See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

ROBERT See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ROBERT ADAM (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

ADAM (1728—1792)  , See also:

• BRITISH

British architect, the second son of See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam of Maryburgh, in See also:

• FIFE
• FIFE (Fr. fifre; Med. Ger. Schweizerpfeiff, Feldpfeiff; Ital. ottavino)

Fife, and the most celebrated of four See also:

• BROTHERS, RICHARD (1757-1824)

brothers, See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John, See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert, See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James and William Adam, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• KIRKCALDY (locally pronounced Kerkawdi)

Kirkcaldy in 1728 . For few famous men have we so little See also:

• BIOGRAPHICAL

biographical material, and contemporary references to him are sparse . He certainly studied at the university of See also:

• EDINBURGH

Edinburgh, and probably received his first instruction in See also:

• ARCHITECTURE (Lat. architectura, from the Gr. ap)(LTEKrwv, a master-builder)

architecture from his See also:

• FATHER

father, who gave proofs of his own skill and See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste in the Edinburgh Royal Infirmary (now demolished) . His See also:

• MOTHER

mother was the aunt of Dr W . See also:

• ROBERTSON, FREDERICK WILLIAM (1816-1853)
• ROBERTSON, GEORGE CROOM (1842-1892)
• ROBERTSON, JOSEPH (1810-1866)
• ROBERTSON, THOMAS WILLIAM (1829-1871)
• ROBERTSON, WILLIAM BRUCE (182o-1886)

Robertson, the first See also:

• ENGLISH

English historian of See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles V., and in 1750 we find Robert Adam living with her in Edinburgh, and making one of the brilliant See also:

• LITERARY

literary coterie which adorned it at that See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period . Somewhere between 1750 and 1754 he visited See also:

• ITALY
• ITALY (Italia)

Italy, where he spent three years studying the remains of See also:

• ROMAN

Roman architecture . There he was struck with the circumstance that practically nothing had survived of the See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek and Roman masterpieces except public buildings, and that the private palaces, which See also:

• VITRUVIUS (MARCUS VITRUVIUS POLLIO)

Vitruvius and See also:

• PLINY, THE ELDER
• PLINY, THE YOUNGER

Pliny esteemed so highly, had practically vanished . One example of such See also:

• WORK

work, however, was extant in the ruins of See also:

• DIOCLETIAN (GAIUs AURELIUS VALERIUS DIOCLETIANUS) (A.D. 245–313)
• DIOCLETIAN, EDICT OF (De Pretiis rerum venalium)

Diocletian's See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

palace at See also:

• SPALATO, or SPALATRO (Serbo-Croatian Spljet or Split)

Spalato, in See also:

• DALMATIA (Ger. Dalmatien; Ital. Dalmazia; Serbo-Croatian, Dalmacija)

Dalmatia, and this he visited in See also:

• JULY

July 1757, taking with him the famous See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French architect and See also:

• ANTIQUARY

antiquary, C . L . Clerisseau, and two experienced draughtsmen, with whose assistance, after being arrested as a See also:

• SPY
• SPY (from " to spy " or " espy"; 0. Fr. espie, espier, to spy, watch; cf. Ger. spdhen, Lat. specere, to look; the Fr. term " espionage "is of course from the same source)

spy, he managed in five See also:

• WEEKS, EDWIN LORD (1849-1903)

weeks to accumulate a sufficient number of measurements and careful plans and surveys to produce a restoration of the entire See also:

• BUILDING

building in a See also:

• FINE

fine work which he published in 1764, The Ruins of the Palace of Diocletian, &c . Considering the shortness of the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time occupied and the obstacles placed in his way by the Venetian See also:

• GOVERNOR (from the Fr. gouverneur, from gouverner, O. Fr. governer, Lat. gubernare, to steer a ship, to direct, guide)

governor and the See also:

• POPULATION (Lat. populus, people; populare, to populate)

population of the See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place, the result was amazing . The See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of these studies was apparent directly and indirectly in much of his subsequent work, which, indeed, was in See also:

• GREAT

great measure founded upon them .

After his return to See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England he seems to have come rapidly to the front, and in 1762 he was appointed See also:

• SOLE (Solea)

sole architect to the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king and the See also:

• BOARD (O. Eng. bord)

Board of See also:

• WORKS

Works . Six years later he resigned this See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office, in which he was succeeded by his See also:

• BROTHER

brother James,—who however, held the office jointly with another,—and entered See also:

• PARLIAMENT (Anglo-Lat. parliamentum, Fr. parlement, from parler, to speak)

parliament as member for the See also:

• COUNTY (through Norm. Fr. comae, cf. O. Fr. cunte, conk', Mod. Fr. comae, from Lat. comitatus, cf. Ital. comitato, Prov. comtat; see COUNT)

county of Kinross . In 1768 he and his three brothers leased the ground fronting the See also:

• THAMES

Thames, upon which the Adelphi now stands, for £1200 on a ninety-nine years' See also:

• LEASE (derived through the Fr. from the Lat. laxare, to loosen)

lease, and having obtained, with the assistance of See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord See also:

• BUTE
• BUTE, JOHN STUART, 3RD EARL OF (1713-1792)

Bute, the needful See also:

• ACT (Lat. actus, actum)

act of parliament, proceeded, in the See also:

• TEETH (O.E. Eel); plural of tooth, O.E. top)

teeth of public opposition, to erect the ambitious See also:

• BLOCK
• BLOCK (from the Fr. bloc, and possibly connected with an Old Ger. Block, obstruction, cf. " baulk ")
• BLOCK, MAURICE (1816–19or)

block of buildings which is imperishably associated with their name, indicating its See also:

• JOINT (through Fr. from Lat. junctum, jungere, to join)

joint origin by the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title Adelphi, from the Greek aleX4of, the Brothers . The site presented attractive possibilities . A steep See also:

• HILL
• HILL (0. Eng. hyll; cf. Low Ger. hull, Mid. Dutch hul, allied to Lat. celsus, high, collis, hill, &c.)
• HILL, A
• HILL, AARON (1685-175o)
• HILL, AMBROSE POWELL
• HILL, DANIEL HARVEY (1821-1889)
• HILL, DAVID BENNETT (1843–1910)
• HILL, GEORGE BIRKBECK NORMAN (1835-1903)
• HILL, JAMES J
• HILL, JOHN (c. 1716-1775)
• HILL, MATTHEW DAVENPORT (1792-1872)
• HILL, OCTAVIA (1838– )
• HILL, ROWLAND (1744–1833)
• HILL, SIR ROWLAND (1795-1879)

hill led down See also:

• BUCKINGHAM
• BUCKINGHAM, EARLS, MARQUESSES AND DUKES OF
• BUCKINGHAM, FIRST DUKE
• BUCKINGHAM, GEORGE VILLIERS, 1ST DUKE 0E1
• BUCKINGHAM, GEORGE VILLIERS, 2ND DUKE 0E1 (1628-1687)
• BUCKINGHAM, HENRY STAFFORD, 2ND DUKE OF3 (1454-1483)
• BUCKINGHAM, JAMES SILK (1786-1855)

Buckingham See also:

• STREET
• STREET, GEORGE EDMUND (1824-1881)

Street to the See also:

• RIVER

river-See also:

• SIDE
• SIDE (mod. Eski Adalia)

side, and the See also:

• PLAN
• PLAN (from Lat. planes, flat)

plan was to raise against it, upon a See also:

• TERRACE (Fr. terrace, terrasse, from It. terraccia, terrazzo, Lat. terra, earth)

terrace formed of massive See also:

• ARCHES, COURT OF

arches and vaults and facing the river, a dignified See also:

• QUARTER (through Fr. from Lat. quartarius, fourth part)

quarter of fine streets and stately buildings, suggestive of the Spalato ruins . In spite of many difficulties, pecuniary and otherwise (the undertaking was completed from the proceeds of a lottery), See also:

• MONEY

money was raised and the work pushed on; in five years the Adelphi terrace stood See also:

• COMPLETE

complete, and the fine houses were eagerly sought after by artists and men of letters . Splendid, however, as the terrace and its houses are, both in conception and See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution, the underground work which upholds them is perhaps more remarkable still . The vast See also:

• SERIES (a Latin word from serere, to join)

series of arched vaults has been described by a See also:

• MODERN

modern writer as a very See also:

• TOWN

town, which, during the years that they were open, formed subterranean streets leading to the river and its wharves . In many places the arches stand in See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double tiers . In time these " streets " obtained a See also:

• BAD, BCD

bad name as the haunt of suspicious characters, and they have See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long been enclosed and let as cellars . Between 1793 and 1778 the brothers issued a fine series of See also:

• FOLIO (properly the ablative case of the Lat. folium, leaf, but also frequently an adaptation of the Ital. foglio)

folio engravings and descriptions of the designs for many of their most important works, which included several great public buildings and numberless large private houses; a fine See also:

• VOLUME

volume was published in 1822 . For the remaining years of Robert's See also:

• LIFE

life the practice of the See also:

• FIRM

firm was the most extensive in the See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country; his position was unquestioned, and when he died in 1792 he was laid to See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest in See also:

• WESTMINSTER
• WESTMINSTER, MARQUESSES AND DUKES OF
• WESTMINSTER, STATUTES OF
• WESTMINSTER, SYNODS OF

Westminster See also:

• ABBEY (Lat. abbatia; from Syr. abba, father)
• ABBEY, EDWIN AUSTIN (1852– )

Abbey almost as a See also:

• MATTER

matter of course .

The See also:

• ART

art of Robert Adam was extraordinarily many-sided and prolific, and it is difficult to give a condensed appreciation of it . As an architect he was strongly under Roman and See also:

• ITALIAN

Italian influences, and his See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style and aims were See also:

• EXOTIC (Gr. EWTIK6s, foreign, from few, outside)

exotic rather than native . But this does not detract from their merit, nor need it diminish our estimate of his See also:

• GENIUS (from Lat. genere, gignere)

genius . It was, indeed, the most See also:

• SIGNAL

signal See also:

• TRIUMPH (triumphus)

triumph of that genius that he was able so to See also:

• MOULD

mould and adapt classical See also:

• MODELS

models as to create a new manner of the highest See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm and distinction . Out of See also:

• SIMPLE

simple See also:

• CURVILINEAR

curvilinear forms, of which he principally preferred the See also:

• OVAL (Lat. ovum, egg)

oval, he evolved combinations of extra-See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace and variety, and these entered into every detail of his work . In his view the architect was intimately concerned with the See also:

• FURNITURE (from " furnish," Fr. fournir)

furniture and the decorations of a building, as well as with its See also:

• FORM (Lat. forma)

form and construction, and this view he carried rigorously into practice, and with astonishing success . Nothing was too small and unimportant for him—summer-houses and See also:

• DOG

dog-kennels came as readily to him as the vast facades of a terrace in town or a great country douse . But he never permitted See also:

• MINUTE
• MINUTE (Lat. minutes, small; minuere, to make less)

minute details to obscure the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main lines of a See also:

• NOBLE, SIR ANDREW (1832- )

noble See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design . Whatever care he might have expended upon the flowing curves of a moulding or a decoration, it was strictly kept in its place; it contributed its See also:

• SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

share and no more to the See also:

• TOTAL

total effect . He made a distinct step forward in giving shape to the See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea of imparting the unity of a single imposing structure to a number of private houses grouped in a block which is so characteristic a feature of modern town building, and though at times he failed in the breadth of grasp needful to carry out such an idea on a large See also:

• SCALE
• SCALE (1) A

scale; he has See also:

• LEFT

left us some fine examples of what can be accom-plished in this direction . A delightful but theoretically undesirable characteristic of his work is the use of See also:

• STUCCO (Ital. stucco, adapted from O.H.G. stucchi, crust, piece, patch, Ger. Stuck, piece, allied to stock)

stucco . Upon it he moulded delicate forms in subtle and beautiful proportions .

His " compo " was used so successfully that the patent was in-fringed: many of his moulds still exist and are in See also:

• CONSTANT, BENJAMIN (1845-1902)

constant use . That most difficult feature, the See also:

• COLUMN (Lat. columna)

column, he handled with See also:

• ENTHUSIASM

enthusiasm and perfect mastery; he studied and wrote of it with minute pains, while his practice showed his grasp of the subject by all avoidance of See also:

• BARE

bare See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation of the classic masters who first brought it to perfection . His work might be classic in form, but it was independently See also:

• DEVELOPED

developed by himself . It would be impossible here to give a See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list of the innumerable works which he executed . In See also:

• LONDON

London, of course, the Adelphi stands pre-eminent; the See also:

• SCREEN (usually, but very doubtfully, connected with Lat. scrinium, a box for holding books, from scribere, to write; a connexion with Ger. Schranke, barrier, has been suggested)

screen and See also:

• GATE

gate of the See also:

• ADMIRALTY, HIGH COURT OF

Admiralty and See also:

• PART

part of See also:

• FITZROY
• FITZROY, ROBERT (1805-1865)

Fitzroy Square are by him, See also:

• PORTLAND
• PORTLAND, EARL OF
• PORTLAND, ISLE OF
• PORTLAND, WILLIAM BENTINCK, EARL
• PORTLAND, WILLIAM HENRY CAVENDISH BENTINCK

Portland Place, and much of the older portion of See also:

• FINSBURY

Finsbury See also:

• CIRCUS (Lat. circus, Gr. Kipeos or Kptxot, a ring or' circle; probably " circus " and " ring " are of the same origin)

Circus, besides whole streets of houses in the See also:

• WEST
• WEST, BENJAMIN (1738-1820)
• WEST, NICHOLAS (1461-1533)

west end . There are the famous country houses of Lord See also:

• MANSFIELD
• MANSFIELD, RICHARD (1857-1907)
• MANSFIELD, WILLIAM MURRAY, 1ST EARL

Mansfield at See also:

• CAEN

Caen See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

Wood, See also:

• HIGHGATE

Highgate and See also:

• LUTON

Luton Hoo, and decorations and additions to many more . Robert Adam—with, there is See also:

• REASON (Lat. ratio, through French raison)

reason to suspect, some help from his brother James—has left as deep and enduring a See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark upon English furniture as upon English architecture . Down to his time See also:

• CARVING

carving was the dominant characteristic of the mobiliary art, but thenceforward the wood-worker declined in importance . French influence disposed Robert Adam to the development of painted furniture with inlays of beautiful exotic See also:

• WOODS, LEONARD (1774-1854)
• WOODS, SIR ALBERT (1816-1904)

woods, and many of his designs, especially for sideboards, are extremely attractive, mainly by reason of their austere simplicity . Robert Adam was no doubt at first led to turn his thoughts towards furniture by his See also:

• DESIRE

desire to see his See also:

• LIGHT

light, delicate, graceful interiors, with their large sense of See also:

• ATMOSPHERE (Gr. fir µ6r, vapour; orkaipa, a sphere)

atmosphere and their refined and finished detail, filled with plenishings which fitted naturally into his See also:

• SCHEME (Lat. schema, Gr. oxfjya, figure, form, from the root axe, seen in exeiv, to have, hold, to be of such shape, form, &c.)

scheme . His own taste developed as he went on, but he was usually extremely successful, and cabinetmakers are still reproducing his most effective designs . In his furniture he made lavish use of his favourite decorative motives—wreaths and paterae, the See also:

• HONEY (Chin. me ; Sansk. madhu, mead, honey; cf. A.S. medo, medu, mead; Gr. p Xt, in which 0 or b is changed into X; Lat. mel ; Fr. miel ; A.S. hung ; Ger. Honig)

honey-suckle, and that See also:

• FAN (Lat. vannus; Fr. eventail)

fan See also:

• ORNAMENT (Lat. ornare, to adorn)

ornament which he used so constantly .

Thus an Adam See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house is a unique product of English art . From See also:

• FACADE

facade to See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire-irons; from the chimneys to the carpets, every-thing originated in the same See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order of ideas, and to this See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day an Adam See also:

• DRAWING

drawing-See also:

• ROOM

room is to English what a See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis Seize room is to French art . In nothing were the See also:

• ADAMS
• ADAMS, ANDREW LEITH (1827-1882)
• ADAMS, CHARLES FRANCIS (1807-1886)
• ADAMS, HENRY (1838— )
• ADAMS, HENRY CARTER (1852— )
• ADAMS, HERBERT (i858— )
• ADAMS, HERBERT BAXTER (1850—1901)
• ADAMS, JOHN (1735–1826)
• ADAMS, JOHN QUINCY (1767-1848)
• ADAMS, SAMUEL (1722-1803)
• ADAMS, THOMAS (d. c. 1655)
• ADAMS, WILLIAM (d. 162o)

Adams more successful than in mantelpieces and doors.` The former, by reason of their simplicity and the readiness with which the " compo " ornaments can be applied and painted, are still made in cheap forms in great number . The latter were most commonly executed in a See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich See also:

• MAHOGANY

mahogany and are now greatly sought after . The extent to which the brothers worked together is by no means clear—indeed, there is an astonishing dearth of See also:

• INFORMATION (from Lat. informare, to give shape or form to, to represent, describe)

information regarding this remarkable See also:

• FAMILY

family, and it is a reproach to English art literature that no See also:

• BIOGRAPHY (from the Gr. (3ios, life, and yp&4 , writing)

biography of Robert Adam has ever been published . John Adam succeeded to his father's practice as an architect in Edinburgh . James Adam studied in See also:

• ROME
• ROME (Roma)

Rome, and eventually was closely associated with Robert; William is variously said to have been a banker and an architect . (J .