See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

CHRISTIAN WILHELM See also:

• ERNST, HEINRICH WILHELM (1814–1865)

ERNST See also:

• CHRISTIAN WILHELM ERNST DIETRICH (1712-1774)

DIETRICH (1712-1774)  , See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• WEIMAR

Weimar, where he was brought up See also:

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

early to the profession of See also:

• ART

art by his See also:

• FATHER

father Johann See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George, then painter of miniatures to 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 the See also:

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

duke . Having been sent to See also:

• DRESDEN

Dresden to perfect himself under the care of See also:

• ALEXANDER
• ALEXANDER (1461-1506)
• ALEXANDER (ALEXANDER OF BATTENBERG) (1857-1893)
• ALEXANDER (ALEXANDER OsxENOVici) (1876-1903)
• ALEXANDER, ARCHIBALD (1772—1851)
• ALEXANDER, FRANCIS (1800—1881)
• ALEXANDER, GEORGE (1858— )
• ALEXANDER, JOHN WHITE (1856- )
• ALEXANDER, JOSEPH ADDISON (18o9—186o)
• ALEXANDER, SIR JAMES EDWARD (1803—1885)
• ALEXANDER, WILLIAM (1824— )
• ALEXANDER, WILLIAM LINDSAY (1808—1884)

Alexander Thiele, he had the See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• FORTUNE, ROBERT (1813-188o)

fortune to finish in two See also:

• HOURS, CANONICAL

hours, at the See also:

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

age of eighteen, a picture which attracted the See also:

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

attention of 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 of See also:

• SAXONY
• SAXONY (Ger. Provinz Sachsen)

Saxony . See also:

• AUGUSTUS (a name 1 derived from Lat. augeo, increase, i.e. venerable, majestic, Gr. Ee0avr6s)

Augustus II. was so pleased with See also:

• DIETRICH, CHRISTIAN WILHELM ERNST (1712-1774)

Dietrich's readiness of See also:

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

hand that he gave him means to study abroad, and visit in See also:

• SUCCESSION (Lat. successio, from succedere, to follow after)

succession the See also:

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

chief cities of See also:

• ITALY
• ITALY (Italia)

Italy and the See also:

• NETHERLANDS

Netherlands . There he learnt to copy and to imitate masters of the previous See also:

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

century with a versatility truly surprising . See also:

• WINCKELMANN, JOHANN JOACHIM (1717-.1768)

Winckelmann, to whom he had been recommended, did not hesitate to See also:

• CALL (from Anglo-Saxon ceallian, a common Teutonic word, cf. Dutch kallen, to talk or chatter)

call him the See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael of landscape . Yet in this See also:

• BRANCH (from the Fr. branche, late Lat. branca, an animal's paw)

branch of his practice he merely imitated Salvator See also:

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

Rosa and See also:

• EVERDINGEN, ALLART VAN (1621-?1675)

Everdingen . He was more successful in aping the See also:

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

style of See also:

• REMBRANDT (1606-1669)

Rembrandt, and numerous examples of this See also:

• HABIT (through the French from Lat. habitus, from habere, to have, hold, or, in a reflective sense, to be in a certain condition; in many of the English senses the French use habitude, not habit)

habit may he found in the galleries of St See also:

• PETERSBURG

Petersburg, See also:

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

Vienna and Dresden . At Dresden, indeed, there are pictures acknowledged to be his, bearing the fictitious See also:

• DATES

dates of 1636 and 1638, and the name of Rembrandt . Among Dietrich's cleverest reproductions we may See also:

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

account that of See also:

• OSTADE

Ostade's manner in the " Itinerant Singers " at the See also:

• NATIONAL

National See also:

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

Gallery . His skill, in catching the See also:

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

character of the later masters of See also:

• HOLLAND
• HOLLAND, CHARLES (1733–1769)
• HOLLAND, COUNTY AND PROVINCE OF
• HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
• HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
• HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
• HOLLAND, JOSIAH GILBERT (1819-1881)
• HOLLAND, PHILEMON (1552-1637)
• HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
• HOLLAND, SIR HENRY, BART

Holland is shown in See also:

• CANDLE (Lat. candela, from candere, to glow)

candle-See also:

• LIGHT

light scenes, such as the " See also:

• SQUIRREL
• SQUIRREL (Fr. ecureuil)

Squirrel and the Peep-Show" at St Petersburg, where we are easily reminded of Godfried See also:

• SCHALCKEN, GODFRIED (1643-1706)

Schalcken . Dietrich tried every branch of art except portraits, See also:

• PAINTING

painting See also:

• ITALIAN

Italian and Dutch views alternately with Scripture scenes and still See also:

• LIFE

life . In 1741 he was appointed court painter to Augustus III. at Dresden, with an See also:

• ANNUAL

annual See also:

• SALARY

salary of 400 thalers (6o), conditional on the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of four See also:

• CABINET

cabinet pictures a See also:

• YEAR

year .

This See also:

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

condition, no doubt, accounts for the presence of fifty-two of 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's panels and canvases in one of the rooms at the Dresden museum . Dietrich, though popular and probably the busiest artist 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, never produced anything of his own; and his imitations are necessarily inferior to the originals which he affected to copy . His best See also:

• WORK

work is certainly that which he gave to engravings . A collection of these at the See also:

• BRITISH

British Museum, produced on the See also:

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

general lines of earlier men, such as Ostade and Rembrandt, reveal both spirit and skill . Dietrich, after his return from the See also:

• PENINSULA
• PENINSULA (Lat. paeninsula, from paene, almost, and insula, an island)

Peninsula, generally signed himself " Dietericij," and with this See also:

• SIGNATURE (through Fr. from Lat. signature, signare, to sign, signum, mark, token, sign)

signature most of his extant pictures are inscribed . He died at Dresden, after he had successively filled the important appointments of director of the school of painting at the See also:

• MEISSEN

Meissen See also:

• PORCELAIN

porcelain factory and See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

professor of the Dresden See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

academy of arts .