regarding Callas's soft singing, Celletti says, "In these soft passages, Callas seemed to use another voice altogether, because it acquired a great sweetness. Whether in her florid singing or in her canto spianato, that is, in long held notes without ornamentation, her mezza-voce could achieve such moving sweetness that the sound seemed to come from on high. . . I don't know, it seemed to come from the skylight of La Scala."

This combination of size, weight, range and agility was a source of amazement to Callas's own contemporaries. One of the choristers present at her La Scala debut in I vespri siciliani recalled, "My God! She came on stage sounding like our deepest contralto, Cloe Elmo. And before the evening was over, she took a high E-flat. And it was twice as strong as Toti Dal Monte's!" In the same vein, mezzo-soprano Giulietta Simionato said: "The first time we sang together was in Mexico in 1950, where she sang the top E-flat in the second-act finale of Aida. I can still remember the effect of that note in the opera house—it was like a star!" For Italian soprano Renata Tebaldi, "the most fantastic thing was the possibility for her to sing the soprano coloratura with this big voice! This was something really special. Fantastic absolutely!"

Callas's vocal registers, however, were not seamlessly joined; Walter Legge writes, "Unfortunately, it was only in quick music, particularly descending scales, that she completely mastered the art of joining the three almost incompatible voices into one unified whole, but until about 1960, she disguised those audible gear changes with cunning skill." Rodolfo Celletti states,

In certain areas of her range her voice also possessed a guttural quality. This would occur in the most delicate and troublesome areas of a soprano's voice—for instance where the lower and middle registers merge, between G and A. I would go so far as to say that here her voice had such resonances as to make one think at times of a ventriloquist. . .or else the voice could sound as though it were resonating in a rubber tube. There was another troublesome spot. . . between the middle and upper registers. Here, too, around the treble F and G, there was often something in the sound itself which was not quite right, as though the voice were not functioning properly.

As to whether these troublesome spots were due to the nature of the voice itself or to technical deficiencies, Celletti says: "Even if, when passing from one register to another, Callas produced an unpleasant sound, the technique she used for these transitions was perfect." Musicologist and critic Fedele D'Amico adds, "Callas's 'faults' were in the voice and not in the singer; they are so to speak, faults of departure but not of arrival. This is precisely Celletti's distinction between the natural quality of the voice and the technique." In 2005, Ewa Podles said of Callas, "Maybe she had three voices, maybe she had three ranges, I don’t know — I am professional singer. Nothing disturbed me, nothing! I bought everything that she offered me. Why? Because all of her voices, her registers, she used how they should be used — just to tell us something!"

Eugenio Gara states, "Much has been said about her voice, and no doubt the discussion will continue. Certainly no one could in honesty deny the harsh or "squashed" sounds, nor the wobble on the very high notes. These and others were precisely the accusations made at the time against Pasta and Malibran, two geniuses of song (as they were then called), sublime, yet imperfect. Both were brought to trial in their day. . . Yet few singers have made history in the annals of opera as these two did."

Artistry

Callas's own thoughts regarding music and singing can be found at Wikiquote.

The musician

Though adored by many opera enthusiasts, Callas was a controversial artist. While Callas was the great singer often dismissed simply as an actress she considered herself first and foremost "a musician, that is, the first instrument of the orchestra." Grace Bumbry states, "If I followed the musical score when she was singing, I would see every tempo marking, every dynamic marking, everything being adhered to, and at the same time, it was not antiseptic; it was something that was very beautiful and moving." Maestro Victor de Sabata confided to Walter Legge, "If the public could understand, as we do, how deeply and utterly musical Callas is, they would be stunned", and Maestro Tullio Serafin assessed Callas's musicality as "extraordinary, almost frightening." Callas possessed an innate architectural sense of line-proportion and an uncanny feel for timing and for what one of her colleagues described as "a sense of the rhythm within the rhythm".

Regarding Callas's technical prowess, Celletti says, "We must not forget that she could tackle the whole gamut of ornamentation: staccato, trills, half-trills, gruppetti, scales, etc." D'Amico adds, "The essential virtue of Callas's technique consists of supreme mastery of an extraordinarily rich range of tone colour (that is, the fusion of dynamic range and timbre). And such mastery means total freedom of choice in its use: not being a slave to one's abilities, but rather, being able to use them at will as a means to an end." While reviewing the many recorded versions of "perhaps Verdi's ultimate challenge", the aria "D'amor sull'ali rosee" from Il Trovatore, Richard Dyer writes,

"Callas articulates all of the trills, and she binds them into the line more expressively than anyone else; they are not an ornament but a form of intensification. Part of the wonder in this performance is the chiaroscuro through her tone -- the other side of not singing full-out all the way through. One of the vocal devices that create that chiaroscuro is a varying rate of vibrato; another is her portamento, the way she connects the voice from note to note, phrase to phrase, lifting and gliding. This is never a sloppy swoop, because its intention is as musically precise as it is in great string playing. In this aria, Callas uses more portamento, and in greater variety, than any other singer. . . Callas is not creating "effects", as even her greatest rivals do. She sees the aria as a whole, "as if in an aerial view", as Sviatoslav Richter's teacher observed of his most famous pupil; simultaneously, she is on earth, standing in the courtyard of the palace of Aliaferia, floating her voice to the tower where her lover lies imprisoned."

In addition to her musical skills, Callas had a particular gift for language and the use of language in music. In recitatives, she always knew which word to emphasize and which syllable in that word to bring out. Michael Scott notes, "If we listen attentively, we note how her perfect legato enables her to suggest by musical means even the exclamation marks and commas of the text." Technically, not only did she have the capacity to perform the most difficult florid music effortlessly, but also she had the ability to use each ornament as an expressive device rather than for mere fireworks. Soprano Martina Arroyo states, "What interested me most was how she gave the runs and the cadenzas words. That always floored me. I always felt I heard her saying something – it was never just singing notes. That alone is an art." Walter Legge states that,

Most admirable of all her qualities, however, were her taste, elegance and deeply musical use of ornamentation in all its forms and complications, the weighting and length of every appoggiatura, the smooth incorporation of the turn in melodic lines, the accuracy and pacing of her trills, the seemingly inevitable timing of her portamentos, varying their curve with enchanting grace and meaning. There were innumerable exquisite felicities – minuscule portamentos from one note to its nearest neighbor, or over widespread intervals – and changes of color that were pure magic. In these aspects of bel canto she was supreme mistress of that art.

The actress

Regarding Callas's acting ability, vocal coach Ira Siff remarked, "When I saw the final two Toscas she did in the old [Met], I felt like I was watching the actual story on which the opera had later been based." Callas was not, however, a realistic or verismo style actress: her physical acting was merely "subsidiary to the heavy Kunst of developing the psychology of the roles under the supervision of the music, of singing the acting... Suffering, delight, humility, hubris, despair, rhapsody—all this was musically appointed, through her use of the voice flying the text upon the notes." Seconding this opinion, verismo specialist soprano Augusta Oltrabella said, "Despite what everyone says, [Callas] was an actress in the expression of the music, and not vice versa." Mathew Gurewitsch adds,

In fact the essence of her art was refinement. The term seems odd for a performer whose imagination and means of expression were so prodigious. She was eminently capable of the grand gesture; still, judging strictly from the evidence of her recordings, we know (and her few existing film clips confirm) that her power flowed not from excess but from unbroken concentration, unfaltering truth in the moment. It flowed also from irreproachable musicianship. People say that Callas would not hesitate to distort a vocal line for dramatic effect. In the throes of operatic passion plenty of singers snarl, growl, whine, and shriek. Callas was not one of them. She found all she needed in the notes.

Ewa Podles likewise stated that "It's enough to hear her, I’m positive! Because she could say everything only with her voice! I can imagine everything, I can see everything in front of my eye." Opera director Sandro Sequi, who witnessed many Callas performances close-up, states, "For me, she was extremely stylized and classic, yet at the same time, human—but humanity on a higher plane of existence, almost sublime. Realism was foreign to her, and that is why she was the greatest of opera singers. After all, opera is the least realistic of theater forms... She was wasted in verismo roles, even Tosca, no matter how brilliantly she could act such roles." Scott adds, "Early nineteenth-century opera... is not merely the antithesis of reality, it also requires highly stylized acting. Callas had the perfect face for it. Her big features matched its grandiloquence and spoke volumes from a distance."

In regard to Callas's physical acting style, Nicola Rescigno states, "Maria had a way of even transforming her body for the exigencies of a role, which is a great triumph. In La traviata, everything would slope down; everything indicated sickness, fatigue, softness. Her arms would move as if they had no bones, like the great ballerinas. In Medea, everything was angular. She’d never make a soft gesture; even the walk she used was like a tiger’s walk." Sandro Sequi recalls, "She was never in a hurry. Everything was very paced, proportioned, classical, precise... She was extremely powerful but extremely stylized. Her gestures were not many... I don't think she did more than 20 gestures in a performance. But she was capable of standing 10 minutes without moving a hand or finger, compelling everyone to look at her." Edward Downes recalled Callas watching and observing her colleagues with such intensity and concentration as to make it seem that the drama was all unfolding in her head. Sir Rudolf Bing similarly recalled that in Il trovatore in Chicago, "it was Callas' quiet listening, rather than Björling's singing that made the dramatic impact... He didn't know what he was singing, but she knew."

Callas herself stated that, in Opera, Acting must be based on the Music, quoting Maestro Tullio Serafin's advice to her:

"When one wants to find a gesture, when you want to find how to act onstage, all you have to do is listen to the music. The composer has already seen to that. If you take the trouble to really listen with your Soul and with your Ears – and I say 'Soul' and 'Ears' because the Mind must work, but not too much also – you will find every gesture there."

The artist

Callas's most distinguishing quality was her ability to breathe life into the characters she portrayed, or in the words of Matthew Gurewitsch, "Most mysterious among her many gifts, Callas had the genius to translate the minute particulars of a life into tone of voice." Italian critic Eugenio Gara adds:

Her secret is in her ability to transfer to the musical plane the suffering of the character she plays, the nostalgic longing for lost happiness, the anxious fluctuation between hope and despair, between pride and supplication, between irony and generosity, which in the end dissolve into a superhuman inner pain. The most diverse and opposite of sentiments, cruel deceptions, ambitious desires, burning tenderness, grievous sacrifices, all the torments of the heart, acquire in her singing that mysterious truth, I would like to say, that psychological sonority, which is the primary attraction of opera.

Ethan Mordden writes, "It was a flawed voice. But then Callas sought to capture in her singing not just beauty but a whole humanity, and within her system, the flaws feed the feeling, the sour plangency and the strident defiance becoming aspects of the canto. They were literally defects of her voice; she bent them into advantages of her singing." Maestro Giulini believes, "If melodrama is the ideal unity of the trilogy of words, music, and action, it is impossible to imagine an artist in whom these three elements were more together than Callas." He recalls that during Callas's performances of La traviata, "reality was onstage. What stood behind me, the audience, auditorium, La Scala itself, seemed artifice. Only that which transpired on stage was truth, life itself." Sir Rudolf Bing expressed similar sentiments:

Once one heard and saw Maria Callas—one can't really distinguish it—in a part, it was very hard to enjoy any other artist, no matter how great, afterwards, because she imbued every part she sang and acted with such incredible personality and life. One move of her hand was more than another artist could do in a whole act.

To Maestro Antonino Votto, Callas was

The last great artist. When you think this woman was nearly blind, and often sang standing a good 150 feet from the podium. But her sensitivity! Even if she could not see, she sensed the music and always came in exactly with my downbeat. When we rehearsed, she was so precise, already note-perfect... She was not just a singer, but a complete artist. It's foolish to discuss her as a voice. She must be viewed totally—as a complex of music, drama, movement. There is no one like her today. She was an esthetic phenomenon.

Callas-Tebaldi controversy

During the early 1950s, controversy arose regarding a supposed rivalry between Callas and Renata Tebaldi, an Italian lyrico spinto soprano renowned for the ravishing beauty of her voice. The contrast between Callas's often unconventional vocal qualities and Tebaldi's classically beautiful sound resurrected an argument as old as opera itself, namely, beauty of sound versus the expressive use of sound.

This "rivalry" reached a fever pitch in the mid-1950s, at times even engulfing the two women themselves, who were said by their more fanatical followers to have engaged in verbal barbs in each other's direction. Tebaldi was quoted as saying, "I have one thing that Callas doesn't have: a heart" while Callas was quoted in Time magazine as saying that comparing her with Tebaldi was like "comparing Champagne with Cognac. No, with Coca Cola." However, witnesses to the interview stated that Callas only said "champagne with cognac", and it was a bystander who quipped, "No, with Coca-Cola", but the Time reporter attributed the latter comment to Callas.

According to John Ardoin, however, these two singers should never have been compared. Tebaldi was trained by Carmen Melis, a noted verismo specialist, and she was rooted in the early 20th century Italian school of singing just as firmly as Callas was rooted in 19th century bel canto. Callas was a dramatic soprano, whereas Tebaldi considered herself essentially a lyric soprano. Callas and Tebaldi generally sang a different repertoire: in the early years of her career, Callas concentrated on the heavy dramatic soprano roles and later in her career on the bel canto repertoire, whereas Tebaldi concentrated on late Verdi and verismo roles, where her limited upper extension and her lack of a florid technique were not issues. They shared a few roles, including Tosca in Puccini's opera and La Gioconda, which Tebaldi performed only late in her career.

The alleged rivalry aside, Callas made remarks appreciative of Tebaldi, and vice versa. During an interview with Norman Ross in Chicago, Callas said, "I admire Tebaldi's tone; it's beautiful—also some beautiful phrasing. Sometimes, I actually wish I had her voice." Francis Robinson of the Met wrote of an incident in which Tebaldi asked him to recommend a recording of La Gioconda in order to help her learn the role. Being fully aware of the alleged rivalry, he recommended Zinka Milanov's version. A few days later, he went to visit Tebaldi, only to find her sitting by the speakers, listening intently to Callas's recording. She then looked up at him and asked, "Why didn't you tell me Maria's was the best?"

Callas visited Tebaldi after a performance of Adriana Lecouvreur at the Met in the late 1960s, and the two were reunited. In 1978, Tebaldi spoke warmly of her late colleague and summarized this rivalry:

This rivality was really building from the people of the newspapers and the fans. But I think it was very good for both of us, because the publicity was so big and it created a very big interest about me and Maria and was very good in the end. But I don’t know why they put this kind of rivality, because the voice was very different. She was really something unusual. And I remember that I was very young artist too, and I stayed near the radio every time that I know that there was something on radio by Maria.

Vocal decline

Several singers have opined that the heavy roles undertaken in her early years damaged Callas's voice. The mezzo-soprano Giulietta Simionato, Callas's close friend and frequent colleague, stated that she told Callas that she felt that the early heavy roles led to a weakness in the diaphragm and subsequent difficulty in controlling the upper register.

Louise Caselotti, who worked with Callas in 1946 and 1947, prior to her Italian debut, felt that it was not the heavy roles that hurt Callas's voice, but the lighter ones. Several singers have suggested that the heavy use of Callas's chest voice led to stridency and unsteadiness with the high notes. In his book, Callas's husband Meneghini wrote that Callas suffered an unusually early onset of menopause, which could have affected her voice. Soprano Carol Neblett once said, "A woman sings with her ovaries – you're only as good as your hormones."

Critic Henry Pleasants has stated that it was a loss of physical strength and breath-support that led to Callas's vocal problems, saying,

Singing, and especially opera singing, requires physical strength. Without it, the singer's respiratory functions can no longer support the steady emissions of breath essential to sustaining the production of focused tone. The breath escapes, but it is no longer the power behind the tone, or is only partially and intermittently . The result is a breathy sound—tolerable but hardly beautiful—when the singer sings lightly, and a voice spread and squally when under pressure.

In the same vein, Joan Sutherland, who heard Callas throughout the 1950s, said in a BBC interview,

[Hearing Callas in Norma in 1952] was a shock, a wonderful shock. You just got shivers up and down the spine. It was a bigger sound in those earlier performances, before she lost weight. I think she tried very hard to recreate the sort of “fatness” of the sound which she had when she was as fat as she was. But when she lost the weight, she couldn’t seem to sustain the great sound that she had made, and the body seemed to be too frail to support that sound that she was making. Oh, but it was oh so exciting. It was thrilling. I don’t think that anyone who heard Callas after 1955 really heard the Callas voice.

Michael Scott has proposed that Callas's loss of strength and breath support was directly caused by her rapid and progressive weight-loss, something that was noted even in her prime. Of her 1958 recital in Chicago, Robert Detmer would write, "There were sounds fearfully uncontrolled, forced beyond the too-slim singer's present capacity to support or sustain."

Photos and videos of Callas during her heavy era show a very upright posture with the shoulders relaxed and held back. On all videos of Callas from the period after her weight loss, "we watch... the constantly sinking, depressed chest and hear the resulting deterioration". This continual change in posture has been cited as visual proof of a progressive loss of breath support.

Commercial and bootleg recordings of Callas from the late 1940s to 1953—the period during which she sang the heaviest dramatic soprano roles—show no decline in the fabric of the voice, no loss in volume and no unsteadiness or shrinkage in the upper register. Of her December 1952 Lady Macbeth—coming after five years of singing the most strenuous dramatic soprano repertoire—Peter Dragadze would write for Opera, "Callas's voice since last season has improved a great deal, the second passagio on the high B-Natural and C has now completely cleared, giving her an equally colored scale from top to bottom." And of her performance of Medea a year later, John Ardoin writes, "The performance displays Callas in as secure and free a voice as she will be found at any point in her career. The many top B's have a brilliant ring, and she handles the treacherous tessitura like an eager thoroughbred."

In recordings from 1954 (immediately after her 80-pound weight loss) and thereafter, "not only would the instrument lose its warmth and become thin and acidulous, but the altitudinous passages would to her no longer come easily." It is also at this time that unsteady top notes first begin to appear. Walter Legge, who produced nearly all of Callas's EMI/Angel recordings, states that Callas "ran into a patch of vocal difficulties as early as 1954": during the recording of La forza del destino, done immediately after the weight loss, the "wobble had become so pronounced" that he told Callas they "would have to give away seasickness pills with every side". When asked whether he felt the weight loss affected Callas's voice, Richard Bonynge stated, "I don't feel it, I know it did. I heard her Norma in 1953, before she lost all that weight, and then again afterward, and the difference was incredible. Even more incredible was that the critics didn't write about it. When Callas was at her best vocally, she was fat, but she got only a quarter of the recognition that she got after she had become thin and was a great star."

There were others, however, who felt that the voice had benefitted from the weight loss. Of her performance of Norma in Chicago in 1954, Claudia Cassidy would write, "there is a slight unsteadiness in some of the sustained upper notes. but to me her voice is more beautiful in color, more even through the range, than it used to be". And at her performance of the same opera in London in 1957 (her first performance at Covent Garden after the weight loss), critics again felt her voice had changed for the better, that it had now supposedly become a more precise instrument, with a new focus. Many of her most critically acclaimed appearances are from the period 1954–1958 (Norma, La Traviata, Sonnambula and Lucia of 1955, Anna Bolena of 1957, Medea of 1958, to name a few).

Callas's close friend and colleague Tito Gobbi thought that her vocal problems all stemmed from her state of mind:

I don’t think anything happened to her voice. I think she only lost confidence. She was at the top of a career that a human being could desire, and she felt enormous responsibility. She was obliged to give her best every night, and maybe she felt she wasn't [able] any more, and she lost confidence. I think this was the beginning of the end of this career.

In support of Gobbi's assertion, a bootleg recording of Callas rehearsing Beethoven's aria "Ah! Perfido" and parts of Verdi's La forza del destino shortly before her death shows her voice to be in much better shape than much of her 1960s recordings and far healthier than the 1970s concerts with Giuseppe Di Stefano.

Soprano Renée Fleming has stated that videos of Callas in the late 1950s and early 1960s reveal a posture that betrays breath-support problems:

I have a theory about what caused her vocal decline, but it's more from watching her sing than from listening. I really think it was her weight loss that was so dramatic and so quick. It's not the weight loss per se... But if one uses the weight for support, and then it's suddenly gone and one doesn't develop another musculature for support, it can be very hard on the voice. And you can't estimate the toll that emotional turmoil will take as well. I was told, by somebody who knew her well, that the way Callas held her arms to her solar plexus [allowed her] to push and create some kind of support. If she were a soubrette, it would never have been an issue. But she was singing the most difficult repertoire, the stuff that requires the most stamina, the most strength.

Dramatic soprano Deborah Voigt, who lost 135 pounds after gastric bypass surgery, expressed similar thoughts concerning her own voice and body:

Much of what I did with my weight was very natural, vocally. Now I've got a different body—there's not as much of me around. My diaphragm function, the way my throat feels, is not compromised in any way. But I do have to think about it more now. I have to remind myself to keep my ribs open. I have to remind myself, if my breath starts to stack. When I took a breath before, the weight would kick in and give it that extra Whhoomf! Now it doesn't do that. If I don’t remember to get rid of the old air and re-engage the muscles, the breath starts stacking, and that's when you can't get your phrase, you crack high notes.

Callas herself attributed her problems to a loss of confidence brought about by a loss of breath support, even though she does not make the connection between her weight and her breath support. In an April 1977 interview with journalist Philippe Caloni, she stated,

"My best recordings were made when I was skinny, and I say skinny, not slim, because I worked a lot and couldn't gain weight back; I became even too skinny. . . I had my greatest successes--Lucia, Sonnambula, Medea, Anna Bolena--when I was skinny as a nail. Even for my first time here in Paris in 1958 when the show was broadcast through Eurovision, I was skinny. Really skinny."

And shortly before her death, Callas confided her own thoughts on her vocal problems to Peter Dragadze:

I never lost my voice, but I lost strength in my diaphragm. ... Because of those organic complaints, I lost my courage and boldness. My vocal cords were and still are in excellent condition, but my 'sound boxes' have not been working well even though I have been to all the doctors. The result was that I overstrained my voice, and that caused it to wobble. (Gente, October 1, 1977)

Whether Callas's vocal decline was due to ill health, early menopause, over-use and abuse of her voice, loss of breath-support, loss of confidence, or weight loss will continue to be debated. Whatever the cause may have been, her singing career was effectively over by age 40, and even at the time of her death at age 53, according to Walter Legge, "she ought still to have been singing magnificently".

Scandals and later career

The latter half of Callas's career was marked by a number of scandals. During performances of Madama Butterfly in Chicago, Callas was confronted by a process server who handed her papers about a lawsuit brought by Eddy Bagarozy, who claimed he was her agent. Callas was photographed with her mouth turned in a furious snarl. The photo was sent around the world and gave rise to the myth of Callas as a temperamental prima donna and a "Tigress". In 1956, just before her debut at the Metropolitan Opera, Time ran a damaging cover story about Callas, with special attention paid to her difficult relationship with her mother and some unpleasant exchanges between the two.

In 1957, Callas was starring as Amina in La sonnambula at the Edinburgh International Festival with the forces of La Scala. Her contract was for four performances, but due to the great success of the series, La Scala decided to put on a fifth performance. Callas told the La Scala officials that she was physically exhausted and that she had already committed to a previous engagement, a party thrown for her by her friend Elsa Maxwell in Venice. Despite this, La Scala announced a fifth performance, with Callas billed as Amina. Callas refused to stay and went on to Venice. Despite the fact that she had fulfilled her contract, she was accused of walking out on La Scala and the festival. La Scala officials did not defend Callas or inform the press that the additional performance was not approved by Callas. Renata Scotto took over the part, which was the start of her international career.

In January 1958, Callas was to open the Rome Opera House season with Norma, with Italy's president in attendance. The day before the opening night, Callas alerted the management that she was not well and that they should have a standby ready. She was told "No one can double Callas". After being treated by doctors, she felt better on the day of performance and decided to go ahead with the opera. A survived bootleg recording of the first act reveals Callas sounding ill. Feeling that her voice was slipping away, she felt that she could not complete the performance, and consequently, she cancelled after the first act. She was accused of walking out on the president of Italy in a fit of temperament, and pandemonium broke out. Press coverage aggravated the situation. A newsreel included file footage of Callas from 1955 sounding well, intimating the footage was of rehearsals for the Rome Norma, with the voiceover narration, "Here she is in rehearsal, sounding perfectly healthy", followed by "If you want to hear Callas, don't get all dressed up. Just go to a rehearsal; she usually stays to the end of those." The scandal became notorious as the "Rome Walkout". Callas brought a lawsuit against the Rome Opera House, but by the time the case was settled thirteen years later and the Rome Opera was found to be at fault for having refused to provide an understudy, Callas's career was already over.

Callas's relationship with La Scala had also started to become strained after the Edinburgh incident, and this effectively severed her major ties with her artistic home. Later in 1958, Callas and Rudolf Bing were in discussion about her season at the Met. She was scheduled to perform in Verdi's La traviata and in Macbeth, two very different operas which almost require totally different singers. Callas and the Met could not reach an agreement, and before the opening of Medea in Dallas, Bing sent a telegram to Callas terminating her contract. Headlines of "Bing Fires Callas" appeared in newspapers around the world. Maestro Nicola Rescigno later recalled, "That night, she came to the theater, looking like an empress: she wore an ermine thing that draped to the floor, and she had every piece of jewellery she ever owned. And she said, 'You all know what's happened. Tonight, for me, is a very difficult night, and I will need the help of every one of you.' Well, she proceeded to give a performance [of Medea] that was historical."

Bing would later say that Callas was the most difficult artist he ever worked with, "because she was so much more intelligent. Other artists, you could get around. But Callas you could not get around. She knew exactly what she wanted, and why she wanted it." Despite this, Bing's admiration for Callas never wavered, and in September 1959, he sneaked into La Scala in order to listen to Callas record La Gioconda for EMI. Callas and Bing reconciled in the mid 1960s, and Callas returned to the Met for two performances of Tosca with her friend Tito Gobbi.

In her final years as a singer, she sang in Medea, Norma, and Tosca, most notably her Paris, New York, and London Toscas of January–February 1964, and her last performance on stage, on July 5, 1965, at Covent Garden. A television film of Act 2 of the Covent Garden Tosca of 1964 was broadcast in Britain on February 9, 1964, giving a rare view of Callas in performance and, specifically, of her on-stage collaboration with Tito Gobbi.

In 1969, the Italian filmmaker Pier Paolo Pasolini cast Callas in her only non-operatic acting role, as the Greek mythological character of Medea, in his film by that name. The production was grueling, and according to the account in Ardoin's Callas, the Art and the Life, Callas is said to have fainted after a day of strenuous running back and forth on a mudflat in the sun. The film was not a commercial success, but as Callas's only film appearance, it documents her stage presence.

From October 1971 to March 1972, Callas gave a series of master classes at the Juilliard School in New York. These classes later formed the basis of Terrence McNally's 1995 play Master Class. Callas staged a series of joint recitals in Europe in 1973 and in the U.S., South Korea, and Japan in 1974 with the tenor Giuseppe Di Stefano. Critically, this was a musical disaster owing to both performers' worn-out voices. However, the tour was an enormous popular success. Audiences thronged to hear the two performers, who had so often appeared together in their prime. Her final public performance was on November 11, 1974, in Sapporo, Japan.

Onassis and the final years

In 1957, while still married to husband Giovanni Battista Meneghini, Callas was introduced to Greek shipping magnate Aristotle Onassis at a party given in her honour by Elsa Maxwell after a performance in Donizetti's Anna Bolena. The affair that followed received much publicity in the popular press, and in November 1959, Callas left her husband. Michael Scott asserts that Onassis was not why Callas largely abandoned her career, but that he offered her a way out of a career that was made increasingly difficult by scandals and by vocal resources that were diminishing at an alarming rate. Franco Zeffirelli, on the other hand, recalls asking Callas in 1963 why she had not practiced her singing, and Callas responding that "I have been trying to fulfill my life as a woman." According to one of her biographers, Callas and Onassis had a child, a boy, who died hours after he was born on March 30, 1960. In his book about his wife, Meneghini states categorically that Maria Callas was unable to bear children. As well, various sources dismiss Gage's claim, as they note that the birth certificates Gage used to prove of this "secret child" were issued in 1998, twenty-one years after Callas's death. Still other sources claim that Callas had at least one abortion while involved with Onassis. The relationship ended nine years later in 1968, when Onassis left Callas in favour of Jacqueline Kennedy. However, the Onassis family's private secretary, Kiki, writes in her memoir that even while Aristotle was with Jackie, he frequently met up with Maria in Paris, where they resumed what had now become a clandestine affair.

Callas spent her last years living largely in isolation in Paris and died at age 53 on September 16, 1977, of a myocardial infarction (heart attack). A funerary liturgy was held at Agios Stephanos (St. Stephen's) Greek Orthodox Cathedral on rue Georges-Bizet, Paris, on September 20, 1977, and her ashes were interred at the Père Lachaise Cemetery. After being stolen and later recovered, they were scattered over the Aegean Sea, off the coast of Greece, according to her wish.

During a 1978 interview, upon being asked "Was it worth it to Maria Callas? She was a lonely, unhappy, often difficult woman," music critic and Callas's friend John Ardoin replied,

That is such a difficult question. There are times when certain people are blessed--and cursed--with an extraordinary gift, in which the gift is almost greater than the human being. Callas was one of these people. It was as if her own wishes, her life, her own happiness were all subservient to this incredible, incredible gift that she was given, this gift that reached out and taught us things about music that we knew very well, but showed us new things, things we never thought about, new possibilities. I think that is why singers admire her so. I think that’s why conductors admire her so. I know it’s why I admire her so. And she paid a tremendously difficult and expensive price for this career. I don’t think she always understood what she did or why she did it. She usually had a tremendous effect on audiences and on people. But it was not something she could always live with gracefully or happily. I once said to her “It must be a very enviable thing to be Maria Callas.” And she said, “No, it’s a very terrible thing to be Maria Callas, because it’s a question of trying to understand something you can never really understand.” She couldn’t really explain what she did. It was all done by instinct. It was something embedded deep within her.

Legacy

In late 2004, opera and film director Franco Zeffirelli made what many consider a bizarre claim that Callas may have been murdered by her confidant, Greek pianist Vasso Devetzi, in order to gain control of Callas's United States $9,000,000 estate. A more likely explanation is that Callas's death was due to heart failure brought on by (possibly unintentional) overuse of Mandrax (methaqualone), a sleeping aid.

According to biographer Stelios Galatopoulos, Devetzi insinuated herself into Callas's trust and acted virtually as her agent. This claim is corroborated by Iakintha (Jackie) Callas in her book Sisters, wherein she asserts that Devetzi conned Maria out of control of half of her estate, while promising to establish the Maria Callas Foundation to provide scholarships for young singers. After hundreds of thousands of dollars had allegedly vanished, Devetzi finally did establish the foundation.

In 2002, filmmaker Zeffirelli produced and directed a film in Callas's memory. Callas Forever was a highly fictionalized motion picture in which Callas was played by Fanny Ardant. It depicted the last months of Callas's life, when she was seduced into the making of a movie of Carmen, lip-synching to her 1964 recording of that opera.

Terrence McNally's play Master Class, which premiered in 1995, presents Callas as a glamorous, commanding, larger-than-life, caustic, and surprisingly drop-dead funny pedagogue holding a voice master class. Alternately dismayed and impressed by the students who parade before her, she retreats into recollections about the glories of her own life and career, culminating in a monologue about sacrifice taken for art. Several selections of Callas actually singing are played during the recollections.

In 2007, Callas was posthumously awarded the Grammy Lifetime Achievement Award. In the same year, she was voted the greatest soprano of all time by BBC Music Magazine.

The 30th anniversary of the death of Maria Callas was selected as main motif for a high value euro collectors' coins; the €10 Greek Maria Callas commemorative coin, minted in 2007. Her image is shown in the obverse of the coin, while on the reverse the National Emblem of Greece with her signature is depicted.

On December 2, 2008, on the 85th anniversary of Callas's birth, a group of Greek and Italian officials unveiled a plaque in her honor at Flower Hospital (now the Terence Cardinal Cooke Health Care Center) where she was born. Made of Carrara marble and engraved in Italy, the plaque reads, "Maria Callas was born in this hospital on December 2, 1923. These halls heard for the first time the musical notes of her voice, a voice which has conquered the world. To this great interpreter of universal language of music, with gratitude."

Gus Van Sant's 2008 movie Milk features selected recordings of Callas' rendition of Tosca, which, it is suggested, was an opera of which Harvey Milk was particularly fond. Similarly, Jonathan Demme's 1993 movie Philadelphia features a recording by Callas.

A number of musical artists including Linda Ronstadt, Patti Smith and Emmylou Harris have mentioned Callas as a great musical influence, and some have paid tribute to Callas in their own music:

R.E.M. mention Callas in their song "E-Bow the Letter" from the album New Adventures in Hi-Fi.

Enigma named a song which featured samples of Callas's voice, on their 1991 album MCMXC a.D., "Callas Went Away".

Buffalo Tom's 2007 album Three Easy Pieces contains the song "C.C. and Callas", which appears to be about songwriter Chris Colbourn's reflections on Callas.

The Fatima Mansions's 1994 release Lost in the Former West featured the single "The Loyaliser", where a passing reference is made to Callas.

La Diva, on Celine Dion's 2007 French language album D'elles is about Maria Callas. The track samples the 1956 recording of La Boheme.

Singer/songwriter Rufus Wainwright mentions Callas in his song "Beauty Mark", from his album Rufus Wainwright. Rufus is known to be an opera fan, particularly passionate about Callas's work. In an interview to the Spanish newspaper El País, he declared that one of the things anyone should do at least once in a lifetime was to listen to a Maria Callas album after a night out, if possible during sunrise. On Jonathan Ross' Radio 2 show he stated that Lord Harewood's interview of Callas is part of the inspiration for his opera Prima Donna.

Jason Mraz lists her performance of "O mio babbino caro" as a romantic musical influence for him.

Ben Sollee mentions her in his song "Mute with a Bullhorn."

Band Faithless sampled her voice on the intro to one of their songs on Reverence, "Drifting Away".

The Mountain Goats mention Callas in their song "Horseradish Road" from the album The Coroner's Gambit.

Tom Stoppard's 1982 play The Real Thing includes the line, 'I was taken once to Covent Garden to hear a woman called Callas in a sort of foreign musical with no dancing which people were donating kidneys to get tickets for... Not even close. That woman would have had a job getting into the top thirty if she was hyped.'

She can be heard singing selections from Norma at several points in Lorenzo's Oil.

Notable recordings

All recordings are in mono unless otherwise indicated. Live performances are typically available on multiple labels.

Verdi, Nabucco, conducted by Vittorio Gui, live performance, Napoli, 20 December 1949

Verdi, Il trovatore, conducted by Guido Picco, live performance, Mexico City, June 20, 1950

Verdi, Aida, conducted by Oliviero De Fabritiis, live performance, Palacio de Bellas Artes, Mexico City, July 3, 1951

Ponchielli, La Gioconda, conducted by Antonino Votto, studio recording for Fonit Cetra, September 1952

Bellini, Norma, conducted by Vittorio Gui, live performance, Covent Garden, London, November 18, 1952

Verdi, Macbeth, conducted by Victor de Sabata, live performance, La Scala, Milan, December 7, 1952

Bellini, I puritani, conducted by Tullio Serafin, studio recording for EMI, March–April 1953

Mascagni, Cavalleria rusticana, conducted by Tullio Serafin, studio recording for EMI, August 1953

Puccini, Tosca, conducted by Victor de Sabata, studio recording for EMI, August 1953.

Verdi, La traviata, conducted by Gabriele Santini, studio recording for Fonit Cetra, September 1953

Cherubini, Medea, conducted by Leonard Bernstein, live performance, La Scala, Milan, December 10, 1953

Leoncavallo, Pagliacci, conducted by Tullio Serafin, studio recording for EMI, June 1954

Spontini, La vestale, conducted by Antonino Votto, live performance, La Scala, Milan, December 7, 1954

Verdi, La traviata, conducted by Carlo Maria Giulini, live performance, La Scala, Milan, May 28, 1955

Puccini, Madama Butterfly, conducted by Herbert von Karajan, studio recording for EMI, August 1955

Verdi, Aida, conducted by Tullio Serafin, studio recording for EMI, August 1955

Verdi, Rigoletto, conducted by Tullio Serafin, studio recording for EMI, September 1955

Donizetti, Lucia di Lammermoor, conducted by Herbert von Karajan, live performance, Berlin, September 29, 1955

Bellini, Norma, conducted by Antonino Votto, live performance, La Scala, Milan, December 7, 1955.

Verdi, Il trovatore, conducted by Herbert von Karajan, studio recording for EMI, August 1956

Puccini, La bohème, conducted by Antonino Votto, studio recording for EMI, August–September 1956. Like her later recording of Carmen, this was her only performance of the complete opera, as she never appeared onstage in it.

Verdi, Un ballo in maschera, conducted by Antonino Votto, studio recording for EMI, September 1956

Rossini, The Barber of Seville, conducted by Alceo Galliera, studio recording for EMI in stereo, February 1957

Bellini, La sonnambula, conducted by Antonino Votto, studio recording for EMI, March 1957

Donizetti, Anna Bolena, conducted by Gianandrea Gavazzeni, live performance, La Scala, Milan, April 14, 1957

Bellini, La sonnambula, conducted by Antonino Votto, live performance, Cologne, July 4, 1957

Puccini, Turandot, conducted by Tullio Serafin, studio recording for EMI, July 1957

Cherubini, Medea, conducted by Tullio Serafin, studio recording for Ricordi in stereo, September 1957

Verdi, Un ballo in maschera, conducted by Gianandrea Gavazzeni, live performance, La Scala, Milan, December 7, 1957

Verdi, La traviata, conducted by Franco Ghione, live performance, Lisbon, March 27, 1958

Mad Scenes (excerpts from Anna Bolena, Bellini's Il pirata and Ambroise Thomas's Hamlet), conducted by Nicola Rescigno, studio recording for EMI in stereo, September 1958

Cherubini, Medea conducted by Nicola Rescigno, live performance at the Dallas Civic Opera in 1958; considered to be Callas's most notable performance of Cherubini's opera.

Ponchielli, La Gioconda, conducted by Antonino Votto, studio recording for EMI in stereo, September 1959

Puccini, Tosca, conducted by Carlo Felice Cillario, live performance, London, January 1964

Bizet, Carmen, conducted by Georges Prêtre, studio recording for EMI in stereo, 1964. It is her only performance of the role, and her only performance of the complete opera; she never appeared in it onstage. The recording used the recitatives added after Bizet's death. Callas's performance caused critic Harold C. Schonberg to speculate in his book The Glorious Ones that Callas perhaps should have sung mezzo roles instead of simply soprano ones.

Puccini, Tosca, conducted by Georges Prêtre, studio recording for EMI in stereo, December 1964.

References

In "All love (Solo amore)" cd - June 2010,Santeramo Musica Release - by Giovanni Tangorra composer, a track her dedicated: "Rainha Maria (Onassis story)": singer Marika Spadafino, guitar Nicola Albano

Bibliography

Stassinopoulos, Arianna, Maria Callas: The Woman Behind The Legend, New York: Simon and Schuster, 1981, ISBN 0-671-25583-5

External links

Category:1923 births Category:1977 deaths Category:Burials at Père Lachaise Cemetery Category:Cardiovascular disease deaths in France Category:Deaths from myocardial infarction Category:Grammy Lifetime Achievement Award winners Category:Greek artists Category:Greek female singers Category:Greek opera singers Category:Greek sopranos Category:Operatic sopranos

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