HIPPOLYTE See also:

• HIPPOLYTE DELAROCHE

DELAROCHE  , commonly known as See also:

• PAUL
• PAUL (PAULUS)

PAUL (1797-1856), See also:

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

French painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born 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 on the 17th of See also:

• JULY

July 1797 . His See also:

• FATHER

father was an See also:

• EXPERT (Lat. expertus, from experiri, to try)

expert who had made a See also:

• FORTUNE, ROBERT (1813-188o)

fortune, to some extent, by negotiating and cataloguing, buying and selling . He was proud of his son's See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent, and able to forward his See also:

• ARTISTIC

artistic See also:

• EDUCATION

education . The 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 selected was See also:

• GROS, ANTOINE JEAN, BARON (1771–1835)

Gros, then See also:

• PAINTING

painting See also:

• LIFE

life-See also:

• SIZE

size histories, and surrounded by many pupils . In no haste to make an See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance in the See also:

• SALON

Salon, his first exhibited picture was a large one, Josabeth saving Joas " (1822) . This picture led to his acquaintance with See also:

• GERICAULT, JEAN LOUIS ANDRE THEODORE (1791-1824)

Gericault and See also:

• DELACROIX, FERDINAND VICTOR EUGENE (1798-1863)

Delacroix, with whom he remained on the most friendly terms, the three forming the central See also:

• GROUP

group of a numerous See also:

• BODY

body of See also:

• HISTORICAL

historical painters, such as perhaps never before lived in one locality and at one 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 . From 1822 the See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record of his life is to be found in the successive See also:

• WORKS

works coming from his See also:

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

hand . He visited See also:

• ITALY
• ITALY (Italia)

Italy in 1838 and 1843, when his father-in-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, See also:

• HORACE [QuINTus HORATIUS FLACCUS] (65-8 B.C.)

Horace See also:

• VERNET

Vernet, was director of the French See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy . His studio in Paris was in the See also:

• RUE (Fr. rue, Lat. ruta, from Gr. pur)

rue Mazarine, where he never spent a 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 without some See also:

• GOOD, JOHN MASON (1764-1827)

good result, his hand being sure and his knowledge See also:

• GREAT

great . His subjects, definitely expressed and popular in their manner of treatment, illustrating certain views of See also:

• HISTORY

history dear to partisans, yet romantic in their See also:

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

general See also:

• INTEREST

interest, were painted with a See also:

• FIRM

firm, solid, smooth See also:

• SURFACE

surface, which gave an appearance of the highest finish . This solidity, found also on the See also:

• CANVAS

canvas of Vernet, See also:

• SCHEFFER, ARY (1795-1858)

Scheffer, See also:

• LEOPOLD (M.H. Ger. Liupolt; O.H. Ger. Liupald, from hut, Mod. Ger. Leute, " people," and paid, " bold," i.e. " bold for the people ")

Leopold See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert and See also:

• INGRES, JEAN AUGUSTE DOMINIQUE (178o-1867)

Ingres, was the manner of the day . It repudiates the technical See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm of texture and variety of handling which the See also:

• ENGLISH

English school inherited as a tradition from the time of See also:

• REYNOLDS, JOHN FULTON (182o-1863)
• REYNOLDS, SIR JOSHUA (1723-1792)
• REYNOLDS, WALTER (d. 1327)

Reynolds; but it is more easily under-stood by the See also:

• WORLD

world at large, since a picture so executed depends for its interest rather on the history, See also:

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

scene in nature or See also:

• OBJECT

object depicted, than on the executive skill, which may or may not be critically appreciated .

We may add that his point of view of the historical characters which he treated is not always just . "See also:

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

Cromwell lifting the See also:

• COFFIN (from Lat. cophinus, Gr. K64wos, a coffer, chest or basket, but never meaning " coffin " in its present sense)

Coffin-lid and looking at the Body of 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 " is an incident only to be excused by an improbable tradition; but " The See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King in the Guard-See also:

• ROOM

Room, with villainous See also:

• ROUNDHEAD

roundhead soldiers blowing See also:

• TOBACCO

tobacco See also:

• SMOKE (from O. Eng. smeocan, to smoke, reek, cf. Dutch meek, Ger. Schmauch, probably allied to Gr. vol9caiv)

smoke in his patient See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face, is a See also:

• LIBEL

libel on the Puritans; and " 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:

• 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 dying on the Ground," like a she-See also:

• DRAGON (Fr. dragon, through Lat. draco, from the Greek; connected with SEpeoµay " see," and interpreted as " sharp-sighted "; O.H. Ger. tracho, dracho, M.H.G. trache, Mod. Ger. Drachen; A.S. draca, hence the equivalent English form " drake," " fire-drake,

dragon no one dares to See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch, is sensational; while the "See also:

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

Execution of 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 Jane 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" is represented as taking See also:

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

place in a See also:

• DUNGEON

dungeon . Nothing can be more incorrect than this last as a See also:

• READING

reading of English history, yet we forget the inaccuracy in admiration of the treatment which represents Lady Jane, with bandaged sight, feeling for the See also:

• BLOCK
• BLOCK (from the Fr. bloc, and possibly connected with an Old Ger. Block, obstruction, cf. " baulk ")
• BLOCK, MAURICE (1816–19or)

block, her maids covering their faces, and none with their eyes visible among the many figures . On the other hand, " See also:

• STRAFFORD, EARLS OF
• STRAFFORD, THOMAS WENTWORTH, EARL

Strafford led to Execution," when See also:

• LAUD (Lat. laws)
• LAUD, WILLIAM (1573-1645)

Laud stretches his See also:

• LAWN

lawn-covered arms out of the small high window of his See also:

• CELL (from Lat. cella, probably from an Indo-European kal —seen in Lat. celare, to hide; another suggestion connects the word with Lat. cera, wax, taking the original meaning to refer to the honeycomb)

cell to give him a blessing as he passes along the See also:

• CORRIDOR (Fr. corridor, from Ital. corridore, Med. Lat. corridorium, a " running-place," from currere, to run)

corridor, is perfect; and the splendid scene of See also:

• RICHELIEU, ARMAND EMMANUEL SOPHIE SEPTEMANIE DU PLESSIS
• RICHELIEU, ARMAND JEAN DU PLESSIS
• RICHELIEU, LOUIS FRANCOIS ARMAND DU PLESSIS

Richelieu in his gorgeous See also:

• BARGE (Med. Lat. barca, possibly connected with Lat. baris, Gr. flaps, a boat used on the Nile)

barge, preceding the See also:

• BOAT (0. Eng. bdt; the true etymological connexion with Dutch and Ger. boot, Fr. bateau, Ital. battello presents great difficulties; Celtic forms are from O. Eng.)

boat containing Cinq-See also:

• MARS
• MARS (MAYORS, MARMAR, MARSPITER GA MASPITER)
• MARS, MLLE [ANNE FRANCOISE HYPPOLYTE BOUTET] (1779-1847)

Mars and De See also:

• THOU, JACQUES AUGUSTE DE [THUANUS] (1553-1617)
• THOU, NOM

Thou carried to execution by their See also:

• GUARDS, AND HOUSEHOLD TROOPS

guards, is perhaps the most dramatic semi-historical See also:

• WORK

work ever done . " The Princes in the See also:

• TOWER (Lat. turris; Fr. tour, clocker; Ital. torre; Ger. Thurm)

Tower " must also be mentioned as a very See also:

• COMPLETE

complete creation; and the " 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 See also:

• FEMALE

female See also:

• MARTYR (Gr. pimp or µaprvs)

Martyr floating dead on the See also:

• TIBER (anc. Tiberis; Ital. Tevere)

Tiber " is so pathetic that See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism feels hard-hearted and ashamed before it . As a realization of a See also:

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

page of See also:

• AUTHENTIC (from Gr. aOO 'rns, one who does a thing himself)

authentic history, again, no picture can surpass the " Assassination of the duc de See also:

• GUISE
• GUISE, HOUSE OF

Guise at See also:

• BLOIS

Blois." The expression of the murdered See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man stretched out by the See also:

• SIDE
• SIDE (mod. Eski Adalia)

side of the See also:

• BED
• BED (a common Teutonic word, cf. German Bett, probably connected with the Indo-European root bhodh, seen in the Lat. fodere, to dig; so " a dug-out place " for safe resting, or in the same sense as a garden " bed ")

bed, the conspirators all massed together towards the See also:

• DOOR (corresponding to the Gr. Bbpa,. Lat. fores or valvae; the English word, with other forms common in allied languages, comes from the same Indo-European stem as the Gr. Obpa and Lat. fares)

door and far from the body, show exact study as well as insight into human nature . This work was exhibited in his See also:

• MERIDIAN
• MERIDIAN (from the Lat. meridianus, pertaining to the south or mid-day)

meridian time, 1835; and in the same See also:

• YEAR

year he exhibited 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 an See also:

• ANGEL

Angel," a study from Horace Vernet's young daughter See also:

• LOUISE [AUGUSTE WILHELMINE AMALIE LUISE] (1776-1810)

Louise, his love for whom was the absorbing See also:

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

passion of his life, and from the See also:

• SHOCK, or COLLAPSE

shock of whose See also:

• DEATH

death, in 1845, it is said he never quite recovered . By far his finest productions after her death are of the most serious See also:

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

character, a sequence of small elaborate pictures of incidents in the Passion . Two of these, the Virgin and the other Maries, with the apostles 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 and 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, within a nearly dark apartment, 8 See also:

• HEARING (formed from the verb " to hear," O. Eng. hyran, heron, &c., a common Teutonic verb; cf. Ger. Koren, Dutch hooren, &c.; the O. Tent. form is seen in Goth. hausjan; the initial h makes any connexion with " ear," Lat. audire, or Gr. &Kobew very doub

hearing the See also:

• CROWD, CROUTH, CROWTH

crowd as it passes haling See also:

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

Christ to See also:

• CALVARY

Calvary, and St John conducting the Virgin See also:

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

home again after all is over, are beyond all praise as exhibiting the divine See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story from a simply human point of view . They are pure and elevated, and also dramatic and painful . See also:

• DELAROCHE, HIPPOLYTE

Delaroche was not troubled by ideals, and had no affectation of them . His See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound but hard execution allowed no See also:

• MYSTERY (Gr. µw(Trilpcov, from tcuvrm, an initiate, µfew, to shut the mouth)

mystery to intervene between him and his motif, which was always intelligible to the million, so that he escaped all the See also:

• WASTE (O. Fr. wast, guast, gast, gaste; Lat. vastus, vast, desolate)

waste of See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy that painters who try to be poets on canvas suffer .

Thus it is that essentially the same treatment was applied by him to the characters of distant historical times, the founders of the See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian See also:

• RELIGION
• RELIGION, FOLKLORE, CUSTOM

religion, and the real See also:

• PEOPLE

people of his own day, such as " See also:

• NAPOLEON

Napoleon at See also:

• FONTAINEBLEAU

Fontainebleau," or " Napoleon at St See also:

• HELENA
• HELENA, ST (c. 247-c. 327)

Helena," or " See also:

• MARIE

Marie Antoinette leaving the See also:

• CONVENTION (Lat. conventio, an assembly or agreement, from convenire, to come together)
• CONVENTION, THE NATIONAL

Convention " after her See also:

• SENTENCE (Lat. sententia, a way of thinking, opinion, judgment; vote, sentire, to feel, think)

sentence . In 1837 Delaroche received the See also:

• COMMISSION (from Lat. commissio, committere)

commission for the great picture, 27 metres See also:

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

long, in the See also:

• HEMICYCLE (Gr. iift-, half, and avahos, circle)

hemicycle of the lecture See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre of the Ecole See also:

• DES

des See also:

• BEAUX, CECILIA (1863– )

Beaux Arts . This represents the great artists of the See also:

• MODERN

modern ages assembled in See also:

• GROUPS
• GROUPS, THEORY

groups on either hand of a central See also:

• ELEVATION

elevation of 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 See also:

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

marble steps, on the topmost of which are three thrones filled by the architects and sculptors of the See also:

• PARTHENON (HapOevwv)

Parthenon . To See also:

• SUPPLY (through Fr. from Lat. supplere, to fill up)

supply the female See also:

• ELEMENT (Lat. elementum)

element in this vast See also:

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

composition he introduced the genii or See also:

• MUSES, THE (Gr. Mo6o-at, the thinkers)

muses, who symbolize or reign over the arts, leaning against the See also:

• BALUSTRADE

balustrade of the steps, beautiful and queenly figures with a certain See also:

• ANTIQUE (Lat. antiquus, old)

antique perfection of See also:

• FORM (Lat. forma)

form, but not informed by any wonderful or profound expression . The portrait figures are nearly all unexceptionable and admirable . This great and successful work is on the 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 itself, an inner wall however, and is executed in oil . It was finished in 1841, and considerably injured by a 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 which occurred in 1855, which injury he immediately set himself to remedy (finished by Robert-See also:

• FLEURY [ABRAHAM JOSEPH BENARD] (1750-.1822)
• FLEURY, ANDRE HERCULE DE (1653-1743)
• FLEURY, CLAUDE (1640-1723)

Fleury); but he died before he had well begun, on the 4th of See also:

• NOVEMBER (Lat. novem, nine)

November 1856 . Personally Delaroche exercised even a greater See also:

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

influence than by his works . Though See also:

• SHORT, FRANCIS JOB (1857– )

short and not powerfully made, he impressed every one as rather tall than otherwise; his See also:

• PHYSIOGNOMY

physiognomy was accentuated and firm, and his See also:

• FINE

fine forehead gave him the See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air of a See also:

• MINISTER (Lat. minister, servant)

minister of See also:

• STATE
• STATE, GREAT OFFICERS OF

state . See See also:

• REES, THOMAS (1777–1864)

Rees, Delaroche (See also:

• LONDON

London, 188o) . (W . B .