Margaret Mackall Smith "Peggy" Taylor (September 21, 1788 – August 14, 1852), wife of Zachary Taylor, was First Lady of the United States from 1849 to 1850.

Born in Calvert County, Maryland, on September 21, 1788, the daughter of Walter Smith, a prosperous Maryland planter and veteran officer of the American Revolution, and Ann Mackall-Smith, "Peggy" was raised amid refinement and wealth.

While visiting her sister in Kentucky in 1809, she was introduced to Lieutenant Zachary Taylor, then home on leave, by Dr. Alexander Duke.

Taylor, aged 25, married Peggy Smith, aged 21, on June 21, 1810, at the home of the bride's sister, Mrs. Mary Chew near Louisville, Kentucky. Their marriage appears to have been a happy one. A devout Episcopalian, Mrs. Taylor prayed regularly for her soldier husband. She became somewhat reclusive because, it is said, she had promised God to give up the pleasures of society if her husband returned safely from war.

The Taylors' surviving children were:

With the rise in Taylor's political career, she literally prayed for his defeat, for she dreaded the personal consequences of his becoming president. By the time she became First Lady, the hardships of following her husband from fort to fort and the birth of several children had taken their toll. A semi-invalid, she remained in seclusion on the second floor of the White House, leaving the duties of official hostess to her daughter Mary Elizabeth "Betty" Taylor.

Giacomo Antonio Domenico Michele Secondo Maria Puccini (Italian pronunciation: [ˈdʒaːkomo putˈtʃiːni]; 22 December 1858 – 29 November 1924) was an Italian composer whose operas, including La bohème, Tosca, Madama Butterfly, and Turandot, are among the most frequently performed in the standard repertoire. Some of his arias, such as "O mio babbino caro" from Gianni Schicchi, "Che gelida manina" from La bohème, and "Nessun dorma" from Turandot, have become part of popular culture.

Described by Encyclopædia Britannica Online as "one of the greatest exponents of operatic realism", he is regarded as one of the last major Italian opera composers. His repertoire is essentially rooted in verismo, or a post-Romantic operatic tradition and literary style. Whilst his work is essentially based on traditional late-19th century Italian opera, his music shows some influences from then-contemporary composers and movements such as Igor Stravinsky and Impressionism. Common themes within his operas include the important role, yet usually tragic end, of his heroines, as well as love; furthermore, there is a strong presence of exoticism in his operas, with several being set in faraway locations.