Diana Carolina

Diana Carolina
Empress of Exponent Countess of Zagaleta
Empress of Exponent
Reign	1667-1702
Born	February 1642 Monsa, Principality of Monsa
Died	September 1707 Paradisa, Empire of Exponent
Burial	Iglesia de San Francisco
Spouse	Marius IX
Issue	Antonius VI
Full name Diana Carolina Idelfonso-Giusti Aznares y Garreda de Exponentia
Dynasty	Exponentia Giusti
Religion	Roman Catholicism

Diana Carolina Giusti-Exponentia (Diana Carolina Idelfonso-Giusti Aznares y Garreda de Exponentia; February 9, 1642 – September 22, 1707) was a Monsan Countess and Empress of Exponent by her marriage to Marius IX. She played a crucial role in the Monsan-Exponent conflict, as well as in the development of relations between the two nations and the treatment  of victims during the Third Hesperidesian Plague on the Hesperidesian continent.

Diana was born in 1642 in the core of an aristocrat family of Monsa; her father, the Count Pedro Idelfonso-Giusti of Zagaleta, was close advisor and cousin of the Prince Lucas II, while her mother, María Pía Aznares y Garreda, was a prominent aristocrat and musician. During her early years, Diana studied music in Monsa; however, at an early age, the invasion of Exponentia and the later Siege of St. Barthélemy took her to continue most of her life from the island, with this period having a powerful effect in her records and studies. During the end of the siege, her father was instrumental in the return of the House of Giusti to Monsa and the withdrawal of Exponential forces, the treaty with the Empire specified the journey of Diana Carolina to Paradisa, where she subsequently met Marius IX, who in 1667 became Emperor of Exponent. During her time in Paradisa, Diana became attracted by the arts and developed an impressive art collection that is shared between the two nations. Her legacy was also seen in the museums founded across Hesperidesia under her patronage and the cultural heritage she left as a mark in the city, like the Palatium Monsa. During the Third Plague in Hesperidesia, her person rose a never seen popularity, as she found herself completely avocated to the construction of hospitals and medical facilities in the continent, as well as the funding of medical investigation and science.

In year, Diana gave birth to her only son, Antonius VI, who became Emperor after the death of her father in 1702. Diana would pass away two years later; her funeral was followed by hundreds and attended by several members of the Astyrian royalty. Her remains were moved to Monsa, where she was finally buried in the Iglesia de San Francisco, next to her parents.

Empress of Exponent

During her time as Empress, Diana Carolina gained the favor of her people by being well known for her scientific, artistic, and humanitarian contributions to her community.

Scientific endeavors

One of the most important contributions Diana Carolina made to Exponential history came from her dedication to the advancement of science, particularly medical science. She built a variety of medical facilities, some of these facilities focused on the humanistic treatment of both adult and pediatric patients, while others focused on researching and perfecting new treatments for later implementation with patients. Once such Facility, the Diana Carolina Academy of Science, funded the research of individuals like Horatius Uritinus. He is credited with many discoveries, including being the first to observe protozoa in 1674, the discovery of red blood cells, and several years later he observed bacteria. These “animalcules” would lay the foundations for the sciences of Microbiology and Immunology in Eastern Astyria, while her hospitals for children, and the research from scientists like Horatius Uritinus, represent the beginnings of pediatric science and medicine in Exponent.

For treatment, Diana Carolina favored a humanistic approach. As part of this she was a powerful advocate for patient rights and harm reduction. She was known for taking a hands-on approach to ensuring the proper care of the children in her hospitals and was reported to have come for surprise “visits” during which she’d request a tour of the facility. During this tour she would often interview one of the children. In an effort to combine her passions Diana Carolina would often invite artists from the Diana Carolina School for The Gifted (DCSG) to the Diana Carolina Hospital for Children, to teach the children that were well enough, some basic artistic methods.Throughout many of the halls within the Diana Carolina Hospital for Children the art created by its patients hung surrounded by murals, to brighten the days of those who walked its halls. Some of these children would survive their illness and continue with their studies into art, a passion awakened during their illness. Most notable of these students is Elianus Maluginensis. The work of Elianus was favored by Diana and kept in the Diana Carolina Gallery.

Patron of the arts

Her love of the arts lead her to influence many different artists of her time. Many of her portraits were completed by the Morrosettan-born artist Francisco Cornide Besteriro-Soto which still hang in the Diana Carolina Gallery. Many of her favorite art pieces were landscapes created by the local painter Angelicus Pansa; some of these hang at The Diana Carolina School for The Gifted and others at Iglesia de San Franscisco where she was buried. DCSG employed some of the best artists to teach any who showed an interest, as a result some of the best artists of Hesperidesia have come from this school.

These artists were often commissioned to paint intricate murals on the walls lining the building as well, to encourage a positive hospital environment. In addition to employing artists at the school Diana Carplina hired many sculptors to create intricate statues for her buildings. These sculptors often included intricate wall carvings to line the entrances as well. At the time of her death her artwork was redistributed and displayed across Exponent and Monsa in the various galleries, institutions, and buildings she helped create.

Humanitarian efforts

In addition to a passion for art and a love of science, Diana also participated in a number of other humanitarian acts throughout her time as Empress. In 1780 Diana began what would be some of her final contributions to her empire. These would be the development of a number of community parks and gardens. These parks were open to any and all who cared to use them, bringing people from all parts of her empire together in one space. In addition to being a central hub to the community, the most notable feature of these parks was they served as a community garden as well. Many fruit bearing trees were planted throughout these parks and members of the community were encouraged to plant and grow other foods there. The only rule was that nothing was to be sold within these park boundaries. This contribution by Diana to the surrounding community kept even her poorest of people from succumbing to hunger. These parks were also where celebrations were held throughout the year. It was said that Diana instructed those she entrusted with the parks construction to hire beggars to maintain the parts that were not maintained by the community alone.

As the years past she upgraded the parks to feature sculptures and artwork from some of her favorite artists. Today many of the sculptures still stand.

Death

Diana Carolina passed away at the age of 65 in 1707. She was beloved by her subjects and her death was felt heavily across her kingdom. Her body was left lying in state at the Palatium Monsa so her subjects could come mourn and pay their respects. After three days, she was then placed in an open faced carriage and a funeral procession was carried out through the streets. This procession ended at a specially designed funeral vessel in the Paradisian Harbor, which brought her to Monsa, her final resting place where a private ceremony was held by the family.

A vigil was held for her in the community park that she frequented the most during her reign and thousands of subjects came to honor and give a final farewell to their Emperess. Her legacy remains to this day with a memorial that stands in the center of this park. A large portion of extensive art collection was ceded to the Principality of Monsa in 1902 and has since traveled the world.Before she passed away she instructed to her son that a portion of her wealth be distributed among the various museums, hospitals and research instutions she helped create. This allowed for unprecedented advancements in the medical field and the preservation of thier history.

Legacy

Avenue Diana Carolina de Zagaleta y Exponentia in Monsa.

The legacy of Diana Carolina is easily perceived in both modern day Monsa and the Blackhelm Confederacy. In the principality, her figure is remembered as having had a crucial role in the end of the Siege of St. Barthélemy and the exile of the House of Giusti from Monsa; while in Hesperidesia, the Countness and Empress is usually remembered by her efforts during the Third Hesperidesian Plague, which left behind a large record of scientific investigation and her humanist approach towards the victims. The Diana Carolina Hospital for Children in Paradisa was one of the first special treatment facilities built in the city that provided both medical care for the vulnerable and an important amount of research.

In the cultural world, Diana Carolina is remembered for having left an important art collection, which in 1902 was ceded back to the Principality of Monsa and has travelled around the world since then. Palatium Monsa, a baroque palace in the confederate capital, was commissioned by Diana Carolina to be built in 1663 and has become a sign of the capital since then, due to its prominent location in Campus Martius and cultural heritage; in 2021 Princess Letizia Giusti inaugurated the Diana Carolina Gallery in the palace, which hosts the embassy of Monsa since 1821, and counts with a permanent collection composed by renowned Monsan and Confederate artists. In Monsa, Diana Carolina gives also name to an important avenue in the centric neighbourhood of Conquistadores.

Cultural Depictions

Diana Carolina by Francisco Cornide Besteiro-Soto; Paradisa, 1644.

Diana Carolina was depicted in numerous occasions by both Exponential and Monsan artists. Her figure was widely known in the two countries to the point of having been recognised as a beauty symbol by the women and men of the time. Her portrait paintings were primarily done by the Alcantaran painter Francisco Cornide Besteiro-Soto, who followed her during most of her time in Hesperidesia.