See also:

• BASTIDE (Provencal bastida, building)

BASTIDE (Provencal bastida, See also:

• BUILDING

building)  , a word applied to the fortified towns founded in See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

south-western- See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France in the See also:

• MIDDLE

middle ages, and corresponding to the villes neuves of See also:

• NORTHERN

northern France . They were established by the abbeys, the nobles and the See also:

• CROWN

crown, frequently by two of these authorities in co-operation, and were intended to serve as defensive posts and centres of See also:

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

population for sparsely-inhabited districts . In addition, they formed a source of See also:

• REVENUE
• REVENUE (0. Fr. revenu, from revenir, to return)

revenue and See also:

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

power for their founders, who on their See also:

• PART

part conceded liberal charters to the new towns . They were built on a rectangular See also:

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

plan, with a large central square and straight thoroughfares See also:

• RUNNING

running at right angles or parallel to one another, this uniformity of construction being well exemplified in the existing See also:

• BASTIDE (Provencal bastida, building)

bastide of Monpazier (See also:

• DORDOGNE

Dordogne) founded by the See also:

• ENGLISH

English in 1284 . Mont-de-Marsan, the See also:

• OLDEST

oldest of the bastides, was founded in 1141, and the See also:

• MOVEMENT

movement for See also:

• FOUNDING (from Lat. fundere, to pour)

founding them lasted during the 12th, 13th and 14th centuries, attaining its height between 1250 and 1350 . See E . See also:

• HENAULT, CHARLES JEAN FRANCOIS (1685-177o)

Henault, See also:

• LES

Les Vales Neuves, leur origin et leur See also:

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

influence daps le mouvement communal (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, 1868) ; See also:

• CURIE, PIERRE (1859-1906)

Curie-Seimbres, Essai See also:

• SUS

sus les villes forages clans le sud-ouest de la France sous le nom de bastides (See also:

• TOULOUSE
• TOULOUSE, LOUIS ALEXANDRE DE BOURBON, COUNT OF (1678-1737)

Toulouse, 1880) . BASTILN-LEPAGE, JULES (1848-1884), See also:

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

French painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in the See also:

• VILLAGE

village of Damvillers, See also:

• MEUSE
• MEUSE (Flem. Maes, Du. Maas)

Meuse, France, on the 1st of See also:

• NOVEMBER (Lat. novem, nine)

November 1848 and spent his childhood there . He first studied at See also:

• VERDUN

Verdun, and prompted'bya love of See also:

• ART

art went in 1867 'to Paris, where he was admitted to the lcole See also:

• DES

des See also:

• BEAUX, CECILIA (1863– )

Beaux-arts, working under See also:

• CABANEL, ALEXANDRE (1823-1889)

Cabanel . After exhibiting in the Salons of 187o and 1872 See also:

• WORKS

works which attracted n0 See also:

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

attention, in 1874 he made his See also:

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

mark with his'" See also:

• SONG

Song of See also:

• SPRING (from " to spring," " to leap or jump up," " burst out," O. Eng., springau, a common Teut. word, cf. Ger. springer, possibly allied to Gr. QnrFpxecOac, to move rapidly)

Spring," a study of rural See also:

• LIFE

life, representing a See also:

• PEASANT (O. Fr. paysant, Mod. paysan; Lat. pagensis, belonging to the pagus or country; cf. " pagan ")

peasant girl sitting on a knoll looking down on a village . His " Portrait of my Grandfather," exhibited in the same See also:

• YEAR

year, was not less remarkable for its artless simplicity and received a third-class See also:

• MEDAL (Fr. medaille, from Lat. metallum)

medal . This success was conirmed in 1875 by the " First Communion," a picture of a little girl minutely worked up as to See also:

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

colour, and a " Portrait of M .

Hayem:" In 1875 he took the second Prix de See also:

• ROME
• ROME (Roma)

Rome with his " Angels appearing to the Shepherds," exhibited again in 1878 . His next endeavour to win the See also:

• GRAND

Grand Prix de Rome in 1876 with " See also:

• PRIAM (Gr. IlpLauos)

Priam at the Feet of See also:

• ACHILLES
• ACHILLES (Gr. 'AxtXXeus)

Achilles " was again unsuccessful (it is in the See also:

• LILLE

Lille See also:

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

gallery), and the painter determined to return to 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 life . To the See also:

• SALON

Salon of 1877 he sent 'a full-length " Portrait of See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

Lady L." and " My Parents " and in 1878 a "Portrait of M . See also:

• THEURIET, CLAUDE ADHEMAR ANDRE (1833-1907)

Theuriet" and "The Hayfield." The last picture, now in the Luxembourg, is regarded as a typical 'See also:

• WORK

work from its See also:

• STAMP (from " to stamp," to strike or tread heavily, hence to impress, O. Eng. stempen, Du. stampen, Ger. stampfen, whence, O. Fr. estamper, mod. etamper)

stamp of realistic truth . Thenceforth Bastien-Lepage was recognized' in France as the See also:

• LEADER, BENJAMIN WILLIAMS (1831– )

leader of a school, and his " Portrait of 'Mme Sarah See also:

• BERNHARDT, SARAH (ROSINE BERNARD) (1845- )

Bernhardt " (1879), painted in a See also:

• LIGHT

light See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

key, won him the See also:

• CROSS

cross of the See also:

• LEGION (Lat. legio)

Legion of See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

Honour . In 188o he exhibited a small portrait of M . See also:

• ANDRIEUX, FRANCOIS GUILLAUME JEAN STANISLAS (1759–1833)

Andrieux and " See also:

• JOAN

Joan of Arc listening to the Voices "; and in the same year, at the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy, the little portrait of the " See also:

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

Prince of See also:

• WALES (Cymru, Gwalia, Cambria)

Wales." In 1881 he painted " The See also:

• BEGGAR

Beggar " and the "-Portrait of 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 See also:

• WOLF
• WOLF (Canis lupus)
• WOLF, FRIEDRICH AUGUST (1759-1824)
• WOLF, HUGO (1860-1903)
• WOLF, JOSEPH (1820-1899)

Wolf "; in 1882 "Le Pere Jacques "; in 1883 "Love in a Village," in which we find some trace of See also:

• COURBET, GUSTAVE (1819-1877)

Courbet's influence . His last dated work is " The Forge " (1884) . The artist, See also:

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

long ailing, had tried in vain to re-establish his See also:

• HEALTH

health in See also:

• ALGIERS (Fr. Alger, Arab. Jezair, i.e. The Islands)

Algiers . I He died in Paris on the loth of See also:

• DECEMBER (Lat. decent, ten)

December 1884, when planning a new See also:

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

series of rural subjects . Among his more important works may also be mentioned the portrait of " Mme J . See also:

• DROUET, JEAN BAPTISTE (1763-1824)

Drouet" (1883); " See also:

• GAMBETTA, LEON (1838-1882)

Gambetta on his See also:

• DEATH

death-See also:

• BED
• BED (a common Teutonic word, cf. German Bett, probably connected with the Indo-European root bhodh, seen in the Lat. fodere, to dig; so " a dug-out place " for safe resting, or in the same sense as a garden " bed ")

bed," and some landscapes; " The Vintage " (188o), and The See also:

• THAMES

Thames at See also:

• LONDON

London "(1882) .

" The Little See also:

• CHIMNEY (through the Fr. cheminee, from caminata, sc. camera, a Lat. derivative of caminus, an oven or furnace)

Chimney-Sweep " was never finished . An See also:

• EXHIBITION

exhibition of his collected works was opened in See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March and See also:

• APRIL

April x.885 . See A . Theuriet, Bastien-Lepage (1885—English edition, 1892); L. de Fourcaud, Bastien-Lepage (1885) . (H .