HARRY See also:

• HARRY BATES (1850-1899)
• BATES, HENRY WALTER (1825-1892)
• BATES, JOHN
• BATES, JOSHUA (1788-1864)
• BATES, WILLIAM (1625-1699)

BATES (1850-1899)  , See also:

• BRITISH

British sculptor, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• STEVENAGE

Stevenage, Hefts; on the 26th of See also:

• APRIL

April i85o . He began his career as a See also:

• CARVER, JOHN (x575?-1621)
• CARVER, JONATHAN (c. 1725-1780)

carver's assistant, and before beginning the See also:

• REGULAR

regular study of plastic See also:

• ART

art he passed through a See also:

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

long See also:

• APPRENTICESHIP (from Fr. apprendre, to learn)

apprenticeship in architectural decoration . In 1879 he came to See also:

• LONDON

London and entered the See also:

• LAMBETH

Lambeth School of Art, studying under Jules See also:

• DALOU, JULES (1838-1902)

Dalou and See also:

• RODIN, AUGUSTE (184o— )

Rodin, and winning a See also:

• SILVER

silver See also:

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

medal in the See also:

• NATIONAL

national competition at See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

South See also:

• KENSINGTON

Kensington . In 1881 he was admitted to the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy See also:

• SCHOOLS

schools, where in 1883 he won the See also:

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

gold medal and the travelling scholarship of £200 with his See also:

• RELIEF

relief of " See also:

• SOCRATES

Socrates teaching the See also:

• PEOPLE

People in the See also:

• AGORA

Agora," which showed 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 of See also:

• LINE

line and See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony of See also:

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

composition . He then went to 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 and studied under Rodin . A 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 and three small See also:

• BRONZE

bronze panels (the " Odyssey,") executed by See also:

• BATES, HARRY (1850-1899)
• BATES, HENRY WALTER (1825-1892)
• BATES, JOHN
• BATES, JOSHUA (1788-1864)
• BATES, WILLIAM (1625-1699)

Bates in Paris, were exhibited at the Royal Academy, and selected for See also:

• PURCHASE

purchase by the See also:

• CHANTREY, SIR FRANCIS LEGATT (1782-1841)

Chantrey trustees; but the selection had to be cancelled because they had not been modelled in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England . His " See also:

• AENEAS

Aeneas " (1885), " See also:

• HOMER, WINSLOW (1836-191o)

Homer " (1886), three " See also:

• PSYCHE (//vxi7)

Psyche " panels and " Rhodope " (1887) all showed marked advance in See also:

• FORM (Lat. forma)

form and dignity; and in 1892, after the See also:

• EXHIBITION

exhibition of his vigorously designed " Hounds in Leash," Bates was elected A.R.A . • This and his " See also:

• PANDORA (the " All-giving ")

Pandora," in See also:

• MARBLE (from Lat. marmor, Gr. pApµapos, shining stone)

marble and See also:

• IVORY (Fr. ivoire, Lat. ebur)
• IVORY, SIR JAMES (1765-1842)

ivory, which was bought in the same See also:

• YEAR

year for the Chantrey See also:

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

Bequest, are now in the See also:

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

Tate See also:

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

Gallery . The portrait-busts of Harry Bates are See also:

• GOOD, JOHN MASON (1764-1827)

good pieces of See also:

• REALISM (from Low Lat. realis, appertaining to res, things, as opposed to ideas and imaginations)

realism—strong, yet delicate in technique, and excellent in See also:

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

character . His statues have a picturesqueness in which the refinement of the sculptor is always See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt . Among the See also:

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

chief of these are the fanciful" Maharaja of See also:

• MYSORE

Mysore," somewhat overladen with See also:

• ORNAMENT (Lat. ornare, to adorn)

ornament, and the See also:

• COLOSSAL

colossal equestrian statue 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:

• ROBERTS, DAVID (1796-1864)
• ROBERTS, FREDERICK SLEIGH ROBERTS, EARL

Roberts (1896) upon its important See also:

• PEDESTAL (Fr. piedestal, Ital. piedestallo, foot of a stall)

pedestal, girdled with a See also:

• FRIEZE

frieze of figures, now set up in See also:

• CALCUTTA

Calcutta, and a statue 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 See also:

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

Victoria for See also:

• DUNDEE
• DUNDEE, JOHN GRAHAM OF CLAVERHOUSE, VISCOUNT (c. 1649-1689)

Dundee . But perhaps his masterpiece, showing the sculptor's delicate See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy and skill in composition, was an allegorical presentment of "Love and See also:

• LIFE

Life "—a winged male figure in bronze, with a See also:

• FEMALE

female figure in ivory being crowned by the male .

Bates died in London on the 3oth of See also:

• JANUARY

January 1899, his premature See also:

• DEATH

death robbing See also:

• ENGLISH

English plastic art of its most promising representative at 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 .