BALDNESS 1 (technically alopecia, from ItXcInrrl, a See also:

• FOX
• FOX, C
• FOX, CHARLES JAMES (1749-1806)
• FOX, EDWARD (c. 1496-1538)
• FOX, GEORGE (1624-1691)
• FOX, RICHARD (c. 1448-1528)
• FOX, ROBERT WERE (1789—1877)
• FOX, SIR STEPHEN (1627–1716)
• FOX, SIR WILLIAM (1812-1893)

fox, foxes often having bald patches on their coats)  , the result of loss of See also:

• HAIR (a word common to Teutonic languages)

hair, particularly on the human See also:

• SCALP (0. Dutch schelpe, a shell)

scalp . So far as remediable alopecia is concerned, two forms may be distinguished: one the premature baldness so commonly seen in 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 men, due to alopecia seborrhoica, the other alopecia areata, now regarded as an epidemic disease . Alopecia seborrhoica is that premature baldness so constantly seen, in which the See also:

• CONDITION (Lat. condicio, from condicere, to agree upon, arrange; not connected with conditio, from condere, conditum, to put together)

condition steadily advances from the forehead backwards, until only a fringe of hair is See also:

• LEFT

left on 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 . It is always due to the underlying disease See also:

• SEBORRHOEA

seborrhoea, and though it progresses steadily if neglected, is yet very amenable to treatment . The two drugs of greatest value in this trouble are See also:

• SULPHUR

sulphur and salicylic See also:

• ACID (from the Lat. root ac-, sharp; acere, to be sour)

acid, some eighteen grains of each added to an See also:

• OUNCE

ounce of See also:

• VASELINE

vaseline making a See also:

• GOOD, JOHN MASON (1764-1827)

good application . This should be rubbed well into the scalp daily for a prolonged See also:

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

period . Where the greasiness is objected to, the following salicylic lotion may be substituted, 1 The See also:

• ADJECTIVE (from the Lat. adjectives, added)

adjective " bald " M . E . " balled " is usually explained as literally " See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round and smooth like a See also:

• BALL (in Mid. Eng. bal; the word is probably cognate with " bale," Teutonic in origin, cf. also Lat. falls, and Gr. 7raXXa)
• BALL, JOHN (1585-1640)
• BALL, JOHN (1818-1889)
• BALL, JOHN (d. 1381)
• BALL, SIR ALEXANDER JOHN, BART
• BALL, THOMAS (1819- )

ball," but it may be connected with a See also:

• STEM (O. Eng. staefn, stemn, cf. Du. stain, Ger. Stamm, &c., probably related to " staff ")

stem bal, See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white or shining . The See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek oaXaKpos certainly suggests some such derivation.though the vaseline application has probably the greater value: Ac. salicyl . 3i—iv; 01. ricini 3 ii—vi; 01. See also:

• ROS, or DE
• ROS, SIR RICHARD (b. 1429)

ros. geran . 111 x; Spt. vini ad 3 vi .

The head must be frequently cleansed, and in very mild cases a daily washing with See also:

• SOAP

soap spirit will at times effect a cure unaided . Alopecia areata is characterized by the development of round patches more or less completely denuded of hair . It is most commonly observed on the scalp, though it may occur on any See also:

• PART

part of the See also:

• BODY

body where hair is naturally See also:

• PRESENT

present . The patches are rounded, smooth and somewhat depressed owing to the loss of a large proportion of the follicles . At the margin of the patches See also:

• SHORT, FRANCIS JOB (1857– )

short broken hairs are usually to be seen . Clinical See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence is steadily accumulating to show that this disease may be transmitted . Organisms are invariably present, in some cases few in number, but in others very abundant and forming a continuous sheath round the hair . They were first described by Dr See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George Thin, who gave them the name of Bacterium decalvens . The disease must be distinguished from See also:

• RINGWORM (or TINEA TONSURANS)

ringworm--especially the bald variety; but though this is at times somewhat difficult clinically, the use of the See also:

• MICROSCOPE (Gr. µucp6s, small, asenreiv, to %view)

microscope leaves no See also:

• ROOM

room for doubt . It must be remembered that for patients under See also:

• FORTY

forty years of See also:

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

age; 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 alone will generally bring about the desired end, though treatment undoubtedly hastens recovery . After forty every See also:

• YEAR

year added to the patient's age makes the See also:

• PROGNOSIS (Gr. apayvcooas, knowledge of recognition before-hand, from 'IrpoycyvwaKEtP, to know beforehand, cf. " prognostication," prediction)

prognosis less good . The See also:

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

general See also:

• HYGIENE (Fr. hygiene, from Gr. ir'taivety, to be healthy)

hygiene and mode of See also:

• LIFE

life of the sufferer must be very carefully attended to, and any weakness suitably treated .

The following lotion should be applied daily to the affected parts, at first cautiously, later more vigorously, and in stronger See also:

• SOLUTION (from Lat. solvere, to loosen, dissolve)

solution: Acidi lactici 3 i—3 i; 01. ricini 3 ii; Spt. vini ad 3 iv . The loss of hair following acute fevers must be treated by keeping the hair short, applying stimulating lotions to the scalp, and attending to the general hygiene of the patient . •BALDOVINETTI, ALESSIO (1427-1499), Florentine painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born on the 14th of See also:

• OCTOBER

October 1427, and died on the 29th of See also:

• AUGUST (originally Sextilis)

August 1499 . He was a follower of the See also:

• GROUP

group of scientific realists and naturalists in See also:

• ART

art which included See also:

• ANDREA, GIOVANNI (1275-1348)

Andrea del See also:

• CASTAGNO, ANDREA DEL (1390-1457)

Castagno, See also:

• PAOLO (GIROLAMO GASPARE)5 (1532-1600)

Paolo Uccello and Domenico Veneziano, the See also:

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

influence of the last-named 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 being particularly See also:

• MANIFEST (Lat. manifestus, clear, open to view)

manifest in his See also:

• WORK

work . Tradition, probable in itself though not attested by contemporary records, says that he assisted in the decorations of the See also:

• CHAPEL

chapel of S . Egidio in See also:

• SANTA

Santa Maria Nuova, carried out during the years 1441–1451 by Domenico Veneziano and in See also:

• CONJUNCTION (from Lat. conjungere, to join together)

conjunction with Andrea del Castagno . That he was commissioned to See also:

• COMPLETE

complete the See also:

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

series at a later date (1460) is certain . In 1462 Alessio was employed to paint the See also:

• GREAT

great See also:

• FRESCO (Ital. for cool, " fresh ")

fresco of the See also:

• ANNUNCIATION

Annunciation in the See also:

• CLOISTER (Lat. claustrum; Fr. cloitre; Ital. chiostro; Span. claustro; Ger. Kloster)

cloister of the Annunziata, which still exists in ruined condition . The remains as we see them give evidence of the artist's See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power both of imitating natural detail with See also:

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

minute fidelity and of spacing his figures in a landscape with a large sense of See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air and distance; and they amply verify two See also:

• SEPARATE

separate statements of See also:

• VASARI, GIORGIO (1511-1571)

Vasari concerning him: that " he delighted in See also:

• DRAWING

drawing landscapes from nature exactly as they are, whence we see in his paintings See also:

• RIVERS
• RIVERS, ANTHONY WOODVILLE, or WYDEVILLE, 2ND EARL (c. 1442—1483)
• RIVERS, EARL
• RIVERS, RICHARD SAVAGE, 4TH EARL (c. 1660—1712)

rivers; See also:

• BRIDGES
• BRIDGES, ROBERT (1844– )

bridges, rocks, See also:

• PLANTS

plants, fruits, roads, See also:

• FIELDS, JAMES THOMAS (1817-1881)

fields, cities, exercise-grounds, and an infinity of other such things," and that he was an inveterate experimentalist in technical matters . His favourite method in See also:

• WALL (O. Eng. weal, weall, Mid. Eng. wal, wane, adapted from Lat. vallum, rampart; the original O. Eng. word for a wall was wag or tenth)
• WALL, RICHARD (1694-1778)

wall-See also:

• PAINTING

painting was to See also:

• LAY

lay in his compositions in fresco and finish them a secco with a mixture of yolk of See also:

• EGG (O.E. aeg, cf. Ger. Ei, Swed. aegg, and prob. Gr. u,ov, Lat. ovum)
• EGG, AUGUSTUS LEOPOLD (1816-1863)

egg and liquid See also:

• VARNISH

varnish . This, says Vasari, was with the view of protecting the painting from See also:

• DAMP

damp; but in course of time the parts executed with this vehicle scaled away, so that the great See also:

• SECRET (Lat. secretum, hidden, concealed)

secret he hoped to have discovered turned out a failure . In 1463 he furnished a See also:

• CARTOON (Ital. cartone, pasteboard)

cartoon of the Nativity, which was executed in tarsia by Giuliano de Maiano in the See also:

• SACRISTY (through Fr. sacrist-le, from med. Lat. sacristies or sacristina)

sacristy of the See also:

• CATHEDRAL

cathedral and still exists .

From 1466 date the See also:

• GROUPS
• GROUPS, THEORY

groups of four Evangelists and four Fathers of the 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 in fresco, together with the Annunciation on an oblong See also:

• PANEL (O. Fr. panel, mod. panneau, piece of cloth, from Med. Lat. pannellus, diminutive of pannus, cloth)

panel, which still decorate the Portuguese chapel in the church of S . Miniato, and are given in See also:

• ERROR (Lat. error, from errare, to wander, to err)

error by Vasari to Pietro See also:

• POLLAIUOLO

Pollaiuolo . A fresco of the risen See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ between angels inside a See also:

• HOLY

Holy See also:

• SEPULCHRE, CANONS REGULAR OF THE HOLY
• SEPULCHRE, EASTER
• SEPULCHRE, THE HOLY

Sepulchre in the chapel of the Rucellai See also:

• FAMILY

family, also still existing, belongs to 1467 . In 1471 Alessio undertook important See also:

• WORKS

works for the church of Sta Trinita on the See also:

• COMMISSION (from Lat. commissio, committere)

commission of Bongianni Gianfigliazzi . First, to paint an See also:

• ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar-piece of the Virgin and See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

Child with six See also:

• SAINTS, BATTLE OF THE

saints; this was finished in 1472 and is now in the See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy at See also:

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

Florence: next, a series of frescoes from the Old Testament which was to be completed according to See also:

• CONTRACT
• CONTRACT (Lat. contract us, from contrahere, to draw together, to bind)

contract within five years, but actually remained on See also:

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

hand for fully sixteen . In 1497 the finished series, which contained many portraits of leading Florentine citizens, was valued at a thousand See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

gold florins by a See also:

• COMMITTEE (from commute, an Anglo-Fr. past participle of commettre, Lat. committere, to entrust; the modern Fr. equivalent comite is derived from the Eng.)

committee consisting of Cosimo See also:

• ROSSELLI, COSIMO (1439—c. 1507)

Rosselli, Benozzo See also:

• GOZZOLI, BENOZZO

Gozzoli, See also:

• PERUGINO, PIETRO (1446-1524)

Perugino and Filippino See also:

• LIPPI

Lippi; only some defaced fragments of it now remain . Meanwhile Alessio had been much occupied with other technical pursuits and researches apart from painting . He was regarded by his contemporaries as the one craftsman who had rediscovered and fully understood the See also:

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

long disused art of See also:

• MOSAIC (corresponding to Lat. opus musivum, from Gr. µovoeiov, an artificial grotto often decorated with mosaics; the word is only found in the sense of mosaic in late Greek, which generally uses k oXI yrlµa)

mosaic, and was employed accordingly between 1481 and 1483 to repair the mosaics over the See also:

• DOOR (corresponding to the Gr. Bbpa,. Lat. fores or valvae; the English word, with other forms common in allied languages, comes from the same Indo-European stem as the Gr. Obpa and Lat. fares)

door of the church of S . Miniato, as well as several of those both within and without the See also:

• BAPTISTERY (Baptislerium, in the Greek Church 4wrurrilpiov)

baptistery of the cathedral . These are the recorded and datable works of the master; others attributed to him on good and sufficient See also:

• INTERNAL

internal evidences are as follows: —A small panel in the Florence Academy, with the three subjects of the See also:

• BAPTISM

Baptism, the See also:

• MARRIAGE

Marriage of See also:

• CANA

Cana and the Transfiguration; this was long attributed to Fra See also:

• ANGELICO, FRA (1387–1455)

Angelico, but is to all See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance See also:

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

early work of Baldovinetti: an Annunciation in the Uffizi, formerly in the church of S . Giorgio; unmistakably by the master's hand though given by Vasari to Peselino: several Madonnas of peculiarly See also:

• FINE

fine and characteristic quality; one in the collection of Madame See also:

• ANDRE, JOHN (1751-178o)

Andre at 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 acquired See also:

• DIRECT

direct from the descendants of the painter, a second, formerly in the Duchatel collection and now in the Louvre, a third in the See also:

• POSSESSION
• POSSESSION (Lat. possessio, possidere, to possess)

possession of Mr Berenson at Florence . All these are executed with the determined See also:

• PATIENCE

patience and precision characteristic of Baldovinetti; two, those at the Louvre and in the Andre collection, are distinguished by beautiful landscape backgrounds; and all, but especially the example in the Louvre, add a See also:

• PECULIAR

peculiar and delicate See also:

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

charm to the quality of See also:

• GRAVE

grave See also:

• MAJESTY (Fr. majeste; Lat. majestas, grandeur, greatness, from the base mag-, as in magnus, great, major, greater, &c.)

majesty which Alessio's works See also:

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

share with those of See also:

• PIERO (1443—1496)

Piero della Francesca and others of Domenico Veneziano's following .

They probably belong to the years 1460-1465 . In the later of his preserved works, while there is no See also:

• ABATEMENT (derived through the French abattre, from the Late Latin battere, to beat)

abatement of precise and laborious finish, *e find beginning to prevail a certain harshness and commonness of type, and a lack of care for beauty in See also:

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

composition, the technical and scientific searcher seeming more and more to predominate over the artist . See also Vasari, ed . See also:

• MILANESI, GAETANO (1813-1895)

Milanesi, vol. ii.; See also:

• CROWE, EYRE EVANS (1799-1868)
• CROWE, SIR JOSEPH ARCHER (1828-1896)

Crowe-Cavalcaselle, Hist. of Painting in See also:

• ITALY
• ITALY (Italia)

Italy, vol. ii.; Bernhard Berenson, Study and See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

Criticism of See also:

• ITALIAN

Italian Art, and series . (S .