See also:

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

LUCAS See also:

• LUCAS CRANACH (1472-1553)

CRANACH (1472-1553)  , See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Cronach in upper See also:

• FRANCONIA (Ger. Franken)

Franconia, and learnt the See also:

• ART

art of See also:

• DRAWING

drawing from his See also:

• FATHER

father . It has not been possible to trace his descent or the name of his parents . We are not informed as to the school in which he was taught, and it is a See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere guess that he took lessons from the See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

south German masters to whom See also:

• MATHEW, THEOBALD (1790-1856)

Mathew See also:

• GRUNEWALD, MATHIAS

Grunewald owed his See also:

• EDUCATION

education . But Grunewald practised at See also:

• BAMBERG

Bamberg and See also:

• ASCHAFFENBURG

Aschaffenburg, and Bamberg is the See also:

• CAPITAL (i.e. capital stock or fund)
• CAPITAL (Lat. caput, head)

capital of the See also:

• DIOCESE (formed on Fr. diocese, in place of the Eng. form diocess—current until the 19th century—from Lat. dioecesis, med. Lat. variant diocesis, from Gr. Swucio•tc, " house-keeping," " administration," &miceas, " to keep house," " to govern ")

diocese in which Cronach lies . According to Gunderam, the See also:

• TUTOR (Lat. tutor, guardian, tueri, to watch over, protect)

tutor of See also:

• CRANACH, LUCAS (1472-1553)

Cranach's See also:

• CHILDREN, LAW RELATING TO

children, Cranach signalized his talents as a painter before the See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close of the 15th See also:

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

century . He then See also:

• DREW
• DREW, SAMUEL (1765-1833)

drew upon himself the See also:

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

attention of the elector of See also:

• SAXONY
• SAXONY (Ger. Provinz Sachsen)

Saxony, who attached him to his See also:

• PERSON, OFFENCES AGAINST THE

person in 1504 . The records of See also:

• WITTENBERG

Wittenberg confirm Gunderam's statement to this extent that Cranach's name appears for the first 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 in the public accounts on the 24th of See also:

• JUNE

June 1504, when he drew 5o gulden for the See also:

• SALARY

salary of See also:

• HALF

half a See also:

• YEAR

year, as pictor ducalis . The only See also:

• CLUE

clue to Cranach's See also:

• SETTLEMENT
• SETTLEMENT, ACT OF

settlement previous to his See also:

• WITTEN

Witten-See also:

• BERG (Ducatus Montensis)

berg See also:

• APPOINTMENT, POWER OF

appointment is afforded by the knowledge that he owned a 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 at See also:

• GOTHA

Gotha, and that See also:

• BARBARA, SAINT

Barbara Brengbier, his wife, was the daughter of a burgher of that See also:

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

city . Of his skill as an artist we have sufficient See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence in a picture dated 1504 . But as to the development of his manner See also:

• PRIOR (from Lat. prior—former, and hence superior, through O. Fr. priour)
• PRIOR, MATTHEW (1664-1721)

prior to that date we are altogether in See also:

• IGNORANCE (Lat. ignorantia, from ignorare, not to know); want of knowledge, a state of mind which in law has important consequences. A well-known legal maxim runs: ignorantia juris non excusat ("ignorance of the law does not excuse")

ignorance . In contrast with this obscurity is the See also:

• LIGHT

light thrown upon Cranach after 1504 . We find him active in several branches of his profession,—sometimes a mere house-painter; more frequently producing portraits and. See also:

• ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar-pieces, a designer on See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood, an engraver of See also:

• COPPER (symbol Cu, atomic weight 63.1, H=1, or 63.6, O = 16)

copper-plates, and draughtsman for the See also:

• DIES, CHRISTOPH ALBERT (1755-1822)

dies of the electoral See also:

• MINT
• MINT (Lat. moneta; Mid. Eng. mynt)

mint .

See also:

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

Early in the days of his See also:

• OFFICIAL (Late Lat. QJicialis, for class. Lat. apparitor, from officium, office, duty)

official employment he startled his See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master's courtiers by the See also:

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

realism with which he painted still See also:

• LIFE

life, See also:

• GAME

game and antlers on the walls of the 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 palaces at See also:

• COBURG

Coburg and Lochau ; his pictures of See also:

• DEER (O. E. rigor, dfor, a common Teutonic word, meaning a wild animal, cf. Ger. Tier, Du. dier, &c., probably from a root dhus-, to breathe)
• DEER, CHINESE

deer and See also:

• WILD, JONATHAN (c. 1682-1725)

wild See also:

• BOAR (0. Eng. bar; the word is found only in W. Ger. languages, cf. Dutch beer, Ger. Eber)

boar were considered striking, and the See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke fostered his See also:

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

passion for this See also:

• FORM (Lat. forma)

form of art by taking him out to the See also:

• HUNTING (the verbal substantive from " hunt "; O. Eng. huntian, hunta; apparently connected with O. Eng. hentan, Gothic hinpan, to capture, O.H.G. hunda,booty)

hunting See also:

• FIELD (a word common to many West German languages, cf. Ger. Feld, Dutch veld, possibly cognate with O.E. f olde, the earth, and ultimately with root of the Gr. irAaror, broad)
• FIELD, CYRUS WEST (1819-1892)
• FIELD, DAVID DUDLEY (18o5-1894)
• FIELD, EUGENE (1850-1895)
• FIELD, FREDERICK (18o1—1885)
• FIELD, HENRY MARTYN (1822-1907)
• FIELD, JOHN (1782—1837)
• FIELD, MARSHALL (183 1906)
• FIELD, NATHAN (1587—1633)
• FIELD, STEPHEN JOHNSON (1816-1899)
• FIELD, WILLIAM VENTRIS FIELD, BARON (1813-1907)

field, where he sketched " his 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 " See also:

• RUNNING

running the See also:

• STAG (0. Eng. stagga, a Norse word, cf. Icel. steggr, steggi, a male animal, cf. Steggander, a drake; it is usually referred to stigan, to climb, to mount, but this is doubtful)

stag, or Duke 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 sticking a boar . Before 150$ he had painted several altar-pieces for the Schlosskirche at Wittenberg in competition with Dtirer, See also:

• BURGKMAIR, HANS

Burgkmair and others; the duke and his See also:

• BROTHER

brother John were portrayed in various attitudes and a number of the best woodcuts and copper-plates were published . See also:

• GREAT

Great 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 accrued to Cranach when he went in 1509 to the Nether-lands, and took sittings from the See also:

• EMPEROR (Fr. empereur, from the Lat. imperator)

emperor See also:

• MAXIMILIAN
• MAXIMILIAN (1832—1867)

Maximilian and the boy who afterwards became See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles V . Till 15o8 Cranach signed his See also:

• WORKS

works with the See also:

• INITIALS (Lat. initialis, of or belonging to a beginning, initium)

initials of his name . In that year the elector gave him the winged snake as a See also:

• MOTTO (an Italian word, from Late Lat. muttum, a low sound, a mutter or murmur, cf. mutere, to mutter; the Latin word also gives Fr. mot, word)

motto, and this motto or Kleinod, as it was called, superseded the initials on all his pictures after that date . Somewhat later the duke conferred on him the See also:

• MONOPOLY (Gr. govomeXla or govoircaXwv, exclusive sale, from govds, alone, and irwXeiv, to sell)

monopoly of the See also:

• SALE
• SALE, GEORGE (c. 1697-1736)
• SALE, SIR ROBERT HENRY (1782—1845)

sale of medicines at Wittenberg, and a printer's patent with exclusive privileges as to See also:

• COPYRIGHT

copyright in Bibles . The presses of Cranach were used by See also:

• LUTHER, MARTIN (1483-1546)

Luther . His chemist's See also:

• SHOP

shop was open for centuries, and only perished by See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire in 1871 . Relations of friend-See also:

• SHIP

ship See also:

• UNITED

united the painter with the Reformers at a very early See also:

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

period; yet it is difficult to See also:

• FIX, THEODORE (180o-1846)

fix the time of his first acquaintance with Luther . The See also:

• OLDEST

oldest See also:

• NOTICE

notice of Cranach in the Reformer's See also:

• CORRESPONDENCE
• CORRESPONDENCE (from med. scholastic Lat. correspondentia, corrcspondere, compounded of Lat. cum, with, and respond ere, to answer; cf. Fr. correspondance)

correspondence See also:

• DATES

dates from 1520 . In a See also:

• LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

letter written from See also:

• WORMS

Worms in 1521, Luther calls him his See also:

• GOSSIP (from the O.E. godsibb, i.e. God, and sib, akin, standing in relation to)

gossip, warmly alluding to his " Gevatterin," the artist's wife . His first engraved portrait by Cranach represents an Augustinian See also:

• FRIAR (from the Lat. (rater, through the Fr. frere)

friar, and is dated 1520 .

Five years later the friar dropped the See also:

• COWL (through Fr. coule, from Lat. cucullus or cuculla, a covering; the word is found in various forms in most European languages, cf. Ger. Kugel or Kigel, Dutch kovel, Irish cochal or cochull ; the ultimate origin may be the root kal, found in Lat. clam,

cowl, and Cranach was See also:

• PRESENT

present as " one of the See also:

• COUNCIL (Lat. concilium, from cum, together, and the root cal, to call)

council " at the See also:

• BETROTHAL (A.S. treowth, " truth ")

betrothal festival of Luther and See also:

• CATHERINE
• CATHERINE, SAINT

Catherine See also:

• BORA

Bora . The See also:

• DEATH

death at See also:

• SHORT, FRANCIS JOB (1857– )

short intervals of the See also:

• ELECTORS (Ger. Kurfursten, from Kilren, O.H.G. kiosan, choose, elect, and Furst, prince)

electors See also:

• FREDERICK
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

Frederick and John (1525 and 1532) brought no See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change in the prosperous situation of the painter; he remained a favourite with John Frederick I., under whose See also:

• ADMINISTRATION (Lat. administrare, to serve)

administration he twice (1537 and 1540) filled the See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office of burgomaster of Witten-berg . But 1547 witnessed a remarkable change in these relations . John Frederick was taken prisoner at the See also:

• BATTLE

battle of Miihlberg, and Wittenberg was subjected to stress of See also:

• SIEGE (0. Fr. sege, siege, mod. siege, seat, ultimately from sedere, to sit, cf. Class. Lat. obsidium, a siege)

siege . As Cranach wrote from his house at the corner of the See also:

• MARKET (Lat. mercatus, trade or place of trade)

market-See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place to the See also:

• GRAND

grand-master 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 of See also:

• BRANDENBURG

Brandenburg at See also:

• KONIGSBERG (Polish Krolewiec)

Konigsberg to tell him of John Frederick's See also:

• CAPTURE (from Lat. capere, to take; Fr. prise maritime; Ger. Wegnahme)

capture, he showed his See also:

• ATTACHMENT

attachment by saying, " I cannot conceal from your Grace that we have been robbed of our dear See also:

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

prince, who from his youth upwards has been a true prince to us, but See also:

• GOD

God will help him out of See also:

• PRISON (derived through the Fr. from the Lat. prehensio, seizure)

prison, for the Kaiser is bold enough to revive the Papacy, which God will certainly not allow." During the siege Charles bethought him of Cranach, whom he remembered from his childhood and summoned him to his See also:

• CAMP (from Lat. campus, field)

camp at Pistritz . Cranach came, reminded his See also:

• MAJESTY (Fr. majeste; Lat. majestas, grandeur, greatness, from the base mag-, as in magnus, great, major, greater, &c.)

majesty of his early sittings as a boy, and begged on his knees for See also:

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

kind treatment to the elector . Three years afterwards, when all the dignitaries of the See also:

• EMPIRE

Empire met at See also:

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

Augsburg to receive commands from the emperor, and when See also:

• TITIAN
• TITIAN (c. 1477-1576)

Titian at Charles's bidding came to take the likeness of 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 of See also:

• SPAIN
• SPAIN (Espana)

Spain, John Frederick asked Cranach to visit the Swabian capital ; and here for a few months he was numbered amongst the See also:

• HOUSEHOLD, ROYAL

household of the See also:

• CAPTIVE (from Lat. capere, to take)

captive elector, whom he afterwards accompanied See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home in 1552 . He died on the 16th of See also:

• OCTOBER

October 1553 at See also:

• WEIMAR

Weimar, where the house in which he lived still stands in the market-place . The oldest extant picture of Cranach, the " See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

Rest of the Virgin during the See also:

• FLIGHT

Flight into See also:

• EGYPT

Egypt," marked with the initials L.C., and the date of 1504, is by far the most graceful creation of his See also:

• PENCIL (Lat. penicillus, brush, literally little tail)

pencil . The See also:

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

scene is laid on the margin of a See also:

• FOREST

forest of pines, and discloses the habits of a painter See also:

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

familiar with the See also:

• MOUNTAIN (0. Fr. montaigne; popular Lat. montanea, an adjectival form from the classical mons, montis, whence Eng. " mount," a form usually used along with the name of an individual mountain, e.g. Mt Everest)
• MOUNTAIN, THE (La Montagne)

mountain scenery of Thuringia . There is more of gloom in landscapes of a later time; and this would point to a defect in the See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste of Cranach, whose stag hunts are otherwise not unpleasing . Cranach's art in its See also:

• PRIME, PRIMER AND PRIMING

prime was doubtless influenced by causes which but slightly affected the art of the Italians, but weighed with potent See also:

• CON

con-sequence on that of the See also:

• NETHERLANDS

Netherlands and See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany .

The business of booksellers who sold woodcuts and engravings at fairs and markets in Germany naturally satisfied a craving which arose out of the paucity of 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 in churches and See also:

• SECULAR (Lat. saecularis, of or belonging to an age or generation, saeculum)

secular edifices . Drawing for woodcuts and See also:

• ENGRAVING

engraving of copper-plates became the occupation of artists of See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note, and the talents devoted in See also:

• ITALY
• ITALY (Italia)

Italy to productions of the 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 were here monopolized for designs on wood or on copper . We have thus to See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account for the See also:

• COMPARATIVE

comparative unproductiveness as painters of See also:

• DURER, ALBRECHT (1471-1528)

Durer and See also:

• HOLBEIN, HANS

Holbein, and at the same time to explain the shallowness apparent in many of the later works of Cranach; but we attribute to the same cause also the tendency in Cranach to neglect effective See also:

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

colour and light and shade for strong contrasts of See also:

• FLAT (a modification of O. Eng. flet, an obsolete word of Teutonic origin, meaning the ground beneath the feet)

flat tint . See also:

• CONSTANT, BENJAMIN (1845-1902)

Constant attention to mere See also:

• CONTOUR

contour and to See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

black and See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white appears to have affected his sight, and caused those curious transitions of pallid light into inky See also:

• GREY, CHARLES GREY, 2ND EARL (1764-1845)
• GREY, HENRY GREY, 3RD EARL (1802-1894)
• GREY, LADY JANE (1537-1554)
• GREY, SIR EDWARD
• GREY, SIR GEORGE (1812–1898)

grey which often characterize his studies of flesh; whilst the mere outlining of form in black became a natural substitute for modelling and See also:

• CHIAROSCURO (from the Ital. chiaro, Iight or brightness, and oscuro, darkness or shade)

chiaroscuro . There are, no doubt, some few pictures by Cranach in which the flesh-tints display brightness and enamelled See also:

• SURFACE

surface, but they are quite exceptional . As a composer Cranach was not greatly gifted . His ideal of the human shape was See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

low; but he showed some freshness in the delineation of incident, though he not unfrequently bordered on coarseness . His copper-plates and woodcuts are certainly the best outcome of his art; and the earlier they are in date the more conspicuous is their See also:

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

power . Striking evidence of this is the " St See also:

• CHRISTOPHER, SAINT (Christophorus, Christoferus)

Christopher " of 1506, or the See also:

• PLATE

plate of " Elector Frederick praying before the Madonna " (1509) . It is curious to See also:

• WATCH (in O. Eng. wcecce, a keeping guard or watching, from wacian, to guard, watch, wacan, to wake)

watch the changes which See also:

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

mark the development of his instincts as an artist during the struggles of the See also:

• REFORMATION
• REFORMATION, THE

Reformation . At first we find him See also:

• PAINTING

painting Madonnas . His first woodcut (1505) represents the Virgin and three See also:

• SAINTS, BATTLE OF THE

saints in prayel- before a crucifix .

Later on he composes the See also:

• MARRIAGE

marriage of St Catherine, a See also:

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

series of martyrdoms, and scenes from the Passion . After 1517 he illustrates occasionally the old See also:

• GOSPEL (O. Eng. godspel, i.e. good news, a translation of Lat. bona annuntiatio, or evangelium, Gr. evayyeXwv; cf. Goth. iu spillon, " to announce good news," Ulfilas' translation of the Greek, from iu, that which is good, and spellon to announce)

gospel themes, but he also gives expression to some of the thoughts of the Reformers . In a picture of 1518 at See also:

• LEIPZIG

Leipzig, where a dying See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man offers " his soul to God, his See also:

• BODY

body to See also:

• EARTH
• EARTH (a word common to Teutonic languages, cf. Ger. Erde, Dutch aarde, Swed. and Dan. jord; outside Teutonic it appears only in the Gr. 'pq'e, on the ground; it has been connected by some etymologists with the Aryan root ar-, to plough, which is seen in
• EARTH, FIGURE OF
• EARTH, FIGURE OF THE

earth, and his worldly goods to his relations," the soul rises to meet the Trinity in See also:

• HEAVEN (0. Eng. hefen, heofon, heofone; this word appears in O.S. hevan; the High. Ger. word appears in Ger. Himmel, Dutch hemel; there does not seem to be any connexion between the two words, and the ultimate derivation of the word is unknown; the sugges

heaven, and salvation is clearly shown to depend on faith and not on See also:

• GOOD, JOHN MASON (1764-1827)

good works . Again See also:

• SIN
• SIN (O. Eng. syn: a common Teutonic word, cf. Dutch zonde, Ger. Siinde)

sin and grace become a familiar subject of pictorial delineation . 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 is observed sitting between John the Baptist and a See also:

• PROPHET (Irpo4i ri7s)

prophet at the See also:

• FOOT

foot of a See also:

• TREE (0. Eng. treo, treow, cf. Dan. tree, Swed. Odd, tree, trd, timber; allied forms are found in Russ. drevo, Gr. opus, oak, and 36pv, spear, Welsh derw, Irish darog, oak, and Skr. dare, wood)
• TREE, SIR HERBERT BEERBOHM (1853- )

tree . To the See also:

• LEFT

left God produces the tables of the See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law, Adam and See also:

• EVE

Eve partake of the forbidden See also:

• FRUIT (through the French from the Lat. fructus; frui, to enjoy)

fruit, the brazen See also:

• SERPENT (Lat. serpens, creeping, from serpere; cf. "reptile " from repere, Gr.4 ml-eta)

serpent is reared aloft, and See also:

• PUNISHMENT (from Lat. punire, to punish, from poena, punishment, Gr. 7rocvil)

punishment supervenes in the shape of death and the See also:

• REALM

realm of Satan . To the right, the Conception, Crucifixion and Resurrection symbolize redemption, and this is duly impressed on Adam by John the Baptist, who points to the See also:

• SACRIFICE (from Lat. sacrificium; sacer, holy, and facere, to make)

sacrifice of the crucified Saviour . There are two examples of this See also:

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

composition in the galleries of Gotha and See also:

• PRAGUE (Ger. Prag; Bohemian Praha)

Prague, both of them dated 1529 . One of the latest pictures with which the name of Cranach is connected is the altar-piece which Cranach's son completed in 1555, and which is now in the Stadtkirche (city See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church) at Weimar . It represents See also:

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

Christ in two forms, to the left trampling on Death and Satan, to the right crucified, with See also:

• BLOOD

blood flowing from the See also:

• LANCE

lance See also:

• WOUND (O. Eng. wund,connected with a Teutonic verb, meaning to strive, fight, suffer, seen in O. Eng. winnan, whence Eng. " win ")

wound . John the Baptist points to the suffering Christ, whilst the blood-stream falls on the 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 of Cranach, and Luther reads from his See also:

• BOOK

book the words, " The blood of Christ cleanseth from all sin." Cranach sometimes composed gospel subjects with feeling and dignity . "The Woman taken in See also:

• ADULTERY (from Lat. adulterium)

Adultery" at See also:

• MUNICH (Ger. Munchen)

Munich is a favourable specimen of his skill, and various repetitions of Christ receiving little children show the kindliness of his disposition .

But he was not exclusively a religious painter . He was equally successful, and often comically naive, in mythological scenes, as where See also:

• CUPID (Cupido, " desire ")

Cupid, who has stolen a See also:

• HONEYCOMB

honeycomb, complains to See also:

• VENUS

Venus that he has been stung by a See also:

• BEE (Sanskrit blza, AS. ben, Lat. apis)

bee (Weimar,153o; See also:

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

Berlin, 1534), or where See also:

• HERCULES
• HERCULES (0. Lat. Hercoles, Hercles)

Hercules sits at the See also:

• SPINNING (from O. Eng. spinnen, to spin, cf. Ger. spinnen, &c., the Teut. root is seen, to draw out, cf. span, spider)

spinning-See also:

• WHEEL (0. Eng. hweol, hweohl, &c., cognate with Icel. hjol, Dan. hiul, the Indo-European root is seen in Sanskrit chakra, Gr. r in Aos, circle, whence " cycle ")
• WHEEL, BREAKING ON THE

wheel mocked by Omphale and her maids . See also:

• HUMOUR (Latin humor)

Humour and pathos are combined at times with strong effect in pictures such as the " See also:

• JEALOUSY (adapted from Fr. jalousie, formed from jaloux, jealous, Low Lat. zelosus, Gr. j'i os, ardour, zeal, from the root seen in '&u', to boil, ferment; cf. " yeast ")

Jealousy" (Augsburg, 1527; See also:

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

Vienna, 1530), where See also:

• WOMEN

women and children are huddled into telling See also:

• GROUPS
• GROUPS, THEORY

groups as they watch the strife of men wildly fighting around them . Very realistic must have been a lost See also:

• CANVAS

canvas of 1545, in which See also:

• HARES

hares were catching and roasting sportsmen . In 1546, possibly under See also:

• ITALIAN

Italian See also:

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

influence, Cranach composed the " Fons Juventutis " of the Berlin See also:

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

Gallery, executed by his son, a picture in which hags are seen entering a See also:

• RENAISSANCE, THE

Renaissance See also:

• FOUNTAIN (Late Lat. fontana, from ions, a spring)

fountain, and are received as they issue from it with all the charms of youth by knights and pages . Cranach's See also:

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

chief occupation was that of portrait-painting, and we are indebted to him chiefly for the preservation of the features of all the German Reformers and their princely adherents . But he sometimes condescended to depict such noted followers of the papacy as Albert of Brandenburg, See also:

• ARCHBISHOP (Lat. archiepiscopus, from Gr. apxceatorcoros)

archbishop elector of See also:

• MAINZ (Fr. Mayence)

Mainz, See also:

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

Anthony Granvelle and the duke of See also:

• ALVA
• ALVA, or ALBA, FERNANDO ALVAREZ DE TOLEDO, DUKE OF, (1508-1583)

Alva . A dozen likenesses of Frederick III. and his brother John are found to See also:

• BEAR
• BEAR, BLACK
• BEAR, BROWN
• BEAR, GRIZZLY
• BEAR, ISABELLINE
• BEAR, WHITE

bear the date of 1532 . It is characteristic of Cranach's readiness, and a See also:

• PROOF (in M. Eng. preove, proeve, preve, &°c., from O. Fr . prueve, proeve, &c., mod. preuve, Late. Lat. proba, probate, to prove, to test the goodness of anything, probus, good)

proof that he possessed ample material for See also:

• MECHANICAL

mechanical See also:

• REPRODUCTION

reproduction, that he received See also:

• PAYMENT (Fr. paiement, from payer, to pay; Lat. pacare, to appease, pax, peace)

payment at Wittenberg in 1533 for "sixty pairs of portraits of the elector and his brother " in one 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 . Amongst existing likenesses we should notice as the best that of Albert, elector of Mainz, in the Berlin museum, and that of John, elector of Saxony, at See also:

• DRESDEN

Dresden . Cranach had three sons, all artists:—John See also:

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

Lucas, who died at See also:

• BOLOGNA
• BOLOGNA, GIOVANNI DA (1524–1608)

Bologna in 1536; Hans Cranach, whose life is obscure; and Lucas, born in 1515, who died in 1586 . See See also:

• HELLER, STEPHEN (181 1888)

Heller, Leben and Werke Lukas Cranachs (2nd ed., Bamberg, 1844) ; Chr .

Schuchard, Lukas Cranachs See also:

• DES

des alteren Leben and Werke (3 vols., Leipzig, 1851–1871); Warnecke, Cranach deraltere (See also:

• GORLITZ

Gorlitz, 1879) ; M . B . See also:

• LINDAU
• LINDAU, PAUL (1839– )

Lindau, Lucas Cranach (1883) ; Lippmann, Lukas Cranach, Sammlung, &c . (Berlin, 1893), reproductions of his most notable woodcuts and engravings; Woermann, Verzeichnis der Dresdener Cranach-Ausstellung von 1899 (Dresden, 1899) ; Flechsi , Tafelbilder Cranach's des altern and seiner Werkstatt (Leipzig, 1900; Muther, Lukas Cranach (Berlin, 1902) ; Michaelson, L . Cranach der altere (Leipzig, 1902) . (J . A .