1{2 "document_id": "lb_2wikimqa_88e4806d6c6553000e3c1ff8be5c90f5309342954ce4acae",3 "family": "public_2wikimqa",4 "split": "dev",5 "text": "Passage 1:\nDomitila de Castro, Marchioness of Santos\nDomitila (or Domitília) de Castro do Canto e Melo (27 December 1797 — 3 November 1867), 1st Viscountess with designation as a Grandee, then 1st Marchioness of Santos, was a Brazilian noblewoman and the long-term mistress and favorite of Emperor Pedro I.\n\nLife\nBirth and family\nDaughter of João de Castro do Canto e Melo, 1st Viscount of Castro and Escolástica Bonifácia de Oliveira e Toledo Ribas, Domitila belonged to a traditional São Paulo noble family: she was the granddaughter of Colonel Carlos José Ribas, great-grandfather of Simão de Toledo Piza, patriarch of this family in São Paulo. Born on 27 December 1797, she was baptized three months later, on 7 March 1798 in the Church of Nossa Senhora da Assunção (Sé) in São Paulo. According to her baptismal record, her godfather was Ensign José Duarte e Câmara.\nThe Brigadier João de Castro Canto e Melo was born in the Terceira Island in the Azores, and died in Rio de Janeiro in 1826. He was the son of João Batista do Canto e Melo and Isabel Ricketts, and descended from Pero Anes do Canto, from Terceira Island. He passed to Portugal, setting up a cadet square at the age of 15 on 1 January 1768, named Standard-Bearer on 17 October 1773. He was 21 when, in 1774, he went to Rio de Janeiro and months later to São Paulo. He was transferred to the Santos Infantry line Regiment, promoted to Ensign in 1775 and to Lieutenant in the same year, to Adjudant in 1778; he was Captain in 1798, Major in the same year, and in 1815 Lieutenant Colonel. Later, after his daughter's love with the emperor, he was made Gentleman of the Imperial Chamber and still received the noble title of Viscount of Castro on 12 October 1825.Domitila's full siblings were:\nJoão de Castro do Canto e Melo (March 1786 – 11 September 1853), 2nd Viscount of Castro, Field Marshal and Gentleman of the Imperial Chamber; married with Inocência Laura Vieira de Azambuja, with whom he had issue.\nJosé de Castro do Canto e Melo (baptized 17 October 1787 – died ca. 1842), Brigadier of the Brazilian Army. Soldier at the age of five on 1 July 1792, Standard-Bearer in 1801, Ensign in 1807, Lieutenant in 1815, Commander of the Cavalry Squad of the Legion of São Paulo and in the Battle of Itupuraí, in the 1816 campaign. Captain in 1818, Sergeant Major of the 2nd Line Cavalry Regiment of Vila de Curitiba, then São Paulo Province, in 1824. Colonel of the Army Staff in 1827. He was licensed due to health reasons in 1829. Brigadier retired from the Army. Gentleman of the Imperial Chamber, dismissed in 1842. Knight of the Military Order of Saint Benedict of Aviz in 1824 and was promoted to Commander in the same order in 1827. Officer of the Order of the Southern Cross in 1827; married with his niece Francisca Pinto Coelho de Mendonça e Castro, with whom he had issue.\nMaria de Castro do Canto e Melo (baptized February 1790; died in infancy).\nPedro de Castro do Canto e Melo (baptized 26 May 1791; died in infancy).\nMaria Benedita de Castro do Canto e Melo (18 December 1792 – 5 March 1857), married to Boaventura Delfim Pereira, Baron of Sorocaba, with whom she had issue; her second son Rodrigo Delfim Pereira, although recognized by her husband, was in fact an illegitimate son of Emperor Pedro I, her sister's lover.\nAna Cândida de Castro do Canto e Melo (January 1795 – 27 May 1834), married to Carlos Maria de Oliva, Veador of the Imperial Chamber and Colonel of the Army, with whom she had issue.\nFortunata de Castro do Canto e Melo (baptized 12 January 1797; died in infancy).\nFrancisco de Castro do Canto e Melo (5 April 1799 – 21 June 1869), Gentleman of the Imperial Chamber, Major retired of the Army; married firstly with Francisca Leite Penteado and secondly with Lina Pereira de Castro. He had issue from his second marriage.\nJeronimo de Castro do Canto e Melo (baptized 13 September 1803; died in infancy).In addition, Domitila had an older illegitimate half-sister, Maria Eufrásia de Castro, born from her father's earlier relationship (in fact, betrothal later terminated) with Teresa Braseiro.\n\nFirst Marriage\nOn 13 January 1813, Domitila, at the age of fifteen, married an officer from the second squad of the Corps of Dragons in the city of Vila Rica (now Ouro Preto), Ensign Felício Pinto Coelho de Mendonça (26 February 1790 – 5 November 1833), cited by several historians as a violent man, who beat and raped her, and from whom she divorced on 21 May 1824.After the wedding in São Paulo, Felício and Domitila left for Vila Rica. Three children were born from the marriage:\n\nDue to her husband's mistreatment, Domitila obtained permission from his family in São Paulo to return to her father's home with her children. He arrived back in São Paulo at the end of 1816. Felício managed to transfer his post in the army from Vila Rica to Santos and settled in São Paulo, trying to reconcile with his wife and in 1818 they returned to live together. However, given his drinking and gambling problems, it did not take long for Felício to return with his old behavior, and began the beatings and death threats to his wife. On the morning of 6 March 1819, Felício surprised Domitila next to the Santa Luiza fountain and stabbed her twice, one stab caught in the thigh and the other in the belly. Felício was arrested and taken to Santos, next to his barracks, from where he left for Rio de Janeiro. Domitila spent two months between life and death. When she recovered from her injuries, she had to fight legally against her father-in-law, who wanted to take the couple's children to educate them in the Captaincy of Minas Gerais. Domitila asked for Felício's legal separation but only obtained it five years later, when she was already the Emperor's mistress. Domitila's detractors would accuse her after being assaulted because she betrayed Felício, when in reality, through documentation and witnesses in the divorce process, he had tried to kill her to sell the land that both, with the death of his mother, had jointly inherited in Minas Gerais.\n\nImperial Mistress\nDomitila met Dom Pedro de Alcântara, Prince-Regent of Brazil days before the Proclamation of the Independence on 29 August 1822. The Prince-Regent was returning from a visit to Santos when he received, on the banks of the Ipiranga Brook, in São Paulo, two missives (one from his wife, Princess Maria Leopoldina of Austria and another from José Bonifácio de Andrada e Silva) that informed him about the decisions of the Portuguese Courts, in which Dom Pedro stopped being Prince-Regent and received orders to return to the continent. Outraged by this \"interference with his acts as ruler\", and influenced by whose defended the break with the metropolis, especially by José Bonifácio de Andrada, he decided to separate the Kingdom of Portugal and the Algarves.\n\nDomitila was not the only lover of Dom Pedro, but she was the most important and the one with whom he had the longest relationship. Before his marriage, the Prince-Regent had been involved with a French ballerina, named Noémi Thierry, with whom he had a son. During his relationship with Domitila he had other parallel ones, such as Adèle Bonpland (wife of French naturalist Aimé Bonpland) and the dressmaker Clemence Saisset (whose husband had a store on Rua do Ouvidor), with whom he had a son. In addition to these liaisons, Domitila's own sister, Maria Benedita de Castro do Canto e Melo, Baroness of Sorocaba, also had a son with Dom Pedro.\nIn 1823, the now Emperor Pedro I installed Domitila at the Barão de Ubá street (today the Estácio neighborhood) which was her first residence in Rio de Janeiro. One year later, and thanks to the support of her lover, Domitila was able to have her first marriage nullified. In 1826, she received as a gift the \"Casa Amarela\", as her mansion became known, at number 293 of the current Avenida D. Pedro II, near Quinta da Boa Vista, in São Cristóvão (where the Museum of the First Reign now operates). The Emperor bought the house from Dr. Teodoro Ferreira de Aguiar and ordered a renovation in a neoclassical style to the architect Pierre Joseph Pézerat. The internal mural paintings are the work of Francisco Pedro do Amaral, while the internal and external bas-reliefs by Zéphyrin Ferrez.Domitila was being elevated by her lover little by little. In 1824 she was created Baroness of Santos; on 4 April 1825 she was appointed Lady-in-waiting of Empress Maria Leopoldina, on 12 October of the same year was created Viscountess of Santos with designation as a Grandee and, on 12 October 1826 she was finally created Marchioness of Santos. Besides all this titles, on 4 April 1827 the Emperor invested his mistress with the Order of Saint Isabel, who was solely granted \"to women of irreproachable conduct\". Although Domitila was not born in that city, the Emperor, in an attempt to attack de Andrada brothers, born in Santos, would have given the titles to his mistress. José Bonifácio de Andrada, upon learning of this fact in his exile in France, wrote to his friend Counselor Drummond: \"Who would dream that the michela (prostitute) Domitila would be Viscountess of the homeland of the Andradas! What a brazen insult!\". Domitila's family also received several imperial benefits: Her father became Viscount of Castro, her brother Francisco became the Emperor's Field Assistant and the rest of her siblings received Hidalgo precedence. Domitila's brother-in-law, Boaventura Delfim Pereira (husband of Maria Benedita), was made Baron of Sorocaba.\nFrom her relationship with Emperor Pedro I, Domitila had five children:\n\nEmpress Maria Leopoldina died in 1826 due to complications caused by a miscarriage, amidst rumours who blame Domitila of the illness and death of the beloved Empress. The Marchioness of Santos' popularity, which was no longer the best, worsened, with her house in São Cristóvão being stoned and her brother-in-law, a butler of the Empress, received two shots. Her right to preside over medical appointments of the Empress, as her lady-in-waiting, was denied, and ministers and officials of the palace suggested that she should not continue to attend court.\n\n \nEmperor Pedro I ended his relationship with Domitila in 1829 due to his second marriage with Amélie of Leuchtenberg. Already since 1827 he had been looking for a noble blood bride but the sufferings caused to his late wife by him and the scandalous link with the Marchioness of Santos were seen with horror by European courts and several princesses refused to marry the Emperor.\nThe Austrian ambassador to Rio de Janeiro, Baron Wenzel Philipp von Mareschal, wrote to Vienna about the future marriage of the Emperor and the banishment of the mistress: \"Emperor D. Pedro was eventually convinced that the presence of the Lady of Santos would always be inopportune and that a simple change of residence would not satisfy anyone; he insisted on the sale of her properties, the which I heard was already provided and on her departure to São Paulo in eight or ten days\".\nThe Emperor bought the properties of the Marchioness of Santos in Rio de Janeiro for 240 contos (240 insurance policy of the Public Debt from the Amortization Box, of 1 contos de réis), returning to Domitila \"in banknotes of São Paulo\" of the amount of 14 contos de réis, two contos for the Amortization Box with which she had presented it, an allowance of 1 conto de réis per month put at your order, \"at par or in banknotes\". Regarding the residence bought from the former mistress, Mareschal says: \"It will serve the young Queen and her court\". It was Dona Maria da Glória, future Queen Maria II of Portugal; that is why it would later be known as the Queen's Palace, as effectively Dona Maria da Glória settled there, albeit for a short period. Later was bought by the Viscount of Mauá and around 1900 the residence was acquired by the doctor Abel Parente, the protagonist of one of the biggest scandals in Rio de Janeiro, in 1910. It became the Museum of the First Reign in the late 1980s until 2011 when it was deactivated and the restoration and adaptation of the space began to receive the Fashion Museum - Casa da Marquesa de Santos.\n\nSecond Marriage\nSince 1833 Domitila began to cohabitated with the Brigadier Rafael Tobias de Aguiar (4 October 1794 – 7 October1857), with whom she officially married in the city of Sorocaba on 14 June 1842. Rafael Tobias de Aguiar was not only a politician but a wealthy Sorocaban farmer: the base of his fortune was the trade in mules, but in time he ended up diversifying his business with sugar farms, cattle and horse breeding. The Tobian coat was created by him. Nicknamed the \"Reizinho de São Paulo\" (Little King of São Paulo) thanks to his fortune, he held the position of President of the Province of São Paulo for two terms and was elected Provincial Deputy for São Paulo. He ran twice for the position of Senator of the Empire, but his name was never chosen by Emperor Pedro II of Brazil. In 1842, as one of the main leaders of the Liberal Revolution, after his marriage to the Marchioness of Santos and the eminent invasion of Sorocaba by the troops of Luís Alves de Lima e Silva, fled to the south where he was captured. Taken to Rio de Janeiro, he was incarcerated in the Fortress of Laje, located on a rock in the middle of Guanabara Bay. Domitila, on hearing of his arrest, arrived to the Imperial court where, by means of a representant, she pleaded to the Emperor that she could live with her husband in the Fortress of Laje to take care of his health, which was granted.\nIn 1844, Rafael Tobias de Aguiar was given an amnesty and the couple returned to São Paulo, where they were received with a great party. Rafael Tobias de Aguiar died on board the Vapor Piratininga on 7 October 1857 when on his way to Rio de Janeiro in search of medical help. He was accompanied by his wife and one of the couple's children. Domitila's relationship with Rafael Tobias de Aguiar was the longest one of hers, lasting 24 years, during which the couple had six children, of which 4 managed to reach adulthood:\n\nThe Solar da Marquesa de Santos\nOn her return to São Paulo after the end of her relationship with Emperor Pedro I of Brazil, Domitila acquired in 1834 a vast mansion on the old Rua do Carmo, currently Rua Roberto Simonsen in the city center. The first owner of the property was Brigadier José Pinto de Morais Leme according to documentation from 1802. Previously, on the site, there were two houses that were renovated and gave rise to a single building. Domitila was the owner of these house from 1834 until her death in 1867.\nThe property became the center of São Paulo society, animated by masquerade balls and literary evening parties given by the Marchioness of Santos. In 1880, the house was put up for auction and was acquired by the local Diocese, who transformed the Manor into the Episcopal Palace. The House today belongs to the City Hall of São Paulo, which has the Museum of the City installed there. Its historical importance is great not only because his link to Domitila but because the property is the only urban remnant built using the technique known as rammed earth still existing in the historic center of the city.\n\nLater years and death\nAfter being widowed, the Marchioness of Santos became devout and charitable, seeking to help the helpless, protecting the miserable and hungry, caring for the sick and students of the Faculdade de Direito do Largo de São Francisco, in the center of the city of São Paulo.\nDomitila de Castro do Canto e Melo, Marchioness of Santos died of enterocolitis in her residence in the Rua do Carmo, now Roberto Simonsen, near the Pátio do Colégio, on 3 November 1867 aged 69. She was buried in the Cemitério da Consolação, whose original chapel was built with a donation made by Domitila by the amount of 2 contos de réis.Despite information circulating that the cemetery's land was donated by the Marchioness of Santos, this version is incorrect. In fact, the cemetery was built, partly on land in the public domain and partly on land acquired from Marciano Pires de Oliveira for 200, 000 réis, which donated another part. After the inauguration, the area was enlarged with land expropriated by councilor Ramalho and Joaquim Floriano Wanderley.\nHer grave in the Cemitério da Consolação, as well the two other plots she bought adjoining her gravesite —where her younger brother Francisco de Castro do Canto e Melo, her son Felício Pinto Coelho de Mendonça e Castro, and, after a recent discovery, her daughter the Countess of Iguaçu, were also buried—, were all recovered in the 1980s by the Italian accordionist Mario Zan, one of Domitila's most famous and fervent admirers; he took care of the deposit for the maintenance of the gravesites for years and when he died in 2006 he was buried in a tomb in front of the Marchioness. Even after his death, Mario Zan continues, in a way, to pay for the maintenance of Domitila's gravesite, because according to his will, the copyrights of his music were destined to this purpose.\nDomitila's grave always receives fresh flowers from people who continue to consider her a popular saint. Among the legends is that she protects the prostitutes of the city and, due to having achieved a good marriage and restructuring worthily after her scandalous relationship with Emperor Pedro I of Brazil, she became an inspiration for girls who wanted to marry well. In her grave headstone there are plaques from devotees thanking her for some grace.\n\nAncestry\nRepresentations in culture\nMovies\nIn the silent film O Grito do Ipiranga (1917), Domitila was portrayed by Luíza Lambertini.\nIn the Argentine film Embrujo (1941), with direction and argumentation by Enrique Susini.\nIn the film Independência ou Morte (1972), Domitila was portrayed by Glória Menezes.\n\nTheater\nIn Viriato Correia's play A Marquesa de Santos (1938), the Marchioness of Santos was portrayed by Dulcina de Moraes.\nAt the revue No Paço da Marquesa (1950), with the Vedette Virgínia Lane in the role of Domitila.\nIn the play O Imperador Galante (1954), written by Raimundo Magalhães Júnior, with Domitila being again portrayed by Dulcina de Moraes.\nIn the play Um grito de liberdade (1972), by Sérgio Viotti, with actress Nize Silva in the role of Domitila.\nIn the play Pedro e Domitila (1984), written by Ênio Gonçalves, Domitila was portrayed by Taya Perez.\nIn the monologue Marquesa de Santos: verso & reverso (2019), written by Paulo Rezzutti, Domitila was portrayed by Beth Araújo.\n\nRadio\nDramatization of A Marquesa de Santos, by writer Paulo Setúbal by Rádio Nacional Rio de Janeiro, in 1946.\nD. Pedro e a Marquesa de Santos, written by broadcaster Cassiano Gabus Mendes, was aired by Rádio Record, São Paulo, on 7 September 1950.\n\nTelevision\nIn the televised play A Marquesa de Santos, aired on 12 February 12, 1962 on the program Teatro Nove, on TV Excelsior, Channel 9, São Paulo, the role of the Marchioness was portrayed by Cleyde Yáconis.\nIn the soap opera Helena (1987), the Marchioness was portrayed by Norma Suely.\nIn the mini-series Marquesa de Santos (1984) on Rede Manchete, the Marchioness was portrayed by Maitê Proença.\nIn the miniseries Entre o Amor e a Espada (2001), by TVE Brasil, the Marchioness was portrayed by Rejane Santos.\nIn the Rede Globo miniseries O Quinto dos Infernos (2002), the role of the Marchioness was portrayed by Luana Piovani.\nIn Rede Globo's soap opera Novo Mundo (2017), the role of the Marchioness was portrayed by Agatha Moreira.\n\nOpera\nMarquesa de Santos (1948), composed by João Batista de Siqueira. Opera piece in three acts with libretto by Joaquim Ribeiro.\nChalaça (1973), by conductor Francisco Mignone.\nDomitila (2000), with music and libretto by Rio de Janeiro composer João Guilherme Ripper, inspired by the love letters exchanged between Dom Pedro I and Domitila. The soprano Maíra Lauter portrayed Domitila.\n\nRock\nThe album \"Caso Real\" (2015) by the rock band Lítera that was inspired by the love affair between the Emperor Pedro I of Brazil and the Marquesa de Santos, through the book \"Titília e o Demonão – Cartas Inéditas de Dom Pedro I à Marquesa de Santos\", by the writer Paulo Rezzutti.\n\nSambas plots\nOs amores célebres do Brasil (1966), from Acadêmicos do Salgueiro.\nA Favorita do Imperador (1964), from Imperatriz Leopoldinense.\nA flecha do cupido me pegou (1981), from Caprichosos de Pilares.\nMulheres que Brilham – a força feminina no progresso social e cultural do país (2012), from Vai-Vai.\nPaixões proibidas e outros amores (2014), from Nenê de Vila Matilde.\n\nNotes\nPassage 2:\nMaria Isabel de Alcântara, Countess of Iguaçu\nMaria Isabel de Alcântara Bourbon (28 February 1830 – 5 September 1896) was the third daughter (fifth child) of emperor Pedro I of Brazil and his mistress, Domitila de Castro, Marchioness of Santos.\nMaria Isabel received the same name as her second sister, the Duchess of Ceará, who died in 1828 at only two months old. She was never given any titles by her father due to his marriage to Amélie of Leuchtenberg. Still, Pedro I acknowledged her as his daughter in his will but gave her no share of his state, except asking for his widow to aid in her education and upbringing. He had wished that she be given a good European education like her oldest sister, the Duchess of Goiás. However, the Marchioness declined to send the girl to Europe.On 2 September 1848, at the age of eighteen, Maria Isabel married Pedro Caldeira Brant, the Count of Iguaçu, son of Felisberto Caldeira Brant, Marquis of Barbacena. At their wedding, Maria Isabel became the second Countess of Iguaçu. The couple had seven children: \n\nIsabel dos Santos\nLuís de Alcantâra Caldeira Brant, married Maria Luísa Pereira de Brito\nPedro de Alcântara Caldeira Brant\nDeulinda dos Santos, married Claudiano dos Santos\nMaria Teresa Caldeira Brant, married Charles Collins\nIsabel Maria dos Santos, married Antônio Dias Paes Leme\nJosé Severiano de AlcântaraShe died on 5 September 1896, at sixty-six years of age, in São Paulo.\nPassage 3:\nMaria Isabel Barreno\nMaria Isabel Barreno de Faria Martins GOIH (10 July 1939 – 3 September 2016) was a Portuguese writer, essayist, journalist and sculptor. She was one of the authors of the book Novas Cartas Portugesas (New Portuguese Letters), together with Maria Teresa Horta and Maria Velho da Costa. The authors, known as the \"Three Marias,\" were arrested, jailed and prosecuted under Portuguese censorship laws in 1972, during the last years of the Estado Novo dictatorship. The book and their trial inspired protests in Portugal and attracted international attention from European and American women's liberation groups in the years leading up to the Carnation Revolution.\n\nBiography\nBorn in Lisbon in the freguesia of Socorro, her parents moved to Areeiro, where she spent her childhood and adolescence. She studied College of Letters at the Universidade de Lisboa, where she graduated in Historico-Philosophical Sciences.\nAfter graduation, she took a job working for the Instituto de Investigação Industrial. She dedicated herself to the cause of feminism, taking part in the Portuguese feminist movement together with the writers Maria Teresa Horta and Maria Velho da Costa, the \"Three Marias\" (Três Marias).\nOn 8 March 2004, she was made a Grand Official in the Ordem do Infante D. Henrique.Barreno died on 3 September 2016 at the age of 77.\nThe sketch shown here is not a portrait of Barreno but of Maria Fatima Velho da Costa. A 1975 photo of the Three Marias published in The Economist shows Isabel Barreno on the right. \nA late-life photo of her appears with her obituary on a Portuguese government site, cig.gov.pt.\n\nWorks\nAdaptação do Trabalhador de Origem Rural ao Meio Industrial Urbano (1966)\nA Condição da Mulher Portuguesa (1968) (collaboration)\nDe Noite as Árvores São Negras (1968)\nOs Outros Legítimos Superiores (1970)\nNovas Cartas Portuguesas (1971) (co-authored with Maria Teresa Horta and Maria Velho da Costa)\nA Morte da Mãe (1972)\nA Imagem da Mulher na Imprensa (1976)\nInventário de Ana (1982)\nContos Analógicos (1983)\nSinos do Universo (1984)\nContos (1985)\nCélia e Celina (1985)\nO Outro Desbotado (1986)\nO Falso Neutro (1989)\nO Direito ao Presente (1990)\nCrónica do Tempo (1991) – winner of the Fernando Namora Prize\nO enviado (1991)\nO Chão Salgado (1992)\nOs Sensos Incomuns (1993) – winner of the Prémio P.E.N. Clube Português de Ficção, and the Grande Prémio de Conto Camilo Castelo Branco\nO Senhor das Ilhas (1994)\nAs Vésperas Esquecidas (1999)\nPassage 4:\nMaria Isabel of Braganza\nMaria Isabel of Braganza (Maria Isabel Francisca de Assis Antónia Carlota Joana Josefa Xavier de Paula Micaela Rafaela Isabel Gonzaga; 19 May 1797 – 26 December 1818) was a Portuguese infanta who became Queen of Spain as the second wife of King Ferdinand VII.\n\nEarly years\nMaria Isabel, born Maria Isabel Francisca de Assis Antónia Carlota Joana Josefa Xavier de Paula Micaela Rafaela Isabel Gonzaga, was born to John VI of Portugal and Carlota Joaquina of Spain on 19 May 1797. She was born as their third child and second daughter. The marriage between her father and mother was unhappy, Carlota Joaquina attempting to have King John VI deemed insane.In 1807 Napoleon invaded Portugal, and the royal family unwillingly fled to Brazil. Maria Isabel’s mother Carlota sent her eldest surviving son, Pedro, to join his father and grandmother onboard the ship Principe Real whilst Carlota and the rest of her children would board the Affonso d’Albuquerque.Upon their arrival, Carlota and her children were forced to shave their heads and wear white muslin hats.\n\nUpbringing\nMaria Isabel and her siblings were carefully educated by her mother liberally. Maria Isabel was noted to be kind, balanced and shy, and was much like her father within her personality.\n\nMarriage\nOn 20 March 1816, Queen Maria I of Portugal perished. Due to this, Maria Isabel’s father John became the King of Portugal and Brazil. On 22 February 1816 marriage contracts between Ferdinand VII of Spain and Maria Isabel were officially signed; they would soon marry 29 September 1816. Ferdinand was 32 years old and Maria Isabel was 19.\nTowards the end 1816 Maria Isabel and Ferdinand were married, and then settled in Madrid. There, Maria Isabel was then quickly pregnant. Maria Isabel gave birth to a daughter, who they named María Luisa Isabel, on 21 August 1817. María Luisa Isabel died four-five months later.\n\nDeath\nMaria Isabel was pregnant soon after the birth of María Luisa Isabel, but the birth was indeed a difficult one: the baby was in breech and the physicians soon found that the child had died. Maria Isabel stopped breathing soon thereafter and the doctors thought she was dead. \nMaria Isabel’s sister protested against the doctors' thoughts on presuming her dead. The king, however, ordered a fatal caesarean. When they started cutting her stomach to extract the dead fetus, she suddenly shouted in pain and collapsed on her bed, bleeding heavily. She died soon afterwards on 26 December 1818 in the Palace of Aranjuez, and was buried at the Escorial — the royal site of San Lorenzo de El Escorial.\n\nLegacy\nQueen Maria Isabel's dedication and affection for art led her to gather many treasures from the past and create a royal museum, which would end up being the beginnings of Museo del Prado. It opened on 19 November 1819, a year after the queen's death.\n\nIssue\nAncestors\nHonours and arms\nDame of the Order of Queen Maria Luisa\nDame of the Order of Saint Isabel\n\nSee also\nNapoleonic Wars\nPassage 5:\nEtan Boritzer\nEtan Boritzer (born 1950) is an American writer of children’s literature who is best known for his book What is God? first published in 1989. His best selling What is? illustrated children's book series on character education and difficult subjects for children is a popular teaching guide for parents, teachers and child-life professionals.Boritzer gained national critical acclaim after What is God? was published in 1989 although the book has caused controversy from religious fundamentalists for its universalist views. The other current books in the What is? series include: What is Love?, What is Death?, What is Beautiful?, What is Funny?, What is Right?, What is Peace?, What is Money?, What is Dreaming?, What is a Friend?, What is True?, What is a Family?, and What is a Feeling? The series is now also translated into 15 languages.\nBoritzer was first published in 1963 at the age of 13 when he wrote an essay in his English class at Wade Junior High School in the Bronx, New York on the assassination of John F. Kennedy. His essay was included in a special anthology by New York City public school children compiled and published by the New York City Department of Education.\nBoritzer now lives in Venice, California and maintains his publishing office there also. He has helped numerous other authors to get published through How to Get Your Book Published! programs. Boritzer is also a yoga teacher who teaches regular classes locally and guest-teaches nationally. He is also recognized nationally as an erudite speaker on The Teachings of the Buddha.\nPassage 6:\nAnne Yelverton\nAnne Yelverton (1628–1698) was Countess of Manchester and Countess of Halifax.\n\nBiography\nAnne Yelverton was born in 1628. She was the daughter of Sir Christopher Yelverton, 1st Baronet, and Anne Twysden. She married Robert Montagu, 3rd Earl of Manchester, son of Edward Montagu, 2nd Earl of Manchester, and Lady Anne Rich, on 27 June 1655. They had five sons and four daughters:\nHon. Edward Montagu\nHon. Henry Montagu\nLady Anne Montagu (c. 1667–1720), married James Howard, 3rd Earl of Suffolk.\nCharles Montagu, 1st Duke of Manchester (c. 1656–1722)\nLady Elizabeth Montagu (c. 1682)\nLady Catherine Montagu, married Samuel Edwin\nHon. Robert Montagu (d. 1693)\nHon. Heneage Montagu (1675–1698)\nLady Eleanor Montague, (1647-1695) Married to Anthony Haggard (1646-1755) Marriage about 1682 Berkshire, England, United Kingdom.Her first husband, Robert Montagu, died in 1683. Her second marriage was to Charles Montagu, 1st Earl of Halifax, son of Hon. George Montagu (the half-brother of Robert Montagu's father, Edward) and Elizabeth Irby, circa 12 May 1688. This marriage was childless, and the Halifax title passed to Charles Montagu's nephew, George Montagu, by special remainder, on the former's death in 1715. Anne Yelverton died on 21 July 1698.\nPassage 7:\nTheodred II (Bishop of Elmham)\nTheodred II was a medieval Bishop of Elmham.\nThe date of Theodred's consecration unknown, but the date of his death was sometime between 995 and 997.\nPassage 8:\nMaria Isabel Guerra\nMaria Isabel Guerra (born 8 July 1955) is a Brazilian former butterfly and medley swimmer. She competed in three events at the 1972 Summer Olympics. She was a soccer player, rocked soccer skillzz.\nPassage 9:\nMaribel Martín\nMaría Isabel Martín Martínez (1 November 1954 in Madrid, Spain), better known as Maribel Martín, is a Spanish actress.\n\nCareer\nShe made her acting debut at age seven in the film Tres de la Cruz Roja (1961),a film directed by Fernando Palacios. She had a career as a child actress in films like: La gran familia (1962), by Fernando Palacios and El Camino (1963) directed by Ana Mariscal.\nAt the end of the 1960s, she took more important roles in films like: The House That Screamed (1969) by Narciso Ibáñez Serrador and La Cera Virgen (1971) directed by Jose Maria Forque. She had her first starring role in The Blood Spattered Bride under the direction of Vicente Aranda. During the 1970s she concentrated her work in the theater and television. Among her films of this period are: Los Viajes Escolares (1973) directed by Jaime Chávarri; La Espada Negra (1976) film directed by Francisco Rovira Beleta.Campana del Infierno (1973) by Claudio Guerin.\nAfter her starring role in Últimas tardes con Teresa (1983) directed by Gonzalo Herralde, she created the production company Ganesh Films with actor Julian Mateos and from then on she has taken roles in some of their production: The Holy Innocents (1984), by Mario Camus and Moon Child (1989), a film directed by Agusti Villaronga. Her most recent film is Engendro (2005) under the direction of Luis Cabeza.\n\nSelected filmography\nLa gran familia (1962)\nThe House That Screamed (1969)\nThe Blood Spattered Bride (1972)\nThe Bell from Hell (1973)\nThe Great House (1975)\nForget the Drums (1975)\nFortunata y Jacinta (1980)\nÚltimas tardes con Teresa (1983)\nThe Holy Innocents (1984)\nMoon Child (1989)\nPassage 10:\nIsabel Bacardit\nMaria Isabel Preñanosa Bacardit (born 1960 in Barcelona) is a Spanish painter.\n\nBiography\nIsabel Bacardit was born in Barcelona, Spain, in 1960. She starts her artistic education at the School of Arts of Poblenou, with Miquel Simó as her teacher, then moves on to the Escola d’Arts Aplicades i Oficis Artistics (Llotja) in Barcelona.\nStarting as an abstract painter, she paints on materials she finds in the street: cardboard, wood, etc. Inspired by urban images, she paints using pigments mixed with sawdust and paper-paste to achieve densities and textures. Her compositions are based on primary colours.\nIn 1984 she is selected for the Fifth Biennale of Barcelona- Young Contemporary Painting. In 1985 she takes part in the First Exhibition of Young Art in Madrid and in the First Biennale of Young Cultural Productions of the European Mediterranean. In 1986 she is again selected for the Second Exhibition of Young Art in Madrid.\nWith the unexpected death of her partner, the painter Xavier Vidal i Banchs in 1984, Bacardit changes the theme of her work, taking inspiration now from the accidental changes of life. She creates a series of works based on The Disasters of War by Goya and paints proceeding from photographs of accidents taken from newspapers. She also changes her palette, turning to dark and earthen colours.\nIn 1986, due to the works in preparation for the 1992 Olympics, her paintings reflect the transformation of Barcelona, taking machines and diggers as her main motives.\nIn 1987 she illustrates the poem Helicón by Bruno Montané Krebs. She travels to Berlin, where she resides for a year. Here her themes are the signs of war, still visible on the buildings in the divided city. She exhibits in the gallery Vendemmia with the title \"This is my Silence\".\nIn 1988 she moves to Mallorca, where she comes in contact with the theatre works of the Polish author Tadeusz Kantor. She creates the portfolio \"The right to live in peace\", with paintings inspired by the theatre of this author.\nIn 1989 she takes up residence in Santa Coloma de Farnés (Spain). In the midst of nature she changes her themes dramatically. Her work finds inspiration in the landscape, light and silence. She leaves her work on the theme of death, with its dense materiality, behind, moving towards watercolours and transparencies.\nIn 1990 she lives in Rio de Janeiro, where she works with organisations for the welfare of street children, gives painting classes and establishes her studio in the gallery Maria Teresa Vieira. In Salvador de Bahia she exhibits a series of erotic drawings at the University of Fine Arts.\nIn 1991 she arrives in Chile. She exhibits in the gallery Buchi in Santiago de Chile and lives in Valparaiso. She collaborates with various artists: Edgard del Canto (painter), Alma Martinoia (painter), Ivo Vergara (painter), Cristina Correa (painter), Teresa Olivera (actress), Hernan Varela (stained glass artist) and Víctor Barrientos Ormazábal (actor and theatre director). With them, she founds the theatre company \"Theatre only for Fools\".\nShe begins her series \"Earth, Air, Water and Fire\". On request of the cultural centre Las Condes of Santiago de Chile she builds a large scale sculpture out of papier-mache and acrylics: \"Bird Woman\" which is dedicated to the flamenco dancer Carmen Amaya. For the theatre company \"Theatre of Silence\" she creates the life size puppets of the play \"Taca taca mon amour\" by Mauricio Celedón.In 1994 she returns to Barcelona. She abandons abstract painting and returns to the figurative. In this period stand out:\n\nThe installation \"Since ever, until when, since ever\" for the \"Meeting of Street Artists\" in Granada.\nAn Exhibition in the civic centre Can Felipa with the collective \"Art by Women\", with works based on the theme of the female reproductive organs and birth.\nThe installation \"Shoe-house Zapata\"\nPoeto-musical actions with Lucho Hermosilla, Steven Forster and Gaspar Lucas with the poem Altazor by Vicente Huidobro.In 1996 she travels to Mexico. She meets Ofelia Medina and makes contact with the Zapatista communities in Chiapas, where she becomes strongly influenced by elements of indigenous symbolism and spirituality.\nIn 1997 she returns to Barcelona. In collaboration with Primitiva Reverter, Judit Bacardit, Montserrat Baqués, Mercè Candó, Caty Fernández and Aina Reverter she initiates the publication of the magazine Adiosas. With the same artists she exhibits in the gallery Espai22a.\nIn 1998 she works with the Dutch travelling theatre company \"Azart Ship of Fools\". She travels and acts on the boat of the company and creates masks and part of the costumes for the work The Pilgrim at the End of the World.\nIn 1999 she establishes herself in Vilarnadal (Girona, Spain), where she lives for six years in an old mill. She paints and cultivates the earth.\nIn 2002 she exhibits, together with her sister, the sculptor Judit Bacardit, in the information centre of the Parc dels Aiguamolls de l’Empordà and in the exhibition rooms of the Caixa Girona in Roses.\nIn 2003 they exhibit again at this location. She participates in the European meeting of woman artists \"In Via\" in Switzerland.\nIn 2004 she creates the stage design and decorations for the programme \"The Ship of Fools\" for the local television in Amsterdam.\nSince 2005 she lives in Barcelona.\n\nNotes",6 "char_len": 37838,7 "document_hash": "6fe9ab7323109e34803ea88fdf79b7c42a26a64246b0791cba1ff6ed84f6a4d0",8 "questions": [9 {10 "question_id": "q00",11 "qtype": "2wikimqa",12 "question": "What is the date of death of Maria Isabel De Alcântara, Countess Of Iguaçu's mother?"13 }14 ]15}