See also:

• FORD, EDWARD ONSLOW
• FORD, JOHN (r586–c.1640)
• FORD, RICHARD (1796-1858)
• FORD, THOMAS (b. c. 158o)

FORD MADOX See also:

• BROWN
• BROWN, CHARLES BROCKDEN (1771-181o)
• FORD MADOX BROWN (1821-1893)
• BROWN, FRANCIS (1849- )
• BROWN, GEORGE (1818-188o)
• BROWN, HENRY KIRKE (1814-1886)
• BROWN, JACOB (1775–1828)
• BROWN, JOHN (1715–1766)
• BROWN, JOHN (1722-1787)
• BROWN, JOHN (1735–1788)
• BROWN, JOHN (1784–1858)
• BROWN, JOHN (1800-1859)
• BROWN, JOHN (1810—1882)
• BROWN, JOHN GEORGE (1831— )
• BROWN, ROBERT (1773-1858)
• BROWN, SAMUEL MORISON (1817—1856)
• BROWN, SIR GEORGE (1790-1865)
• BROWN, SIR JOHN (1816-1896)
• BROWN, SIR WILLIAM, BART
• BROWN, THOMAS (1663-1704)
• BROWN, THOMAS (1778-1820)
• BROWN, THOMAS EDWARD (1830-1897)
• BROWN, WILLIAM LAURENCE (1755–1830)

BROWN (1821-1893)  , See also:

• ENGLISH

English painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• CALAIS

Calais on the 16th of See also:

• APRIL

April 1821 . His See also:

• FATHER

father was See also:

• FORD, EDWARD ONSLOW
• FORD, JOHN (r586–c.1640)
• FORD, RICHARD (1796-1858)
• FORD, THOMAS (b. c. 158o)

Ford See also:

• BROWN
• BROWN, CHARLES BROCKDEN (1771-181o)
• BROWN, FORD MADOX (1821-1893)
• BROWN, FRANCIS (1849- )
• BROWN, GEORGE (1818-188o)
• BROWN, HENRY KIRKE (1814-1886)
• BROWN, JACOB (1775–1828)
• BROWN, JOHN (1715–1766)
• BROWN, JOHN (1722-1787)
• BROWN, JOHN (1735–1788)
• BROWN, JOHN (1784–1858)
• BROWN, JOHN (1800-1859)
• BROWN, JOHN (1810—1882)
• BROWN, JOHN GEORGE (1831— )
• BROWN, ROBERT (1773-1858)
• BROWN, SAMUEL MORISON (1817—1856)
• BROWN, SIR GEORGE (1790-1865)
• BROWN, SIR JOHN (1816-1896)
• BROWN, SIR WILLIAM, BART
• BROWN, THOMAS (1663-1704)
• BROWN, THOMAS (1778-1820)
• BROWN, THOMAS EDWARD (1830-1897)
• BROWN, WILLIAM LAURENCE (1755–1830)

Brown, a retired See also:

• PURSER

purser in the See also:

• NAVY

navy; his See also:

• MOTHER

mother, See also:

• CAROLINE
• CAROLINE (1683-1737)

Caroline Madox, of an old Kentish See also:

• FAMILY

family . His paternal grandfather was Dr See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John Brown, who established the Brunonian Theory of See also:

• MEDICINE

Medicine . Ford Madox Brown was the only 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 his parents, See also:

• SAVE, or SAVA (Ger. Sau; Hungarian Szdva; Lat. Savus)

save for a daughter who died 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 . In childhood he was shifted about a See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• DEAL

deal between See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France and See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England; and having shown from the See also:

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

age of six or seven a turn for See also:

• DRAWING

drawing he was taken, when fourteen years old, and with meagre acquirements in the way of See also:

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

general tuition, to See also:

• BRUGES (Flemish Brugge, a name signifying the bridge or place of bridges)

Bruges, and placed under the instruction of Gregorius, 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:

• DAVID
• DAVID (a Hebrew name meaning probably beloved 1)
• DAVID, FELICIEN (1810—1876)
• DAVID, GERARD [GHEERAERT DAVIT], (?=1523)
• DAVID, PIERRE JEAN (1789–1856)
• DAVID, ST (Dewi, Sant)

David . His See also:

• PRINCIPAL

principal instructor, however, from about 1837, was See also:

• BARON
• BARON (1835-1895)
• BARON, MICHEL (1653—1729)

Baron See also:

• WAPPERS, EGIDE CHARLES GUSTAVE, BARON (1803-1874)

Wappers, of See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp, then regarded as a See also:

• GREAT

great See also:

• LIGHT

light of the Belgian school . From him the youth learned the technique not only of oil See also:

• PAINTING

painting but of various other branches of See also:

• ART

art . At a very See also:

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

early age Brownattained a remarkable degree of force in drawing and painting, as attested by an extant oil-portrait of his father, done at an age • not exceeding fifteen . His first See also:

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

composition, towards 1836, represented a See also:

• BLIND, MATHILDE (1841—1896)

blind See also:

• BEGGAR

beggar and his child; his first exhibited See also:

• WORK

work, 1837, was " See also:

• JOB

Job on the Ash-heap "; the first exhibited work in See also:

• LONDON

London (at the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy, 184o), " The See also:

• GIAOUR (a Turkish adaptation of the Pers. gdwr or gbr, an infidel)

Giaour's See also:

• CONFESSION (Lat. confessio, from confiteor, acknowledge, confess)

Confession," from See also:

• BYRON, GEORGE GORDON BYRON, 6TH BARON (1788-1824)
• BYRON, HENRY JAMES (1834-1884)
• BYRON, HON
• BYRON, JOHN BYRON

Byron's poem . Both his parents died before 184o, leaving to the young painter a moderate competence, which soon was materially reduced . In 184o Brown completed a large picture, " The See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

Execution of See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary, 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 of Scots," strong in dramatic effect and in handling, with rather sombre See also:

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

colour; from this 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 forth he must be regarded as a proficient artist, See also:

• INDEPENDENT

independent in his point of view and strenuous in execution . He contributed to the See also:

• CARTOON (Ital. cartone, pasteboard)

cartoon competitions, 1844 and 1845, for the Houses of See also:

• PARLIAMENT (Anglo-Lat. parliamentum, Fr. parlement, from parler, to speak)

Parliament—" See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam and See also:

• EVE

Eve after the Fall," "The See also:

• BODY

Body of Harold brought to See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William the Conqueror," and " The Spirit of See also:

• JUSTICE (Lat. justitia)

Justice." These highly remarkable cartoons passed not wholly unobserved, but not one of them obtained a See also:

• PRIZE, or PRIZE OF WAR (Fr. prise, from prendre, to take)

prize .

The years 184o to 1845 were passed in 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, London and See also:

• ROME
• ROME (Roma)

Rome: towards the See also:

• MIDDLE

middle of 1846 Brown settled permanently in London . In 1841 he had married his See also:

• COUSIN (Fr. cousin, Ital. cugino, Late Lat. cosinus, perhaps a popular and familiar abbreviation of consobrinus, which has the same sense in classical Latin)
• COUSIN, JEAN (1500-1590)
• COUSIN, VICTOR (1792–1867)

cousin See also:

• ELIZABETH
• ELIZABETH (1533-1603)
• ELIZABETH (1596-1662)
• ELIZABETH (1635–1650)
• ELIZABETH [ AMELIE EUGENIE ] (1837—1898)
• ELIZABETH [1lisabeth Philippine Marie Helene of France] (1764—1794)
• ELIZABETH [PAULINE ELIZABETH OTTILIE LOUISE] (1843– )
• ELIZABETH [PETROVNA] (1709-1762), EMPRESS
• ELIZABETH, SAINT (1207-1231)

Elizabeth See also:

• BROMLEY
• BROMLEY, SIR THOMAS (1530-1587)

Bromley, who died of See also:

• CONSUMPTION (Lat. consumere)

consumption in 1846, leaving a daughter, See also:

• LUCY, RICHARD DE (d. 1179)

Lucy, who in 1874 became the wife of William M . See also:

• ROSSETTI, CHRISTINA GEORGINA (1830-1894)
• ROSSETTI, DANTE GABRIEL (1828-1882)

Rossetti . Not See also:

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

long after being See also:

• LEFT

left a widower, Brown took a second wife, Emma See also:

• HILL
• HILL (0. Eng. hyll; cf. Low Ger. hull, Mid. Dutch hul, allied to Lat. celsus, high, collis, hill, &c.)
• HILL, A
• HILL, AARON (1685-175o)
• HILL, AMBROSE POWELL
• HILL, DANIEL HARVEY (1821-1889)
• HILL, DAVID BENNETT (1843–1910)
• HILL, GEORGE BIRKBECK NORMAN (1835-1903)
• HILL, JAMES J
• HILL, JOHN (c. 1716-1775)
• HILL, MATTHEW DAVENPORT (1792-1872)
• HILL, OCTAVIA (1838– )
• HILL, ROWLAND (1744–1833)
• HILL, SIR ROWLAND (1795-1879)

Hill, who figures in many of his pictures . She had two See also:

• CHILDREN, LAW RELATING TO

children who See also:

• GREW, NEHEMIAH (1641-1712)

grew up: See also:

• CATHERINE
• CATHERINE, SAINT

Catherine, who married Dr See also:

• FRANZ, ROBERT (1815-1892)

Franz Hueffer, the musical See also:

• SCHOLAR, SCHOLARSHIP

scholar and critic, and See also:

• OLIVER, ISAAC (c. 1566--1617)
• OLIVER, PETER (1594-1648)

Oliver, who died in 1874 in his twentieth See also:

• YEAR

year . All three children showed considerable ability in painting, and Oliver in See also:

• ROMANCE

romance as well . The second Mrs Brown died in 189o . The most marked distinction of Brown as an artist may be defined as vigorous invention of historic or dramatic scenes, carried out with a great regard to individuality in the personages, expressions and accessories of incident and detail, not excluding the See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar, the See also:

• PECULIAR

peculiar and the semi-See also:

• GROTESQUE

grotesque, when these seem to subserve the general See also:

• INTENT (from Lat. intend ere, to stretch out, extend, particularly in the phrase intendere animum, to turn one's mind to, purpose)

intent . Owing, however, to his association with artists of the so-called " pre-Raphaelite " See also:

• MOVEMENT

movement (which began See also:

• LATE

late in 1848), and especially with See also:

• DANTE

Dante See also:

• GABRIEL (Heb. SKns, man of God)

Gabriel Rossetti, who received some training in his studio in the 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 of that year, he has been regarded sometimes as the precursor or initiator of this movement, and sometimes as a See also:

• DIRECT

direct co-operator in it . His claim to be regarded as a precursor or initiator is not strong; though it is true that even before 1841 he had pondered the theory (not then much in See also:

• VOGUE, EUGENE MELCHIOR, COMTE DE (1848- )

vogue) that a picture ought to See also:

• PRESENT

present the veritable light and shade proper to some one moment in the 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, and his " See also:

• MANFRED (c. 1232–1266)

Manfred on the See also:

• JUNGFRAU

Jungfrau " (1841) exemplifies this principle to some extent; it reappears in his very large picture of " See also:

• CHAUCER, GEOFFREY (? 1340-1400)

Chaucer at the 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 of See also:

• EDWARD

Edward III." (now in the public See also:

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

gallery of See also:

• SYDNEY

Sydney, See also:

• AUSTRALIA

Australia), which, although projected in 1845, was not brought to completion until 1851 . As to becoming a direct co-operator in the pre-Raphaelite movement, he did not join the " Brotherhood," though it would have been open to him to do so; but for some years his See also:

• WORKS

works exhibited a marked See also:

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

influence derived from the movement, not on the whole to their clear See also:

• ADVANTAGE

advantage . The principal pictures of this class are: " The See also:

• PRETTY

Pretty Baa-See also:

• LAMBS

lambs "; " Work " (a See also:

• STREET
• STREET, GEORGE EDMUND (1824-1881)

street See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene at See also:

• HAMPSTEAD

Hampstead); and " The Last of England " (an See also:

• EMIGRATION (from Lat. emigrare; e, ex, out of, and migrare, to depart)

emigration subject, one of his most excellent achievements) : dating between 1851 and 1863 .

" See also:

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

Christ Washing See also:

• PETER
• PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
• PETER (PEDRO)
• PETER, EPISTLES OF
• PETER, ST

Peter's Feet " (now in the See also:

• NATIONAL

National Gallery of See also:

• BRITISH

British Art) comes within the same range of See also:

• DATES

dates, and is a masterly work; here the pre-Raphaelite influence is less See also:

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

manifest . Altogether it may be averred that the conception and introduction of the pre-Raphaelite See also:

• SCHEME (Lat. schema, Gr. oxfjya, figure, form, from the root axe, seen in exeiv, to have, hold, to be of such shape, form, &c.)

scheme, such as it appeared to the public See also:

• EYE
• EYE (O. Eng. edge, Ger. Auge; derived from an Indo-European root also seen in Lat. oc-ulus, the organ of vision (q.v.)

eye in 1849 and r85o, belong to See also:

• MILLAIS, SIR JOHN EVERETT (1829-1896)

Millais, See also:

• HOLMAN, JAMES (1786–1857)

Holman See also:

• HUNT, ALFRED WILLIAM (183o-1896)
• HUNT, HENRY (1i73-1835)
• HUNT, HENRY JACKSON (1819-1889)
• HUNT, JAMES HENRY LEIGH (1784-1859)
• HUNT, ROBERT (1807-1887)
• HUNT, THOMAS STERRY (1826-1892)
• HUNT, WILLIAM HENRY (1790—1864)
• HUNT, WILLIAM HOLMAN (1827-1910)
• HUNT, WILLIAM MORRIS (1824-1879)

Hunt and Rossetti, rather than to Brown . Other leading pictures by Brown are the following:— "Cordelia at the Bedside of See also:

• LEAR, EDWARD (1812-1888)

Lear "; " See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare "; See also:

• JACOB
• JACOB, JOHN (1812-1858)

Jacob and See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph's Coat "; " See also:

• ELIJAH (a Hebrew name meaning " Yah[weh] is God ")

Elijah and the Widow's Son "; "Cordelia's Portion "; " The Entombment "; " Romeo and Juliet" (the parting on the See also:

• BALCONY (Ital. balcone from balco, scaffold; cf. O. H. Ger. balcho, beam, Mod. Ger. Balken, Eng. balk)

balcony); " See also:

• DON
• DON (anc. Tanais)

Don Juan and Haidee "; " See also:

• CROMWELL, HENRY (1628-1674)
• CROMWELL, OLIVER (1599-1658)
• CROMWELL, RICHARD (1626–1712)
• CROMWELL, THOMAS, EARL OF

Cromwell on his See also:

• FARM

Farm "; " Cromwell, See also:

• PROTECTOR

Protector of the Vaudois ":—covering the See also:

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

period from 1849 to 1877 . " See also:

• SARDANAPALUS, or SARDANAPALLUS

Sardanapalus and Myrrha." begun within the same period, was finished later . He produced, moreover, a great number of excellent cartoons for stained See also:

• GLASS
• GLASS (O.E. glees, cf. Ger. Glas, perhaps derived from an old Teutonic root gla-, a variant of glo-, having the general sense of shining, cf. " glare," " glow ")
• GLASS, STAINED

glass, being up to 1874 a member of the See also:

• FIRM

firm of decorative art, See also:

• MORRIS
• MORRIS [MORRISON], CLARA (1849– )
• MORRIS, GOUVERNEUR (1752–1816)
• MORRIS, JOHN (1810-1886)
• MORRIS, RICHARD (1833–1894)
• MORRIS, ROBERT (1734–1806)
• MORRIS, SIR LEWIS (1833–1907)
• MORRIS, WILLIAM (1834-1896)

Morris, See also:

• MARSHALL
• MARSHALL, ALFRED (1842– )
• MARSHALL, JOHN (1755–1835)
• MARSHALL, JOHN (1818-1891)
• MARSHALL, STEPHEN (c. 1594-1655)

Marshall, Faulkner and Co . He also executed, in See also:

• COLOURS, MILITARY

colours or in crayons, various portraits, including his own . From 1878 he was almost engrossed by work which he undertook for the See also:

• TOWN

town See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

hall of See also:

• MANCHESTER
• MANCHESTER (popularly Manchester-by-the-Sea)
• MANCHESTER, EARLS AND DUKES OF

Manchester, and which entailed his living for some few years in that See also:

• CITY (through Fr. cite, from Lat. civitas)

city—twelve large 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 paintings, some of them done in a modified See also:

• FORM (Lat. forma)

form of the See also:

• GAMBIER
• GAMBIER, JAMES GAMBIER, BARON (1756-1833)

Gambier-See also:

• PARRY (from Fr. parer, to ward off)
• PARRY, SIR CHARLES HUBERT HASTINGS, BART
• PARRY, SIR WILLIAM EDWARD (179o–1855)

Parry See also:

• PROCESS

process, and others in See also:

• OILS (adopted from the Fr. oile, mod. huile, Lat. oleum, olive oil)

oils on See also:

• CANVAS

canvas applied to the wall See also:

• SURFACE

surface . They present a compendium of the See also:

• HISTORY

history of Manchester and its See also:

• DISTRICT

district, from the See also:

• BUILDING

building of the See also:

• ROMAN

Roman See also:

• CAMP (from Lat. campus, field)

camp at See also:

• MANCUNIUM

Mancunium to the experimental work of See also:

• DALTON
• DALTON, JOHN (1766-1844)

Dalton in elaborating the atomic theory . This is an extremely See also:

• FINE

fine See also:

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

series, though with some diversity of individual merit in the paintings, and is certainly the See also:

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

chief representative, in the See also:

• UNITED

United See also:

• KINGDOM

Kingdom, of any such form of See also:

• ARTISTIC

artistic effort—if we leave out of See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

count the works (by various painters) in the Houses of Parliament . Madox Brown was never a popular or highly remunerated artist . Up' to near middle age he went through trying straits in See also:

• MONEY

money matters; afterwards his circumstances improved, but he was not really well off at any time . In youth he followed the usual course as an exhibiting painter, but after some See also:

• MORTIFICATION

mortification and See also:

• HEART
• HEART, LUNG

heart-burnings he did little in this way after 1852 .

He held, however, in 1865, an See also:

• EXHIBITION

exhibition of his own then numerous paintings and designs . He also delivered a few lectures on fine art from time to time . From 1868 he suffered from See also:

• GOUT

gout; and this led to an attack of See also:

• APOPLEXY (Gr. arov n i.a, from aroaMvvew, to strike down, to stun)

apoplexy, from which he died in London on the 6th of See also:

• OCTOBER

October 1893 . He was a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of upright, independent and See also:

• HONOURABLE (Fr. honorable, from Lat. honorabilis, worthy of honour)

honourable See also:

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

character, of warm affections, a steady and self-sacrificing friend; but he took offence rather readily, and viewed various persons and institutions with a degree of suspicion which may be pronounced excessive . He 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 See also:

• INTEREST

interest in many questions outside the range of his art, and, being a good and varied talker, had often some-thing apposite and suggestive to say about them . On more than one occasion he exerted himself very zealously for the benefit of the working classes . In politics he was a consistent Democrat, and on religious questions an Agnostic . The See also:

• LIFE

life of this artist has been well written by his See also:

• GRANDSON (Ger. Grandsee)

grandson, Ford M . Hueffer, in a handsomely illustrated See also:

• VOLUME

volume entitled Ford Madox Brown (London, 1896) . This volume contains some extracts from Brown's See also:

• DIARY

diary, extending in the whole from 1847 to 1865; and other lengthier extracts appear in two books edited by William M . Rossetti—See also:

• RUSKIN, JOHN (1819-1goo)

Ruskin, Rossetti, Pre-Raphaelitism (1899), and Pre-Raphaelite Diaries and Letters (1899) . See also the Preferences in Art, &c., by Harry Quilter (1892), and a pamphlet, Ford Madox Brown (1901), by See also:

• HELEN

Helen Rossetti (Angeli), applicable to a collection of his works exhibited in the Whitechapel Art Gallery ..

(W . M .