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 See also:

• PARIS BORDONE (1495-1570)

BORDONE (1495-1570)  , Venetian painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Treviso, and entered the bottega of See also:

• TITIAN
• TITIAN (c. 1477-1576)

Titian in 1509 . See also:

• VASARI, GIORGIO (1511-1571)

Vasari, to whom we are indebted for nearly all the facts of See also:

• BORDONE, PARIS (1495-1570)

Bordone's See also:

• LIFE

life—later See also:

• RESEARCH (O. Fr. recerche, from recercher, re- and cercer, mod. chercher, to search; Late Lat. circare, to go round in a circle, to explore)

research has not added much to our knowledge—holds that he did not spend many years with Titian and set himself to imitate the manner of See also:

• GIORGIONE
• GIORGIONE (1477-1510)

Giorgione to the utmost of his See also:

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

power . As a See also:

• MATTER

matter of fact, the Giorgionesque traits in Bordone's earlier See also:

• WORKS

works are derived entirely from Titian, whom he imitated so closely that 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 some of his paintings pass under Titian's name . See also:

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

Crowe and Cavalcaselle and Dr See also:

• BODE, JOHANN ELERT (1747–1826)

Bode ascribe to Bordone the " See also:

• BAPTISM

Baptism of See also:

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

Christ " in the Capitoline See also:

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

gallery, but See also:

• MORELLI, GIOVANNI (1816-1891)

Morelli See also:

• SEES

sees in it an See also:

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

early See also:

• WORK

work of Titian . 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 Bordone subsequently executed many important mural paintings in See also:

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

Venice, Treviso and See also:

• VICENZA

Vicenza, all of which have perished . In 1538 he was invited to See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France by See also:

• FRANCIS
• FRANCIS (FRarrcols) OF SALES, ST (1567-1622)
• FRANCIS (Lat. Franciscus, Ital. Francesco, Span. Francisco, Fr. Francois, Ger. Franz)
• FRANCIS, SIR PHILIP (174o-1818)

Francis I., at whose 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 he painted many portraits, though no trace of them is to be found in See also:

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

French collections, the two portraits at the Louvre being later acquisitions . On his return See also:

• JOURNEY (through O. Fr. jornee or journee, mod. Fr. journee, from med. Lat. diurnata, Lat. diurnus, of or belonging to dies, day)

journey he undertook works of See also:

• GREAT

great importance for the See also:

• FUGGER

Fugger See also:

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

palace at See also:

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

Augsburg, which again have been lost sight of . Bordone's pictures are of very unequal merit . They have a certain See also:

• NOBILITY

nobility of See also:

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

style, and that See also:

• GOLDEN

golden See also:

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

harmony of See also:

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

colour which he derived from Titian, together with the realistic conception of the human figure and the dignified See also:

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

character of his See also:

• PORTRAITURE

portraiture . On the other See also:

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

hand, his nudes are a little coarse in See also:

• FORM (Lat. forma)

form, and the See also:

• ACTION

action of his figures is frequently unnatural and affected . A true 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 of the See also:

• RENAISSANCE, THE

Renaissance, he also painted a number of religious pictures, numerous mythological scenes, allegories, See also:

• NYMPHS

nymphs, cupids and subjects from See also:

• OVID [PUBLIUS OvID1us NASO] (43 B.C.–A.D. 17)

Ovid's fables, but he excelled as a portraitist . His See also:

• PRINCIPAL

principal surviving work is the "Fisherman and See also:

• DOGE

Doge" at the Venice See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy .

The See also:

• NATIONAL

National Gallery, See also:

• LONDON

London, has a " See also:

• DAPHNIS

Daphnis and Chloe" and a portrait of a 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, whilst a "See also:

• HOLY

Holy See also:

• FAMILY

Family" from his See also:

• BRUSH (from Fr. brosse, which, like the English word, means both the undergrowth of a wood and the instrument; if the word in both these meanings is ultimately the same, then the origin is from a bundle of brushwood used as a brush or broom, but this is h
• BRUSH, GEORGE DE FOREST (1855– )

brush is at See also:

• BRIDGWATER

Bridgwater 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 . Other important works of his are the " Madonna " in the Tadini collection at See also:

• LOVERE

Lovere, the paintings in the Duomo of Treviso, two mythological pictures at the See also:

• VILLA

Villa See also:

• BORGHESE

Borghese and the See also:

• DORIA, ANDREA (1466-156o)

Doria palace in See also:

• ROME
• ROME (Roma)

Rome, the " See also:

• CHESS

Chess Players " in See also:

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

Berlin, a very little-known portrait of superb quality in the See also:

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

possession of the See also:

• LANDGRAVE (Ger. Landgraf, from Land, " a country" and Graf, "count" )

landgrave of See also:

• HESSE
• HESSE (Lat. Hessia, Ger. Hessen)

Hesse at Kronberg, and a " Baptism of Christ " in See also:

• PHILADELPHIA

Philadelphia . Besides these, there are examples of his See also:

• ART

art in See also:

• BERGAMO
• BERGAMO (anc. Bergomum)

Bergamo, See also:

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

Milan, See also:

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

Genoa, See also:

• PADUA (Lat. Patavium ; Ital. Padova)

Padua, See also:

• SIENA

Siena, Venice, See also:

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

Florence, See also:

• MUNICH (Ger. Munchen)

Munich, See also:

• DRESDEN

Dresden and See also:

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

Vienna . Beyond some references in See also:

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

general works on See also:

• ITALIAN

Italian See also:

• PAINTING

painting, very little has been written on Paris Bordone since the days of Vasari . In 1900 the 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 of the See also:

• FOURTH

fourth See also:

• CENTENARY (from Lat. centenarius, of or belonging to a hundred, from centeni, distributive of centum, hundred)

centenary of Paris Bordone, Treviso, published L . Barlo and G . Biscaro's Della Vita e delle Opere di Paris Bordone; and the Nuova Antologia (See also:

• NOVEMBER (Lat. novem, nine)

November 16, 1900) , contains a sixteen-See also:

• PAGE
• PAGE, THOMAS NELSON (1853- )
• PAGE, WILLIAM (1811-1885)

page See also:

• PAPER
• PAPER (Fr. papier, from Lat. papyrus)

paper on Paris Bordone by P . G . Molmenti . (P . G .