See also:

• BOSCH (or Boa), JEROM (c. 1460-1518)

BOSCH (or See also:

• BOA

Boa), JEROM (c. 1460-1518)  , the name generally given, from his birthplace Hertogenbosch, to Hieronymus See also:

• VAN

van Aeken, the Dutch painter . He was probably a See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil 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 Ouwater, and may be called the See also:

• BREUGHEL (or BRUEGIHEL), PIETER

Breughel of the 15th See also:

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

century, for he devoted himself to the invention of bizarre types, diableries, and scenes of the See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind generally associated with Breughel, whose See also:

• ART

art is to a See also:

• GREAT

great extent based on See also:

• BOSCH (or Boa), JEROM (c. 1460-1518)

Bosch's . He was a satirist much in advance of his 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, and one of the most See also:

• ORIGINAL

original and ingenious artists of the 15th century . He exercised great See also:

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

influence on See also:

• LUCAS, CHARLES (1713–1771)
• LUCAS, JOHN SEYMOUR (1849– )
• LUCAS, SIR CHARLES (d. 1648)

Lucas See also:

• CRANACH, LUCAS (1472-1553)

Cranach, who frequently copied his paintings . His See also:

• WORKS

works were much admired in See also:

• SPAIN
• SPAIN (Espana)

Spain, especially by 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 II., 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 Bosch painted for some time . One of his See also:

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

chief works is the " Last See also:

• JUDGMENT

Judgment " at the See also:

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

Berlin See also:

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

gallery, which also owns a little " St See also:

• JEROME, JEROME KLAPKA (1859– )
• JEROME, ST (HIERONYMUS, in full EUSEBIUS SOPHRONIUS HIERONYMUS) (c. 340–420)

Jerome in the See also:

• DESERT

Desert." " The Fall of the Rebellious Angels " and the " St See also:

• ANTHONY, SAINT
• ANTHONY, SUSAN BROWNELL (1820-1906)

Anthony " See also:

• TRIPTYCH (Gr. rpiary os, three-fold, made in three layers, TpL-, rpeis, three; arux1, a fold; 7rr(uoELv, to fold, double over)

triptych are in the See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels museum, and two important triptychs are at the See also:

• MUNICH (Ger. Munchen)

Munich gallery, The Lippmann collection in Berlin contains an important " See also:

• ADORATION (Lat. ad, to, and os, mouth; i.e. " carrying to one's mouth ")

Adoration of the Magi," the See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp museum a " See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

Passion," and a practically unknown See also:

• PAINTING

painting 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 the See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples museum .