See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

PHILIP See also:

• VAN

VAN See also:

• ARTEVELDE, JACOB VAN (c. 1290-1345)
• PHILIP VAN ARTEVELDE (c. 1340-1382)

ARTEVELDE (c. 1340-1382)  , youngest son of the above, and godson of See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen Philippa of See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, who held him in her arms at his See also:

• BAPTISM

baptism, lived in retirement until 1381 . The Ghenters had in that See also:

• YEAR

year risen in revolt against the oppression of the See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

count of See also:

• FLANDERS (Flem. Vlaanderen)

Flanders, and See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip, now See also:

• FORTY

forty years of See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age, and without any military or See also:

• POLITICAL

political experience, was offered the supreme command . His name awakened See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general See also:

• ENTHUSIASM

enthusiasm . At first his efforts were attended by considerable success . He defeated 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 de Male, count of Flanders, before See also:

• BRUGES (Flemish Brugge, a name signifying the bridge or place of bridges)

Bruges, entered that See also:

• CITY (through Fr. cite, from Lat. civitas)

city in See also:

• TRIUMPH (triumphus)

triumph, and was soon See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of all Flanders . But See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France took up the cause of the Flemish count, and a splendid See also:

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

French See also:

• ARMY
• ARMY (from Fr. armee, Lat. armata)

army was led across the frontier by the See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young 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 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 VI. in See also:

• PERSON, OFFENCES AGAINST THE

person . See also:

• ARTEVELDE, JACOB VAN (c. 1290-1345)
• ARTEVELDE, PHILIP VAN (c. 1340-1382)

Artevelde advanced to meet the enemy at the See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head of a burgher army of some 50,000 Flemings . The armies met at Roosebeke near Courtrai, with the result that the Flemings were routed with terrible loss, Philip himself being among the slain . This happened on the 27th of See also:

• NOVEMBER (Lat. novem, nine)

November 1382 . The brief but stirring career of this popular See also:

• LEADER, BENJAMIN WILLIAMS (1831– )

leader is admirably treated in See also:

• SIR

Sir See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry See also:

• TAYLOR
• TAYLOR, ANN (1782-1866)
• TAYLOR, BAYARD (1825–1878)
• TAYLOR, BROOK (1685–1731)
• TAYLOR, ISAAC (1787-1865)
• TAYLOR, ISAAC (1829-1901)
• TAYLOR, JEREMY (1613-1667)
• TAYLOR, JOHN (158o-1653)
• TAYLOR, JOHN (1704-1766)
• TAYLOR, JOSEPH (c. 1586-c. 1653)
• TAYLOR, MICHAEL ANGELO (1757–1834)
• TAYLOR, NATHANIEL WILLIAM (1786-1858)
• TAYLOR, PHILIP MEADOWS (1808–1876)
• TAYLOR, ROWLAND (d. 1555)
• TAYLOR, SIR HENRY (1800-1886)
• TAYLOR, THOMAS (1758-1835)
• TAYLOR, TOM (1817-1880)
• TAYLOR, WILLIAM (1765-1836)
• TAYLOR, ZACHARY (1784-1850)

Taylor's See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama, Philip See also:

• VAN

van Artevelde . See also:

• ART

ART GALLERIES . An art See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery (by which, as distinguished from more general MUSEUMS OF ART, q.v., is here meant one specially for pictures) epitomizes so many phases of human thought and See also:

• IMAGINATION

imagination that it connotes much more than a See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere collection of paintings .

In its technical and aesthetic aspect the gallery shows the treatment of See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour, See also:

• FORM (Lat. forma)

form and See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition . In its See also:

• HISTORICAL

historical aspect we find the true portraits of See also:

• GREAT

great men of the past; we can observe their habits of See also:

• LIFE

life, their See also:

• MANNERS, CHARLES (1857– )

manners, their See also:

• DRESS (from the Fr. dresser, to set out, arrange, formed from Lat. directus, arranged, dirigere, to direct, arrange)

dress, the See also:

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

architecture of their times, and the religious See also:

• WORSHIP (i.e. " worth-ship," O. Eng. weor8scipe)

worship of the See also:

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

period in which they lived . Regarded collectively, the art of a 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 epitomizes the whole development of the See also:

• PEOPLE

people that produced it . Most important of all is the emotional aspect of See also:

• PAINTING

painting, which must enter less or more into every picture worthy of See also:

• NOTICE

notice . To take examples from the See also:

• BRITISH

British See also:

• NATIONAL

National Gallery: pathos in its most intense degree will be found in See also:

• FRANCIA (c. 1450-1517)
• FRANCIA, JOSE GASPAR RODRIGUEZ (c. 1757-1840)

Francia's " Pieta "; dignity in . Velasquez' portrait of See also:

• ADMIRAL

Admiral See also:

• PAREJA, JUAN DE (1606–1670)

Pareja; homeliness in Van See also:

• EYCK, VAN

Eyck's portrait of See also:

• JAN

Jan Arnolfini and his wife; the See also:

• INTERPRETATION (from Lat. interpretari, to expound, explain, inter pres, an agent, go-between, interpreter; inter, between, and the root pret-, possibly connected with that seen either in Greek 4 p4'ew, to speak, or irpa-rrecv, to do)

interpretation of the varying moods of nature in According to this theory, though imperfectly realized owing to the paucity of examples, the philosophic See also:

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

influence of art galleries is becoming more widely extended; and in its further development will be found an ever-growing source of See also:

• INTEREST

interest, instruction and scholarship to the community . The most suitable method of describing art galleries is to classify them by their types and contents rather than by the various countries to which they belong . Thus the great representative galleries of the See also:

• WORLD

world which possess See also:

• WORKS

works of every school are grouped together, followed by See also:

• STATE
• STATE, GREAT OFFICERS OF

state galleries which are not remarkable for more than one school of national art . Municipal galleries are divided into those which have general collections, and those which are notable for See also:

• SPECIAL

special collections . Churches which have See also:

• GOOD, JOHN MASON (1764-1827)

good paintings, together with those which are now secularized, are treated separately; while the collectiovs in the Vatican and private houses are described together . The remaining galleries, such as the See also:

• SALON

Salon or the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy, are periodical or commercial • • i i • i • • • • See also:

• NORTH
• NORTH, BARONS
• NORTH, MARIANNE (1830—1890)
• NORTH, ROGER (1653-1734)
• NORTH, SIR THOMAS (1535?-16o1?)

North See also:

• VESTIBULE (from Lat. vestibulum)

Vestibule, See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

Early See also:

• ITALIAN

Italian See also:

• SCHOOLS

Schools: I . Tuscan School (15th and 16th centuries) .

II . Sienese School, &c . See also:

• IIL, PP

IIl . Tuscan School . IV . Lombard School . V . Ferrarese and Bolognese Schools . VI . Umbrian School, &c . IX . Flemish School .

X . Early Dutch and Flemish Schools . XI . Dutch and Flemish Schools . XV . French School . XX . British School . the See also:

• WORK

work of See also:

• TURNER, CHARLES (1773–1857)
• TURNER, JOSEPH MALLORD WILLIAM (1775–1851)
• TURNER, NAT (1800-1831)
• TURNER, SHARON (1768-1847)
• TURNER, SIR JAMES (1615–1686)
• TURNER, WILLIAM (d. 1568)

Turner or See also:

• HOBBEMA, MEYNDERT (c. 1638-1709)

Hobbema; nothing can be more devotional than the canvases of See also:

• BELLINI
• BELLINI, LORENZO (1643-1704)
• BELLINI, VINCENZO (1801--18J5)

Bellini or his Umbrian contemporaries . So also the ruling sentiments of mankind—See also:

• MYSTICISM (from Or. µuety, to shut the eyes; µuorrts, one initiated into the mysteries)

mysticism, drama and imagination—are the keynotes of other great conceptions of the artist . All this may be at the command of those who visit the art gallery; but without See also:

• PATIENCE

patience, care and study the higher meaning will be lost to the spectator . The picture which " tells its own See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story " is often the least didactic, for it has no inner or deeper See also:

• LESSON (through Fr. lecon from Lat. lectio, reading; legere, to read)

lesson to reveal; it gives no stimulus or training to the See also:

• EYE
• EYE (O. Eng. edge, Ger. Auge; derived from an Indo-European root also seen in Lat. oc-ulus, the organ of vision (q.v.)

eye, See also:

• QUICK

quick as that See also:

• ORGAN

organ may be—segnius irritant animus—to translate sight into thought .

In brief, the painter asks that his i Oos may be shared as much as possible by the See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man who looks at the painting—the art above all others in which it is most needful to See also:

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

share the master's spirit if his work is to be fully appreciated . So, too, the art gallery, recalling the gentler associations of the past amidst surroundings of harmonious beauty and its attendant sense of comfort, is essentially a See also:

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

place of 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 for the mind and eye . In the more famous galleries where the See also:

• WEALTH

wealth of paintings allows a grouping of pictures according to their respective schools, one may choose the country, the See also:

• EPOCH (Gr. E7roxij, holding in suspense, a pause, from E1rxav, to hold up, to stop)

epoch, the See also:

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

style or even the emotion best suited to one's See also:

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

taste . in See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character, and are important in the development of See also:

• MODERN

modern art . The collections most worthy of See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention are the state galleries representative of See also:

• INTERNATIONAL, THE

international schools . Among these the British National Gallery holds a high place . .The collection state was founded in 1824 by the acquisition of the Anger- galleries of See also:

• STEIN, CHARLOTTE VON (1742-1827)
• STEIN, HEINRICH FRIEDRICH KARL, BARON VOM

stein pictures . Its accessions are mainly governed later-by the See also:

• PARLIAMENTARY

parliamentary See also:

• GRANT (from A.-Fr. graunter, O. Fr. greanter for creanter, popular Lat. creantare, for credentare, to entrust, Lat. credere, to believe, trust)
• GRANT, ANNE (1755-1838)
• GRANT, CHARLES (1746-1823)
• GRANT, GEORGE MONRO (1835–1902)
• GRANT, JAMES (1822–1887)
• GRANT, JAMES AUGUSTUS (1827–1892)
• GRANT, ROBERT (1814-1892)
• GRANT, SIR ALEXANDER
• GRANT, SIR FRANCIS (1803-1878)
• GRANT, SIR JAMES HOPE (1808–1895)
• GRANT, SIR PATRICK (1804-1895)
• GRANT, U
• GRANT, ULYSSES SIMPSON (1822-1885)

grant of £5000 to £10,000 a aat:: year, a sum which has occasionally been enlarged to schools. permit special purchases . Thus, in 1871, the See also:

• PEEL
• PEEL, ARTHUR WELLESLEY PEEL, 1ST VISCOUNT (1829- )
• PEEL, SIR ROBERT, BART

Peel collection of seventy-seven pictures was bought for £75,000, and in 1885 the Ansidei Madonna (See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael) and Van Dyck's portrait of Charles I. were bought, the one for £70,000 and the other for £17.500 . In 1890 the See also:

• GOVERNMENT
• GOVERNMENT (0. Fr. governement, mod. gouvernement, O. Fr. governer, mod. gouverner, from Lat. gubernare, to steer a ship, guide, rule; cf. Gr. xv(3epvav)

government gave £25,000 to meet a See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift of £30,000 made by three gentlemen to acquire three portraits by See also:

• MORONI, C
• MORONI, GIAMBATTISTA (c. 1510-1578)

Moroni, See also:

• VELAZQUEZ, DIEGO RODRIGUEZ DE SILVA Y (1599-166o)

Velazquez and See also:

• HOLBEIN, HANS

Holbein . The most important private gifts were the See also:

• VERNON
• VERNON, EDWARD (1684-1757)

Vernon gift in 1847, the Turner See also:

• BEQUEST (from 0. Eng. becwethan, to declare or express in words; cf. " quoth ")

bequest in 1856 and the Wynne-See also:

• ELLIS (originally SHARPE), ALEXANDER JOHN (1814-189o)
• ELLIS, GEORGE (1753-1815)
• ELLIS, ROBINSON (1834- )
• ELLIS, SIR HENRY (1777-1869)
• ELLIS, WILLIAM (1794 – 1872)

Ellis See also:

• LEGACY (Lat. legatum)

legacy in 1876 . Since 1905 the Art Collections Fund, a society of private subscribers, has also been responsible for important additions to the gallery, notably the See also:

• VENUS

Venus of Velazquez (1907) .

The gallery contains very few poor works and all schools are well represented, with the See also:

• SOLE (Solea)

sole exception of the French school . This, however, can be amply studied at See also:

• HERTFORD
• HERTFORD, EARLS AND MARQUESSES OF

Hertford 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 (See also:

• WALLACE, ALFRED RUSSEL (1823— )
• WALLACE, LEWIS [LEW] (1827—1905)
• WALLACE, SIR RICHARD
• WALLACE, SIR WILLIAM (c. 1270-1305)
• WALLACE, WILLIAM (1768-1843)
• WALLACE, WILLIAM (1844-1897)
• WALLACE, WILLIAM VINCENT (1814-1865)

Wallace Collection), which, besides Dutch, See also:

• SPANISH

Spanish and British pictures of the highest value, contains twenty examples of See also:

• GREUZE, JEAN BAPTISTE (1725-1805)

Greuze, fifteen by See also:

• PATER, WALTER HORATIO (1839-1894)

Pater, nineteen by See also:

• BOUCHER, FRANCOIS (1703-1770)
• BOUCHER, JONATHAN (1738-1804)

Boucher, eleven by See also:

• WATTEAU, ANTOINE (1684-1721)

Watteau and fifteen by See also:

• MEISSONIER, JEAN LOUIS ERNEST (1815–1891)
• MEISSONIER, JUSTE

Meissonier . The national gallery of pictures at See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin (Kaiser See also:

• FRIEDRICH, JOHANN (1836— )

Friedrich Museum), like the British National Gallery, is remark-able for its variety of schools and painters, and for the select type of pictures shown . During the last twenty-five years of the loth See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, the development of this collection was even more striking than that of the See also:

• ENGLISH

English gallery . Italian and Dutch examples are specially numerous, though every school but the British (here It avoids the undue multiplication of canvases, and the over-crowding so noticeable in many Italian galleries where first-See also:

• RATE

rate pictures hang too high to be examined . Thus the Viennese gallery, besides the See also:

• INTRINSIC (through Fr. intrinsique, from Lat. intrinsecus, inwardly; inter, within, secus, following, from root of sequi, to follow)

intrinsic value of its pictures (See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert Diirer's See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief work is there), is admirably adapted for study . The best gallery in See also:

• RUSSIA
• RUSSIA (Rossiya)

Russia (St See also:

• PETERSBURG

Petersburg, Hermitage) was made entirely by royal efforts, having been founded by See also:

• PETER
• PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
• PETER (PEDRO)
• PETER, EPISTLES OF
• PETER, ST

Peter the Great, and much enlarged by the empress See also:

• CATHERINE
• CATHERINE, SAINT

Catherine . It contains the collections of See also:

• CROZAT, PIERRE (1661–1740)

Crozat, Briihl and See also:

• WALPOLE, HORATIO
• WALPOLE, SIR SPENCER (1839-1907)

Walpole . There are about 1800 works, the schools of Flanders and See also:

• ITALY
• ITALY (Italia)

Italy being of See also:

• SIGNAL

signal merit; and there are at least See also:

• THIRTY

thirty-five genuine examples by See also:

• REMBRANDT (1606-1669)

Rembrandt . The French collection (Louvre See also:

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

Palace, See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris) is one I . i~t [.J [r.1 ~ ab . X "Ca .

IX r II ~ 'I' 1 1 1 1 . AWA'' . IdiIIIP19IRIRl'II . I~IUIIIIIIIWIIInllll ~91111iIIIluIIr~IIIII- Ipllll'IImIIIIIpIIIf~VI~ I Vil !10 IIIPIIII-IIl01II0!t1 t .E 11-/i~~~~~~~~~~il/111 11-1II ~;=~~=111111 _ r - II~IP_j =!11111 ua G 101II@III-Z111@11!011 lI-11i MI-1II' II Modern School Modern School V Modern School ID H . .XIV See also:

• NETHERLANDS

Netherlands XV Netherlands Nether lands XIII Netherlands XI Netherlands !'NI ® I~Nl;t 011I0111W.III- III0 x See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German . German Italiart Italian See also:

• CAB (shortened about 1825 from the Fr. cabriolet, derived from cabriole, implying a bounding motion)

Cab.VIl as elsewhere) is really well seen . The See also:

• PURCHASE

purchase grant is consider-able, and is well applied . Two other German capitals have collections of international importance—See also:

• DRESDEN

Dresden and See also:

• MUNICH (Ger. Munchen)

Munich . The former is famous for the Sistine Madonna by Raphael, a work of such supreme excellence that there is a tendency to overlook other Italian pictures of celebrity by See also:

• TITIAN
• TITIAN (c. 1477-1576)

Titian, See also:

• GIORGIONE
• GIORGIONE (1477-1510)

Giorgione and See also:

• CORREGGIO
• CORREGGIO, or COREGGIO

Correggio . Munich (Old Pinakothek) has examples of all the best masters, the See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

South German school being particularly noticeable . The arrangement is good, and the methods of See also:

• EXHIBITION

exhibition make this one of the most pleasant galleries on the See also:

• CONTINENT (from Lat. continere, "to hold together "; hence " connected," " continuous ")

continent . See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna has the Imperial Gallery, a collection which in point of number cannot be considered large, as there are not more than 1700 pictures .

This, however, is in itself a safeguard, like the See also:

• WISE, HENRY ALEXANDER (1806-1876)
• WISE, ISAAC MAYER (1819-1900)

wise See also:

• PROVISION (Lat. provisio)

provision in a See also:

• STATUTE

statute of 1856 for enabling the English authorities to dispose of pictures " unfit for the collection, or not required." of the most important of all . In 188o it was undoubtedly- the first gallery in See also:

• EUROPE

Europe, but its supremacy has since been menaced by other establishments where acquisitions are made more frequently and with greater care, and where the See also:

• SYSTEM

system of See also:

• CLASSIFICATION (Lat. classis, a class, probably from the root cal-, cla-, as in Gr. icaMce, clamor)

classification is such that the value of the pictures is enhanced rather than diminished by their display . In 1900 it was partly rearranged with great effect . The feature of the Louvre is the Salon See also:

• CANE

Cane, a See also:

• ROOM

room in which the supposed finest canvases in the collection are kept together, pictures of world-wide fame, representing all schools . It is now generally accepted that this system of selection not only lowers the See also:

• STANDARD
• STANDARD, BATTLE OF THE

standard of individual schools elsewhere by withdrawing their best pictures, but does not add to the aesthetic or educational value of the masterpieces them-selves . In See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence the Tribuna room of the Uffizi gallery is a similar See also:

• CASE
• CASE, JOHN (d. 1600)

case in point . Probably the two most widely known pictures in the Louvre are Watteau's second " Embarquement pour Cythere," and the " Monna Lisa," a portrait by Leonardo da See also:

• VINCI, LEONARDO (1690-173o)

Vinci, but each school has many unique examples . The See also:

• ORIGINAL

original drawings should be noted, being of equal importance to the collection preserved at the British Museum . The last collection to be mentioned under this heading is that known as the Royal Galleries in Florence, housed in the Pitti and Uffizi palaces . In some ways this collection does not represent general painting sufficiently to justify its inclusion with the galleries of Berlin, Paris and See also:

• LONDON

London . On the other See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, the great number of Italian pictures of vital importance to the See also:

• HISTORY

history of international art makes this one of the finest existing collections . The two great palaces, dating from the 15th and 16th centuries, are joined together and contain the See also:

• MEDICI
• MEDICI, GIACOMO (1817-1882)

Medici pictures .

They form the largest gallery in the world, and though many of the rooms are small and badly lighted, and although many paintings have suffered from thoughtless restoration, they have a See also:

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

charm and attraction which certainly make them the most popular galleries in Europe . The Pitti has ten Raphaels and excellent examples of See also:

• ANDREA, GIOVANNI (1275-1348)

Andrea del Saito, Giorgione and See also:

• PERUGINO, PIETRO (1446-1524)

Perugino . The Uffizi is more representative of non-Italian schools, but is best known for its works by See also:

• BOTTICELLI, SANDRO

Botticelli, Leonardo da Vinci, See also:

• MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo and See also:

• SODOMA, IL (1477-1549)

Sodoma, the schools of See also:

• TUSCANY
• TUSCANY (Toscana)

Tuscany and See also:

• UMBRIA
• UMBRIA ('Opj3pucrl)

Umbria forming the bulk of both collections . See also:

• ADMISSION

Admission to the galleries is by See also:

• PAYMENT (Fr. paiement, from payer, to pay; Lat. pacare, to appease, pax, peace)

payment, and the small income derived from this source is devoted to maintaining and enlarging the collections . As to the ground plans of the National Gallery, London (fig . 1), and of the Imperial Gallery at Vienna (fig . 2), it will be observed that while the former has the See also:

• ADVANTAGE

advantage of See also:

• UNIFORM

uniform See also:

• TOP (cf. Dan. top, Ger. Topf, also meaning pot)

top-See also:

• LIGHT

light, the galleries at Vienna possess the most ample facilities for See also:

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

minute classification, small rooms or " cabinets " opening from each large room . Special rooms are also provided for drawings and See also:

• WATER

water-See also:

• COLOURS, MILITARY

colours, while special ranges of rooms are used by copyists and those responsible for the repair and preservation of the pictures . Though not so comprehensive as the great collections just described, the state galleries showing national schools of painting state and little else are of striking interest . In England galleries of the National Gallery of British Art (known as the national See also:

• TATE, JAMES (1771-1843)
• TATE, NAHUM (1652-1715)
• TATE, RALPH (1840-1901)
• TATE, SIR HENRY, BART

Tate Gallery) contains British pictures . The correschools. sponding collection of modern French art is at Paris (Luxembourg Palace), Berlin, See also:

• ROME
• ROME (Roma)

Rome, Dresden, Vienna and See also:

• MADRID

Madrid having analogous galleries . The See also:

• VICTORIA
• VICTORIA (or VITTORIA), TOMMASSO LUDOVICO DA (C. I540-C. 1613)
• VICTORIA [ALEXANDRINA VICTORIA]

Victoria and Albert Museum has also numerous British pictures, especially in water-colour, and the National Portrait Gallery, founded in r856, and since 1896 housed in its permanent See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home, is instructive in this connexion, though many of its pictures are the work of See also:

• FOREIGN

foreign artists .

The national collections at See also:

• DUBLIN

Dublin and See also:

• EDINBURGH

Edinburgh may be mentioned here, though most schools are represented . See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels and See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp are remarkable for See also:

• FINE

fine examples of Flemish art----See also:

• MATSYS (MASSYS or METZYS), QUINTIN (1466-1530)

Matsys, See also:

• MEMLINC, HANS (c. 1430-1494)

Memlinc and Van Eyck of the See also:

• PRIMITIVE

primitive schools, See also:

• RUBENS, PETER PAUL (1577-164o)

Rubens and Van Dyck of the later period . The collections at See also:

• AMSTERDAM
• AMSTERDAM (NEw AMSTERDAM)

Amsterdam (Ryks Museum) and the See also:

• HAGUE, THE (in Dutch, 's Gravenhage, or, abbreviated, den Haag; in Fr. La Haye; and in Late Lat. Haga Comitis)

Hague(Mauritshuis) are a See also:

• REVELATION, BOOK OF

revelation to those who have only studied Rembrandt, See also:

• FRANZ, ROBERT (1815-1892)

Franz See also:

• HALS, FRANS (158o?–1666)

Hals, Van der Heist, and other Dutch portrait painters outside See also:

• HOLLAND
• HOLLAND, CHARLES (1733–1769)
• HOLLAND, COUNTY AND PROVINCE OF
• HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
• HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
• HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
• HOLLAND, JOSIAH GILBERT (1819-1881)
• HOLLAND, PHILEMON (1552-1637)
• HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
• HOLLAND, SIR HENRY, BART

Holland; and in the former gallery especially, the pictures are arranged in a manner showing them to the best advantage . The Museo del Prado is even more noteworthy, for the fifty examples of Velasquez (outrivalling the Italian pictures, important as they are) make a visit to Madrid imperative to those who wish to realize the achievements of Spanish art . See also:

• CHRISTIANIA (officially KRISTIANIA)

Christiania, See also:

• STOCKHOLM

Stockholm and See also:

• COPENHAGEN (Danish Kjobenhavn)

Copenhagen have large collections of Scandinavian art, and the cities of See also:

• BUDAPEST

Budapest and See also:

• BASEL (Fr. Bale)
• BASEL (Fr. Belle, but Basle is a wholly erroneous form; Ital. Basilea)
• BASEL, CONFESSION OF
• BASEL, COUNCIL OF

Basel have galleries of some importance . In Italy the state maintains twelve collections, mainly devoted to pictorial art . Of these the best are situated at See also:

• BOLOGNA
• BOLOGNA, GIOVANNI DA (1524–1608)

Bologna, See also:

• LUCCA (anc. Luca)
• LUCCA, BAGNI DI (Baths of Lucca, formerly Bagno a Corsena)

Lucca, See also:

• PARMA

Parma, See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice, See also:

• MODENA (ancient Mutina)

Modena, See also:

• TURIN

Turin and See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan . In each case the See also:

• LOCAL

local school of painting is fully represented . In Rome the See also:

• CORSINI

Corsini and See also:

• BORGHESE

Borghese Galleries, the latter being the most See also:

• CATHOLIC (Gr. KcaBoXuK6s, general, universal)

catholic in the city, contain superb examples, some of them accepted masterpieces of Italian art; there are also good foreign pictures, but their number is limited . The Accademia at Florence should also be noted as the mostimportant state gallery of early Italian art . The central Italian See also:

• RENAISSANCE, THE

Renaissance can be more adequately studied here than in the Pitti . The " Primavera " of Botticelli, and the " Last See also:

• JUDGMENT

Judgment " by Fra See also:

• ANGELICO, FRA (1387–1455)

Angelico are perhaps the best-known works .

The large statue of See also:

• DAVID
• DAVID (a Hebrew name meaning probably beloved 1)
• DAVID, FELICIEN (1810—1876)
• DAVID, GERARD [GHEERAERT DAVIT], (?=1523)
• DAVID, PIERRE JEAN (1789–1856)
• DAVID, ST (Dewi, Sant)

David by Michelangelo is also in this gallery, which, on the whole, is one of the most remarkable in Italy . Speaking broadly, these national galleries scattered throughout the country are not well arranged or classified; and though some are kept in fine old buildings, beautiful in themselves, the See also:

• LIGHTING

lighting is often indifferent, and it is with difficulty that the pictures can be seen . In nearly every case admission fees are charged every 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, festivals and Sundays excepted; few pictures are bought, acquisitions being chiefly made by removing pictures from churches . Many towns own collections of well-merited repute . In Italy such galleries are See also:

• COMMON

common, and among them may be noted See also:

• SIENA

Siena, with Sodoma and his school; Venice with Municipal See also:

• TINTORETTO, JACOPO ROBUSTI (1518-1594)

Tintoretto (See also:

• DOGE

Doge's Palace); See also:

• GENOA (anc. Genua, Ital. Genova, Fr. GPnes)

Genoa, with the great galleries palaces See also:

• BALBI, ADRIAN (1782-1848)

Balbi and Rosso; See also:

• VICENZA

Vicenza (Montagna and of special school), See also:

• FERRARA

Ferrara (Dosso and school), See also:

• BERGAMO
• BERGAMO (anc. Bergomum)

Bergamo and schools . Milan (north Italian schools) . Other civic collections of Italian art are maintained at See also:

• VERONA
• VERONA, CONGRESS OF

Verona, See also:

• PISA
• PISA, COUNCIL OF (1409)

Pisa, Rome, See also:

• PERUGIA (anc. Perusia)

Perugia and See also:

• PADUA (Lat. Patavium ; Ital. Padova)

Padua . In Holland, See also:

• HAARLEM

Haarlem, See also:

• LEIDEN

Leiden, See also:

• ROTTERDAM

Rotterdam and the Hague have galleries supplemental to those of the state, and are remarkable in showing the brilliance of artists like Grebber, de See also:

• BRAY
• BRAY, SIR REGINALD (d. 1503)
• BRAY, THOMAS (1656-1730)

Bray and Ravesteyn, who are usually ignored . See also:

• BIRMINGHAM

Birmingham and See also:

• MANCHESTER
• MANCHESTER (popularly Manchester-by-the-Sea)
• MANCHESTER, EARLS AND DUKES OF

Manchester have good examples of modern British art . See also:

• MOSCOW (Russian Moskva)
• MOSCOW, (Russian Moskva)

Moscow (Tretiakoff collection) has modern See also:

• RUSSIAN

Russian pictures, and See also:

• CON

con-temporary German and French work will be found in all the galleries of these two countries included in the municipal See also:

• GROUP

group . Collections of French work are found at See also:

• AMIENS

Amiens, See also:

• ROUEN

Rouen, See also:

• NANCY

Nancy, See also:

• TOURS

Tours, Le Mans and See also:

• ANGERS

Angers, but large as these civic collections are, sometimes containing six and eight See also:

• HUNDRED

hundred canvases, few of their pictures are really good, many being the enormous patriotic canvases marked " See also:

• DON
• DON (anc. Tanais)

Don de 1'ttat," which do not confer distinction on the galleries . See also:

• COLOGNE (Ger. Koln, or officially, since 1900, Coln)

Cologne has the central collection of the early Rhenish school; See also:

• NUREMBERG (Ger. Nurnberg)

Nuremberg is remarkable for early German work (Wohigemut, &c.) .

See also:

• STUTTGART

Stuttgart, See also:

• CASSEL
• CASSEL, or KASSEL

Cassel (Dutch) and See also:

• HAMBURG

Hamburg (with a considerable number of British pictures) are also noteworthy, together with See also:

• BRUNSWICK
• BRUNSWICK (Ger. Braunschweig)
• BRUNSWICK, KARL WILHELM FERDINAND, DUKE OF (1735-18o6)

Brunswick, See also:

• HANOVER
• HANOVER (Ger. Hannover)

Hanover, See also:

• AUGSBURG
• AUGSBURG, CONFESSION OF
• AUGSBURG, WAR OF THE LEAGUE OF

Augsburg, See also:

• DARMSTADT

Darmstadt and See also:

• DUSSELDORF

Dusseldorf, where German and Dutch art preponderate . See also:

• SEVILLE
• SEVILLE (Span. Sevilla, Lat. Ispalis or Hispalis, Moorish Ishbiliya)

Seville is famous for twenty-five examples of See also:

• MURILLO, BARTOLOME ESTEBAN (1617-1682)

Murillo, and there are old Spanish paintings at See also:

• VALENCIA
• VALENCIA, or VALENTIA

Valencia, See also:

• CORDOVA (Span. C6rdoba)
• CORDOVA (Span. Cordoba; Lat. Corduba)

Cordova and See also:

• CADIZ
• CADIZ (Cadiz)
• CADIZ (in Lat. Gades, and formerly called Cales by the English)

Cadiz . In Great See also:

• BRITAIN (Gr. Hperavuml vi7vot, Bperravia; Lat. Britannia, rarely Britannia)

Britain the best of the municipal galleries of general schools are at See also:

• LIVERPOOL
• LIVERPOOL, EARLS
• LIVERPOOL, EARLS OF

Liverpool (early Flemish and British), and at See also:

• GLASGOW

Glasgow (Scottish painters, Rembrandt, Van der municipal Goes and Venetian schools) . In France there are galleries very large galleries at Tours, See also:

• MONTPELLIER

Montpellier, See also:

• LYONS
• LYONS (Fr. Lyon)
• LYONS, COUNCILS OF
• LYONS, EDMUND LYONS, BARON (1790-1858)
• LYONS, RICHARD BICKERTON PEMELL LYONS, 1ST EARL (1817–1887)

Lyons cnootsal (Perugino, Rubens), See also:

• DIJON

Dijon and See also:

• GRENOBLE

Grenoble (Italian), See also:

• VALENCIENNES

Valenciennes (Watteau and school), while See also:

• RENNES

Rennes, See also:

• LILLE

Lille and See also:

• MARSEILLES

Marseilles have first-rate collections . See also:

• NANTES
• NANTES, EDICT OF

Nantes, See also:

• ORLEANS
• ORLEANS, CHARLES, DUKE OF (1391-1465)
• ORLEANS, DUKES OF
• ORLEANS, FERDINAND PHILIP LOUIS CHARLES HENRY, DUKE OF (1810-1842)
• ORLEANS, HENRI, PRINCE
• ORLEANS, HENRIETTA, DUCHESS
• ORLEANS, JEAN BAPTISTE GASTON, DUKE
• ORLEANS, LOUIS
• ORLEANS, LOUIS PHILIPPE JOSEPH
• ORLEANS, LOUIS PHILIPPE ROBERT, DUKE
• ORLEANS, LOUIS PHILIPPE, DUKE OF (1725–1785)
• ORLEANS, LOUIS, DUKE OF (1372–1407)
• ORLEANS, PHILIP I
• ORLEANS, PHILIP II

Orleans, See also:

• BESANCON

Besancon, See also:

• CHERBOURG

Cherbourg and See also:

• CAEN

Caen have also many paintings, French for the most See also:

• PART

part, but with occasional foreign pictures of real importance, presented by the state during the See also:

• NAPOLEONIC

Napoleonic con-quests, and not returned on the See also:

• DECLARATION (from Lat. declarare, to make fully clear, clams)

declaration of See also:

• PEACE
• PEACE, BREACH OF THE

peace as were the works of art amassed in Paris . Some of the See also:

• AMERICAN

American collections have in See also:

• RECENT

recent years made a great advance in their acquisition of good pictures . At See also:

• BOSTON
• BOSTON, THOMAS (1676-1732)

Boston (Museum of Fine Arts) all schools are represented, so too at the See also:

• METROPOLITAN (Lat. metropolitanus, Gr. µnrpoiroXtrns)

Metropolitan Museum of Art in New See also:

• YORK
• YORK (HOUSE OF)
• YORK, EDMUND OF LANGLEY, DUKE OF (1341-1402)
• YORK, EDWARD
• YORK, FREDERICK AUGUSTUS, DUKE OF (1763-1827)
• YORK, RICHARD, DUKE

York, which is strong in Italian and Dutch works . Modern French and Flemish art is a feature of the Academy at See also:

• PHILADELPHIA

Philadelphia, at the See also:

• LENOX

Lenox Library (New York), and at See also:

• CHICAGO
• CHICAGO, UNIVERSITY OF

Chicago, where there are good examples of See also:

• MILLET (Fr. millet; Ital. miglietto, diminutive of miglio= Lat. mille, a thousand, in allusion to its fertility)
• MILLET (or MILE), JEAN FRANCOIS (c. 1642–1679)
• MILLET, FRANCIS DAVIS (1846- )
• MILLET, JEAN FRANCOIS (1814–1875)

Millet, Con-See also:

• STABLE

stable and Rembrandt . The Corcoran bequest at See also:

• WASHINGTON
• WASHINGTON (or WASHINGTON COURT HOUSE)
• WASHINGTON, BOOKER TALIAFERRO (c. 1859– )
• WASHINGTON, BUSHROD (1762-1829)
• WASHINGTON, GEORGE (1732-1799)

Washington is of See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

minor importance . The best civic collection in See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany of this class is the Stadel See also:

• INSTITUTE (from Lat. instituere, to establish or set up)

Institute at See also:

• FRANKFORT

Frankfort (Van Eyck, Christus, early Flemish and Italian) . As the great bulk of religious painting was executed for See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church decoration, there are still numberless churches which may be considered picture galleries . Thus at Antwerp churches. See also:

• CATHEDRAL

cathedral the Rubens paintings are remarkable; at See also:

• GHENT (Flem. Gent, Fr. Gand)

Ghent, Van Eyck; at Bruges (See also:

• HOSPITAL (Lat. haspitalis, the adjective of hospes, host or guest)

hospital of St 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), Memlinc; at Pisa, the Campo Santo (early Tuscan schools) ; at Sant' Apollinare, See also:

• RAVENNA
• RAVENNA, EXARCHATE OF

Ravenna, primitive Italo-See also:

• BYZANTINE

Byzantine mosaics; at Siena, Pinturichio .

Examples could be multiplied indefinitely —in Italy alone there are 8o,000 churches and chapels, in all of which pictorial art has been employed . In Italy, besides the church " galleries " still used for religious services, there are some which have been secularized and are now used as museums, e.g . Certosa at See also:

• PAVIA (anc. Ticinum, q.v.)

Pavia, and See also:

• SAN

San Vitale at Ravenna (mosaics); at Florence, the Scalzo (Andrea del Sarto); San Marco (Fra Angelico) ; the Riccardi and Pazzi chapels (See also:

• GOZZOLI, BENOZZO

Gozzoli and Perugino) ; at Milan, in the See also:

• SANTA

Santa Maria delle Grazie, the " Last Supper," by Leonardo, and at Padua, the famous See also:

• ARENA (Lat. for " sand ")

Arena See also:

• CHAPEL

chapel (See also:

• GIOTTO

Giotto) . The Vatican galleries, though best known for their statuary, have fine examples of painting, chiefly of the Italian school; Private the most famous easel picture is Raphael's " Trans-and semi- figuration," but the Stanze, apartments entirely private decorated by painting, are even more famous . In galleries . England three royal palaces are open to the public—See also:

• HAMPTON
• HAMPTON, WADE (1818-1902)

Hampton See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

Court (See also:

• MANTEGNA, ANDREA (1431–1506)

Mantegna), See also:

• WINDSOR
• WINDSOR (properly NEw WINDSOR)

Windsor (Van Dyck, See also:

• ZUCCARELLI, FRANCESCO (1702–1788)

Zuccarelli), and See also:

• KENSINGTON

Kensington (portraits) . At 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 Palace the Dutch pictures are admirable, and Queen Victoria See also:

• LENT (0. Eng. lenclen, " spring," M. Eng. lenten, lente, lent; cf. Dut. lente, Ger. Lenz, " spring," 0. H. Ger. lenzin, lengizin, lenzo, probably from the same root as " long " and referring to " the lengthening days ")

lent the celebrated Raphael cartoons to the Victoria and Albert Museum . Semi-private collections belong to See also:

• DULWICH

Dulwich See also:

• COLLEGE (Collegium)

College (Velasquez and Watteau), See also:

• OXFORD
• OXFORD, EARLS OF
• OXFORD, EDWARD DE VERE, 17TH EARL
• OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
• OXFORD, PROVISIONS OF
• OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
• OXFORD, ROBERT HARLEY, 1ST

Oxford University (Italian drawings), the See also:

• SOANE, SIR JOHN (1753-1837)

Soane Museum (See also:

• HOGARTH, WILLIAM (1697–1764)

Hogarth and English school), and the Royal Academy (Leonardo) . Among private collections the most important are the Harrach, and See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

Prince See also:

• LIECHTENSTEIN

Liechtenstein (Vienna), J . Pierpont See also:

• MORGAN
• MORGAN, DANIEL (1736-1802)
• MORGAN, EDWIN DENNISON (1811-1883)
• MORGAN, JOHN HUNT (1825-1864)
• MORGAN, JOHN PIERPONT (1837–1913)
• MORGAN, LEWIS HENRY (1818-1881)
• MORGAN, SYDNEY, LADY (c. 1783-1859)
• MORGAN, THOMAS (d. 1743)

Morgan (including miniatures), Mrs J . See also:

• GARDNER
• GARDNER, PERCY (1846– )

Gardner of Boston (Italian), Prince Corsini (Florence) . In Great Britain there are immense riches in private houses, though many collections have been dispersed .

The most noteworthy (1909) belong to the See also:

• DUKES
• DUKES, LEOPOLD (1810-1891)

dukes of See also:

• DEVONSHIRE (DEvoN)
• DEVONSHIRE, EARLS AND DUKES OF

Devonshire and See also:

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

Westminster, 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:

• ELLESMERE

Ellesmere, See also:

• CAPTAIN (derived from Lat. ca put, head, through the Low Lat. capitanus)

Captain Holford (including the masterpiece of See also:

• CUYP

Cuyp), See also:

• LUDWIG, KARL FRIEDRICH WILHELM (1816—1895)
• LUDWIG, OTTO (1813-1865)

Ludwig See also:

• MOND, LUDWIG (1839-1909)

Mond, Lord See also:

• LANSDOWNE
• LANSDOWNE, WILLIAM PETTY FITZMAURICE, 1ST MARQUESS OF (1737-18o5)

Lansdowne, See also:

• MISS

Miss See also:

• ROTHSCHILD

Rothschild . The finest private collection is at Panshanger, formerly the seat of Lord See also:

• COWPER, WILLIAM (1731-1800)
• COWPER, WILLIAM COWPER, 1ST EARL (c. 1665-1723)

Cowper, the gallery of Van Dyck's work being quite the best in the world . Many galleries are devoted to periodical exhibitions in London; the Royal Academy is the leading agency of this character, having held exhibitions since 1769 . Its See also:

• LOAN (adapted from the Scandinavian form of a word common to Teutonic languages, cf. Swed. Mn, Icel. lan, Dut. leen; the O.E. laen appears in " lend," the ultimate source is seen in the root of Gr. Xeiaecv and Lat. linquere, to leave)

loan exhibitions of Old Masters are most important . Similar enterprises are the New Gallery, opened in 1888, the See also:

• GRAFTON
• GRAFTON, DUKES OF
• GRAFTON, RICHARD (d. 1572)

Grafton Gallery, and others . There are also old-established See also:

• SOCIETIES, LEARNED

societies of etchers, water-colourists, &c . A feature common to these exhibitions is that the public always pays for admission, though they differ from the commercial exhibitions, becoming more common every year, in which the work of a single school or painter is shown for profit . But the See also:

• ANNUAL

annual exhibitions at the See also:

• GUILDHALL

Guildhall, under the auspices of the See also:

• CORPORATION (from Lat. corporare, to form into a body, corpus, corporis)

corporation, are See also:

• FREE

free . The great periodical exhibition of French art is known as the Salon, and for some years it has had a See also:

• RIVAL

rival in the Champ de See also:

• MARS
• MARS (MAYORS, MARMAR, MARSPITER GA MASPITER)
• MARS, MLLE [ANNE FRANCOISE HYPPOLYTE BOUTET] (1779-1847)

Mars exhibition . These two societies are now respectively housed in the See also:

• GRAND

Grand Palais and See also:

• PETIT, SIR DINSHAW MANECKJI, BART

Petit Palais, in the Champs Elysees, which were erected in connexion with the Paris Exhibition of 1900, but with the ultimate See also:

• OBJECT

object of being devoted to the service of the two Salons . Berlin, Rome, Vienna and other See also:

• CONTINENTAL

Continental towns have See also:

• REGULAR

regular exhibitions of original work . The best history of art galleries is found in their See also:

• OFFICIAL (Late Lat. QJicialis, for class. Lat. apparitor, from officium, office, duty)

official and other catalogues, see See also:

• ARTICLE (from Lat. articulus, a joint)

article MUSEUMS .

See also L . Viardot, See also:

• LES

Les Musees d'Italie, &c . (3 vols., Paris, 1842, 1843, 1844); Annual Reports, official, of National Portrait Gallery, National Galleries of England, See also:

• IRELAND
• IRELAND, CHURCH
• IRELAND, CHURCH OF
• IRELAND, JOHN (1761-1842)
• IRELAND, JOHN (1838- )
• IRELAND, WILLIAM HENRY (1777-1835)

Ireland and See also:

• SCOTLAND
• SCOTLAND, CHURCH OF
• SCOTLAND, EPISCOPAL CHURCH OF

Scotland; See also:

• CIVIL

Civil Service Estimates, class iv. official . See also the See also:

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

series edited by Lafenestre and E . Richtenberger: Le Louvre, La Belgique, Le Hollande, Florence, Belgique; A . Lavice, Revue See also:

• DES

des musees de France, . . . d'Allemagne, . d'Angleterre, . d'Espagne, . d'Italie, . de Belgique, de Hollande et de Russie (Paris, 1862–1872) ; E . See also:

• MICHEL
• MICHEL, CLAUDE
• MICHEL, FRANCISQUE XAVIER (1809-1887)

Michel, Les Musees d'Allemagne (Paris, 1886); Kate See also:

• THOMPSON
• THOMPSON, FRANCIS (1860-1907)
• THOMPSON, LAUNT (1833-1894)
• THOMPSON, SIR HENRY, BART
• THOMPSON, SIR JOHN SPARROW (1844-1894)
• THOMPSON, THOMAS PERONNET (1783-1869)
• THOMPSON, WILLIAM HEPWORTH (18ro–1886)

Thompson, Public Picture Galleries of Europe (188o); C . L . See also:

• EASTLAKE, SIR CHARLES LOCK (1793-1865)

Eastlake, Notes on Foreign Picture Galleries; Lord Ronald See also:

• GOWER
• GOWER, JOHN (d. 1408)

Gower, Packet See also:

• GUIDE (in Mid. Eng. gyde, from the Fr. guide; the earlier French form was guie, English " guy," the d was due to the Italian form guida; the ultimate origin is probably Teutonic, the word being connected with the base seen in O. Eng. witan, to know)

Guide to Art Galleries (public and private) of See also:

• BELGIUM
• BELGIUM (Fr. Belgique; Flem. Belgic)

Belgium and Holland (1875); and many works, albums, and so forth, issued mainly for the See also:

• SAKE

sake of the illustrations .