CHRISTOPH 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 See also:

• CHRISTOPH ALBERT DIES (1755-1822)

DIES (1755-1822)  , See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• HANOVER
• HANOVER (Ger. Hannover)

Hanover, and learned the rudiments of See also:

• ART

art in his native See also:

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

place . For one See also:

• YEAR

year he studied in the See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

academy of See also:

• DUSSELDORF

Dusseldorf, and then he started at the See also:

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

age of twenty with See also:

• THIRTY

thirty ducats in his See also:

• POCKET

pocket for See also:

• ROME
• ROME (Roma)

Rome . There he lived a frugal See also:

• LIFE

life till 1796 . Copying pictures, chiefly by Salvator See also:

• ROSA, CARL AUGUST NICHOLAS (1843-1889)
• ROSA, MONTE
• ROSA, SALVATOR (1615-1673)

Rosa, for a livelihood, his See also:

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

taste led him to draw and paint from nature in See also:

• TIVOLI (anc. Tibur, q.v.)

Tivoli, Albano and other picturesque places in. the vicinity of Rome . See also:

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

Naples, the birthplace of his favourite 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, he visited more than once `or the same reasons . In this way he became a bold executant in See also:

• WATER

water-See also:

• COLOURS, MILITARY

colours and in oil, though he failed to acquire any originality of his own . See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord See also:

• BRISTOL
• BRISTOL, EARLS AND MARQUESSES OF
• BRISTOL, GEORGE DIGBY, 2ND EARL OF1 (1612-1677)
• BRISTOL, JOHN DIGBY, 1ST EARL OF 6 (1580-1653)

Bristol, who encouraged him as a copyist, predicted that he would be a second Salvator Rosa . But See also:

• DIES, CHRISTOPH ALBERT (1755-1822)

Dies was not of the See also:

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

wood which makes See also:

• ORIGINAL

original artists . Besides other disqualifications, he had necessities which forced him to give up the See also:

• GREAT

great career of an See also:

• INDEPENDENT

independent painter . 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, then composing his See also:

• HORATII

Horatii at Rome, wished to take him to 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 . But Dies had reasons for not accepting the offer . He was courting a 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:

• ROMAN

Roman whom he subsequently married .

Meanwhile he had made the acquaintance of Volpato, for whom he executed numerous drawings, and this no doubt suggested the See also:

• PLAN
• PLAN (from Lat. planes, flat)

plan, which he afterwards carried out, of See also:

• PUBLISHING

publishing, in See also:

• PARTNERSHIP (earlier forms, partener, parcener, from Late Lat. partionarius for partitionarius, from partitio, sharing, pars, part)

partnership with Mechan, Reinhardt and Frauenholz, the See also:

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

series of plates known as the Collection de vues pittoresques de l'Italie, published in seventy-two sheets at See also:

• NUREMBERG (Ger. Nurnberg)

Nuremberg in 1799 . With so many irons in the 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 Dies naturally lost the See also:

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

power of concentration . Other causes combined to affect his 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 . In 1787 he swallowed by See also:

• MISTAKE (i.e. take amiss)

mistake three-quarters of an See also:

• OUNCE

ounce of See also:

• SUGAR

sugar of See also:

• LEAD
• LEAD (pronounced iced)

lead . His. recovery from this See also:

• POISON

poison was slow and incomplete . He settled at See also:

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

Vienna, and lived there on the produce of 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 as a landscape painter, and on that of his See also:

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

pencil or graver as a draughtsman and etcher . But instead of getting better, his See also:

• CONDITION (Lat. condicio, from condicere, to agree upon, arrange; not connected with conditio, from condere, conditum, to put together)

condition became worse, and he even lost the use of one of his hands . In this condition he turned from See also:

• PAINTING

painting to See also:

• MUSIC

music, and spent his leisure See also:

• HOURS, CANONICAL

hours in the pleasures of authorship . He did not See also:

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

long survive, dying at Vienna in 1822, after long years of chronic suffering . From two pictures now in the See also:

• BELVEDERE, or BELVIDERE (Ital. for " fair-view ")

Belvedere See also:

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

gallery, and from numerous engraved drawings from the neighbourhood of Tivoli, we gather that Dies was never destined to rise above a respectable mediocrity . He followed Salvator Rosa's example in imitating the manner of See also:

• CLAUDE, JEAN (1619-1687)

Claude See also:

• LORRAINE

Lorraine . But Salvator adapted the See also:

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

style of Claude, whilst Dies did no more than copy it .