See also:

• JEAN

JEAN See also:

• BAPTISTE

BAPTISTE See also:

• ANDRE, JOHN (1751-178o)

ANDRE See also:

• DUMAS, ALEXANDRE
• DUMAS, ALEXANDRE [" DUMAS FILS"] (1824-1895)
• DUMAS, GUILLAUME MATHIEU, COUNT (1753-1837)
• JEAN BAPTISTE ANDRE DUMAS (1800-1884)

DUMAS (1800-1884)  , See also:

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

French chemist, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• ALAIS

Alais (See also:

• GARD

Gard) on the 15th of See also:

• JULY

July 1800 . Disappointed in his See also:

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

early See also:

• HOPE, ANTHONY
• HOPE, THOMAS (c. 1770-1831)

hope of entering the See also:

• NAVY

navy, he became apprentice to an See also:

• APOTHECARY (from the Lat. apothecarius, a keeper of an apotheca, Gr. aroth is , a store)

apothecary in his native See also:

• TOWN

town; but seeing little prospect of See also:

• ADVANCEMENT

advancement in that calling, he soon moved to See also:

• GENEVA
• GENEVA (Fr. Geneve, Ger. Genf, Ital. Ginevra, Late Lat. Gebenna, though Genava in good Latin)
• GENEVA, LAKE OF

Geneva (in 1816) . There he attended the lectures of such men as M . A . Pictet in physics, C . G. de la Rive in See also:

• CHEMISTRY
• CHEMISTRY (formerly "chymistry"; Gr. xvµela; for derivation see ALCHEMY)

chemistry, and A . P. de See also:

• CANDOLLE, AUGUSTIN PYRAME DE (1778—1841)

Candolle in See also:

• BOTANY (from Gr. l3or6v17, plant; ,66vicety, to graze)

botany, and before he had reached his See also:

• MAJORITY (Fr. majorite; Med. Lat. majoritas; Lat. major, greater)

majority he was engaged with See also:

• PIERRE

Pierre See also:

• PREVOST, ANTOINE FRANCOIS (1697–1763)
• PREVOST, CONSTANT (1787-1856)
• PREVOST, EUGENE MARCEL (1862- )
• PREVOST, PIERRE (1751-1839)

Prevost in See also:

• ORIGINAL

original See also:

• WORK

work on problems of physiological chemistry, and even of See also:

• EMBRYOLOGY

embryology . In 1823, acting on the See also:

• ADVICE (Fr. avis, from Lat. ad, to, and visum, viewed)

advice of A. von See also:

• HUMBOLDT, FRIEDRICH HEINRICH ALEXANDER, BARON
• HUMBOLDT, KARL WILHELM VON (1767-1835)

Humboldt, he See also:

• LEFT

left Geneva for 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, which he made his See also:

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

home for 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 his See also:

• LIFE

life . There he gained the acquaintance of many of the foremost scientific men of 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 quickly made a name for himself both as a teacher and an investigator, attaining within ten years the 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 of membership of the See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy of Sciences . When approaching his fiftieth See also:

• YEAR

year he entered See also:

• POLITICAL

political life, and became a member of the See also:

• NATIONAL

National Legislative See also:

• ASSEMBLY, UNLAWFUL

Assembly . He acted as See also:

• MINISTER (Lat. minister, servant)

minister of See also:

• AGRICULTURE
• AGRICULTURE (from Lat. ages, field, and colere, to cultivate)
• AGRICULTURE, BOARD OF

agriculture and See also:

• COMMERCE
• COMMERCE (Lat. commercium, from, cum, together, and rnerx, merchandise)

commerce for a few months in 1850-1851, and subsequently became a senator, See also:

• PRESIDENT (Fr. president, from Lat. praesidens, post-Augustan Lat. for praeses, director, ruler, from praesidere, to sit in front of, preside)

president of the municipal See also:

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

council of Paris, and 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 of the French See also:

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

mint; but his See also:

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

official career came to a sudden end with the fall of the Second See also:

• EMPIRE

Empire . He died at See also:

• CANNES

Cannes on the rrth of See also:

• APRIL

April 1884 .

See also:

• DUMAS, ALEXANDRE
• DUMAS, ALEXANDRE [" DUMAS FILS"] (1824-1895)
• DUMAS, GUILLAUME MATHIEU, COUNT (1753-1837)
• DUMAS, JEAN BAPTISTE ANDRE (1800-1884)

Dumas is one of the most prominent figures in the chemical See also:

• HISTORY

history of the See also:

• MIDDLE

middle See also:

• PART

part of the 19th See also:

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

century . He was one of the first to criticize the electro-chemical doctrines of J . J . See also:

• BERZELIUS, JONS JAKOB (1779-1848)

Berzelius, which at the 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 his work began were widely accepted as the true theory of the constitution of See also:

• COMPOUND
• COMPOUND (from Lat. componere, to combine or put together)

compound bodies, and opposed a unitary view to the dualistic conception of the See also:

• SWEDISH

Swedish chemist . In a See also:

• PAPER
• PAPER (Fr. papier, from Lat. papyrus)

paper on the atomic theory, published so early as 1826, he anticipated to a remarkable extent some ideas which are frequently supposed to belong to a later See also:

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

period; and the continuation of these studies led him to the ideas about substitution (" metalepsis ") which were See also:

• DEVELOPED

developed about 1839 into the theory (" Older Type Theory ") that in organic chemistry there are certain types which remain unchanged even when their See also:

• HYDROGEN [symbol H, atomic weight x-oo8 (0=16)]

hydrogen is replaced by an See also:

• EQUIVALENT

equivalent quantity of a haloid See also:

• ELEMENT (Lat. elementum)

element . Many of his well-known researches were carried out in support of these views, one of the most important being that on the See also:

• ACTION

action of See also:

• CHLORINE (symbol Cl, atomic weight 35`46 (0=16)

chlorine on acetic See also:

• ACID (from the Lat. root ac-, sharp; acere, to be sour)

acid to See also:

• FORM (Lat. forma)

form trichloracetic acid—a derivative of essentially the same See also:

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

character as the acetic acid itself . In the 1826 paper he described his famous method for ascertaining vapour densities, and the redeterminations which he undertook by its aid of the atomic weights of See also:

• CARBON (symbol C, atomic weight 12)

carbon and See also:

• OXYGEN (symbol 0, atomic weight 16)

oxygen proved the forerunners of a See also:

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

long See also:

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

series which included some See also:

• THIRTY

thirty of the elements, the results being mostly published in 1858-186o . He also devised a method of See also:

• GREAT

great value in the quantitative See also:

• ANALYSIS (Gr. avci and Meta, to break up into parts)

analysis of organic substances for the estimation of See also:

• NITROGEN [symbol N., atomic weight 14.01, 0=16]

nitrogen, while the See also:

• CLASSIFICATION (Lat. classis, a class, probably from the root cal-, cla-, as in Gr. icaMce, clamor)

classification of organic compounds into homologous series was advanced as one consequence of his researches into the acids generated by the oxidation of the See also:

• ALCOHOLS
• ALCOHOLS, ALDEHYDES AND
• ALCOHOLS, BENZYL ALCOHOL, BUTYL ALCOHOLS, METHYL ALCOHOL

alcohols . Dumas was a prolific writer, and his numerous books, essays, memorial addresses, &c., show him to have been gifted with a clear and graceful See also:

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

style . His earliest large work was a See also:

• TREATISE

treatise on applied chemistry in eight volumes, the first of which was published in 1828 and the last twenty years afterwards . In the Essai de statique chimique See also:

• DES

des eetres organises (1841), written jointly with J . B .

J . D . See also:

• BOUSSINGAULT, JEAN BAPTISTE JOSEPH DIEUDONNE (1802-1887)

Boussingault (1802-1887), he treated the chemistry of life, both plant and See also:

• ANIMAL
• ANIMAL (Lat. animalis, from anima, breath, soul)

animal; this See also:

• BOOK

book brought him into conflict with See also:

• LIEBIG, JUSTUS VON, BARON (1803-1873)

Liebig, who conceived that some of his See also:

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

prior Work had been appropriated without due See also:

• ACKNOWLEDGMENT (from the old acknow, a compound of on- and know, to know by the senses, which passed through the forms oknow, aknow and acknow; acknowledge is formed on analogy of " knowledge ")

acknowledgment . In 1824, in See also:

• CONJUNCTION (from Lat. conjungere, to join together)

conjunction with J . V . See also:

• AUDOUIN, JEAN VICTOR (1797-1841)

Audouin and A . T . See also:

• BRONGNIART, ADOLPHE THEODORE (1801–1876)
• BRONGNIART, ALEXANDRE (1770-1847)

Brongniart, he founded the Annales des sciences naturelles, and from 1840 he was one of the editors of the Anndles de chimie et de physique . As a teacher Dumas was much sought after for his lectures at the See also:

• SORBONNE

Sorbonne and other institutions both on pure and applied See also:

• SCIENCE (Lat. scientia, from scire; to learn, know)

science; and he was one of the first men in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France to realize the importance of experimental laboratory teaching . DU MAURIER, See also:

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

GEORGE See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

LOUIS See also:

• PALMELLA

PALMELLA BUSSON (1834-1896), See also:

• BRITISH

British artist and writer, was born in Paris . His See also:

• FATHER

father, a naturalized .British subject, was the son of emigres who had left France during the Reign of Terror and settled in See also:

• LONDON

London . In 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 Ibbetson, the first of the three books which won George Du Maurier See also:

• LATE

late in life a reputation as novelist almost as great as he had enjoyed as artist and humorist for more than a See also:

• GENERATION (from Lat. generare, to beget, procreate; genus, stock, race)

generation, the author tells in the form of fiction the See also:

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

story of his singularly happy childhood .

He was brought to London, in-See also:

• DEED (in O. Eng. dead, from the stem of the verb " to do ")

deed, when three or four years old, and spent in See also:

• DEVONSHIRE (DEvoN)
• DEVONSHIRE, EARLS AND DUKES OF

Devonshire See also:

• TERRACE (Fr. terrace, terrasse, from It. terraccia, terrazzo, Lat. terra, earth)

Terrace and elsewhere two colourless years; but vague memories of this period were suddenly exchanged one beautiful day in See also:

• JUNE

June —" the first day of his conscious existence "—for the charming realities of a French See also:

• GARDEN (from O. Fr. garden, mod. Fr. jardin; this, like our words " garth," a paddock attached to a building, and " yard," comes from a Teutonic word for an enclosure which appears in Gothic as gards and O. H. Ger. gart, cf. Dutch gaarde and Ger. .garten)

garden and " an old yellow 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 with See also:

• GREEN, A
• GREEN, ALEXANDER HENRY (1832—1896)
• GREEN, DUFF (1791—1875)
• GREEN, JOHN RICHARD (1837—1883)
• GREEN, MATTHEW (1696-1737)
• GREEN, THOMAS HILL (1836-1882)
• GREEN, VALENTINE (1739–1813)
• GREEN, WILLIAM HENRY (.1825–1900)

green shutters and mansard See also:

• ROOFS

roofs of See also:

• SLATE (properly CLAY SLATE; in M. Eng. slat or sclat, from O. Fr. esclat, a small piece of wood used as a tile; esclater, to break into pieces, whence modern Fr. eclat, the root being seen also in Ger. schleissen, to split)

slate." Here, at Passy, with his " See also:

• GAY, JOHN (1685-1732)
• GAY, MARIE FRANCOISE SOPHIE (1776-1852)
• GAY, WALTER (1856– )

gay and jovial father " and his 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:

• ENGLISH

English See also:

• MOTHER

mother, the boy. spent "seven years of sweet priceless home-life—seven times four changing seasons of See also:

• SIMPLE

simple genial prae-Imperial Frenchness." The second See also:

• CHAPTER (a shortened form of chapiter, a word still used in architecture for a capital; derived from O. Fr. chapitre, Lat. capitellum, diminutive of caput, head)

chapter of Du Maurier's life had for See also:

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

scene a Paris school, very much in the style of that "Institution F . Brossard " which he describes, at once so vividly and so sympathetically, in The Martian; and like "Barty Josselin's"schoolfellow and biographer, he left it (in 1851) to study chemistry at University See also:

• COLLEGE (Collegium)

College, London, actually setting up as an See also:

• ANALYTICAL

analytical chemist afterwards in Bucklersbury . But this was clearly not to be his metier, and the year 1856 found him once more in Paris, in the Quartier Latin this time, in the core of that See also:

• ART

art-See also:

• WORLD

world of which in Trilby, See also:

• FORTY

forty years later, he was to produce with See also:

• PEN (Lat. penna, a feather, pen)

pen and See also:

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

pencil so idealistic and fascinating a picture . Then, like "Barty Josselin" himself, he spent some years in See also:

• BELGIUM
• BELGIUM (Fr. Belgique; Flem. Belgic)

Belgium and the See also:

• NETHERLANDS

Netherlands, experiencing at An twerp in 1857, when he was working in the studio of See also:

• VAN

van Lerius, the one great misfortune of his life—the See also:

• GRADUAL (Med. Lat. gradualis, of or belonging to steps or degrees; gradus, step)

gradual loss of sight in his left 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, accompanied by alarming symptoms in his right . It was a period of tragic anxiety, for it seemed possible that the right eye might also become affected; but this did not happen, and the See also:

• DISMAL

dismal See also:

• CLOUD (from the same root, if not the same word, as " clod," a word common in various forms to Teutonic languages for a mass or lump; it is first applied in the usual sense in the late 13th century; the Anglo-Saxon chid is only used in the sense of " a ma

cloud was soon to show its See also:

• SILVER

silver lining, for, about See also:

• CHRISTMAS (i.e. the Mass of Christ)

Christmas-time 1858, there came to the forlorn invalid a copy of See also:

• PUNCH

Punch's See also:

• ALMANAC

Almanac, and with it the See also:

• DAWN (the 16th-century form of the earlier " Jawing " or " dawning," from an old verb " daw," O. Eng. dagian, to become day; cf. Dutch dagen, and Ger. tagen)

dawn of a new era in his career . There can be little doubt that the study of this Almanac, and especially of See also:

• LEECH
• LEECH, JOHN (1817-1864)

Leech's drawings in it, fired him with the ambition of making his name as a graphic humorist; and it was not long after his return to London in 186o that he sent in his first contribution (very much in Leech's manner) to Punch . See also:

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

Mark See also:

• LEMON
• LEMON, MARK (1809-1870)

Lemon, then editor, appreciated 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, and on Leech's See also:

• DEATH

death in 1865 appointed him his successor, counselling him with See also:

• WISE, HENRY ALEXANDER (1806-1876)
• WISE, ISAAC MAYER (1819-1900)

wise discrimination not to try to be "too funny," but "to undertake the See also:

• LIGHT

light and graceful business" and be the "romantic See also:

• TENOR (through Fr. and It. from Lat. tenor, holding on, course, sense of a law, tone)

tenor" in Mr Punch's little See also:

• COMPANY

company, while See also:

• KEENE
• KEENE, CHARLES SAMUEL (1823–1891)
• KEENE, LAURA (c. 1820-1873)

Keene, as Du Maurier puts it, " with his magnificent highly-trained basso, sang the comic songs." These respective roles the two artists continued to See also:

• PLAY

play until the end, seldom trespassing on each other's See also:

• PROVINCE
• PROVINCE (Lat. provincia; perhaps a contraction of providentia)

province; the "comic songs" finding their See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

inspiration principally in the life of the homely middle and See also:

• LOWER

lower middle classes, while the "light and graceful business" enacted itself almost exclusively in "See also:

• GOOD, JOHN MASON (1764-1827)

good Society." To a great extent, also, Du Maurier had to leave outdoor life to Keene, his weak sight making it difficult for him to study and See also:

• SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

sketch in the open See also:

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

air and See also:

• SUNSHINE

sunshine, thus cutting him off, as he records regretfully, from "so much that is so popular, delightful and exhilarating in English 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 life "—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 and See also:

• SHOOTING

shooting and fishing and the like . He contrived, however, to give due See also:

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

attention to milder forms of outdoor recreation, and turned to good See also:

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

account his familiarity with See also:

• HAMPSTEAD

Hampstead See also:

• HEATH
• HEATH, BENJAMIN (1704-1766)
• HEATH, WILLIAM (1737—1814)

Heath and Rotten See also:

• ROW, JOHN (c. 1525—1580)

Row, and his holidays with his See also:

• FAMILY

family at See also:

• WHITBY

Whitby and Scar-See also:

• BOROUGH (A.S. nominative burh, dative byrig, which produces some of the place-names ending in bury, a sheltered or fortified place, the camp of refuge of a tribe, the stronghold of a chieftain; cf. Ger. Burg, Fr. bor, bore, bourg)
• BOROUGH [BURROUGH, BURROWE, BORROWS], STEVEN (1525–1584)

borough, See also:

• BOULOGNE, or BOULLONGNE

Boulogne and See also:

• DIEPPE

Dieppe . Of Du Maurier's life during the thirty-six years of his connexion with Punch there is not, apart from his work as an artist, much to See also:

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

record . In the early 'sixties he lived at 85 See also:

• NEWMAN, FRANCIS WILLIAM (1805-1897)
• NEWMAN, JOHN HENRY (1801-1890)

Newman See also:

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

Street in lodgings, which he shared with his friend Lionel See also:

• HENLEY, JOHN (1692-1759)
• HENLEY, WILLIAM ERNEST (1849-1903)

Henley, after-wards R.B.A., working hard at his Punch sketches and his more serious contributions to Once a See also:

• WEEK (from A.S. wicu, Germanic *wikon, probably=change, turn)

Week and the Cornhill See also:

• MAGAZINE

Magazine . After his See also:

• MARRIAGE

marriage with See also:

• MISS

Miss Emma Wightwick in 1862 he took a spacious and pleasant house near Hampstead Heath, in surroundings made See also:

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

familiar in his drawings . Shortly before he died he moved to a house in See also:

• OXFORD
• OXFORD, EARLS OF
• OXFORD, EDWARD DE VERE, 17TH EARL
• OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
• OXFORD, PROVISIONS OF
• OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
• OXFORD, ROBERT HARLEY, 1ST

Oxford Square .

About 1866 he struck out a new See also:

• LINE

line in his admirable illustrations to See also:

• JERROLD, DOUGLAS WILLIAM (1803-1857)

Jerrold's Story of a See also:

• FEATHER (0. Eng. (ether, Ger. Feder, from an Indo-European root seen also in Gr. lrrepov, and aEreo-Oat, to fly)

Feather . In 1869 he realized a long-cherished aspiration, the illustrating of See also:

• THACKERAY, WILLIAM MAKEPEACE (1811-1863)

Thackeray's Esmond, and in 1879 he See also:

• DREW
• DREW, SAMUEL (1765-1833)

drew twelve additional vignettes for it, in the same year providing several illustrations for the See also:

• BALLADS

Ballads . From time to time he sent See also:

• PRETTY

pretty and graceful pictures to the exhibitions of the Royal Society of Painters in See also:

• WATER

Water-See also:

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

Colour, to which he was elected in 1881 . In 1885 the first See also:

• EXHIBITION

exhibition of his See also:

• WORKS

works at the See also:

• FINE

Fine Art Society took See also:

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

place . Thus occupied in the practice of his art, spending his leisure in social intercourse with his many See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends and at home with his growing family, 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 all the new singers and musicians, seeing all the new plays, he lived the happiest of lives . He died somewhat suddenly on the 8th of See also:

• OCTOBER

October 1896, and was buried in the Hampstead See also:

• PARISH (Gr. irapouda, district, neighbourhood; 7r&poucos, one dwelling near or beside, from crap&, OtKOS, house; Lat. paroecur, Late Lat. parochia; cf. Fr. paroisse)

parish See also:

• CHURCHYARD
• CHURCHYARD, THOMAS (c. 152o-16o4)

churchyard . He left a family of two sons—the See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder, See also:

• MAJOR
• MAJOR (Lat. for " greater ")
• MAJOR (or MAIR), JOHN (1470-1550)

Major See also:

• GUY, THOMAS (1644–1724)

Guy Du Maurier (b . 1865), a soldier who became more widely known in 1909 as author of the military play An Englishman's Home, and the younger, Gerald, a well-known actor—and three daughters . It is impossible, in considering Du Maurier's work, to avoid comparing it with that of Leech and Keene, the more so that in his little book on Social Pictorial See also:

• SATIRE (Lat. satira, satura; see below)

Satire he himself has set forth or suggested the points both of resemblance and of difference . Like Keene, though Keene's marvellous technique was his despair, Du Maurier was a much more finished draughtsman than 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 Leech, but in other respects he had less in See also:

• COMMON

common with the younger than with the older humorist . He shows himself, in the best sense, a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of feeling in all his work . He is clearly himself in love with " his pretty woman," as he calls her—every pen-stroke in his presentment of her is a caress .

How affectionate, too, are his renderings of his fond young mothers and their big, handsome, simple-minded husbands; his comely See also:

• CHILDREN, LAW RELATING TO

children and neat nurserymaids; even his See also:

• DOGS, ISLE OF

dogs—his elongated dachshunds and magnificent St Bernards ! And how he scorns the snobs and See also:

• PHILISTINES

philistines—See also:

• SIR

Sir Gorgius See also:

• MIDAS

Midas and Sir See also:

• POMPEY

Pompey See also:

• BEDELL, WILLIAM (1571-1642)

Bedell, Grigsby and Cadby, Soapley and Toadson ! How merciless is his ridicule of the aesthetes of the 'eighties—Maudle and Postlethwaite and Mrs See also:

• CIMABUE, GIOVANNI (1240 to about 1302)

Cimabue 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 ! Even to Mrs See also:

• PONSONBY, JOHN (1713-1789)

Ponsonby de Tomkyns, his most conspicuous creation, his satire is scarcely tempered, despite her prettiness . He shows up unsparingly all her unscrupulous little ways, all her cynical, cunning little See also:

• WILES, IRVING RAMSAY (1861- )

wiles . Like Leech, he revelled in the lighter aspects of life—the humours of the nursery, the See also:

• DRAWING

drawing-See also:

• ROOM

room, the See also:

• CLUB (connected with " clump ")

club, the gaieties of the country house and the seaside—without being See also:

• BLIND, MATHILDE (1841—1896)

blind to the tragic and dramatic . Just as Leech could rise to the height of the famous See also:

• CARTOON (Ital. cartone, pasteboard)

cartoon " See also:

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

General Fevrier turned Traitor," so it was Du Maurier who inspired See also:

• TENNIEL, SIR JOHN (182o- )

Tenniel in that impressive drawing on the See also:

• EVE

eve of the Franco-See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

War, in which the shade of the great See also:

• NAPOLEON

Napoleon is seen warning back the infatuated See also:

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

emperor from his See also:

• ILL

ill-omened enterprise . In his See also:

• TENDER

tender drawings in Once a Week, also, and in his occasional excursions into the See also:

• GROTESQUE

grotesque in Punch, such as his picture of " Old Nickotin stealing away the brains of his devotees," he has given ample 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 of his See also:

• FACULTY (through the French, from the Lat. facultas, ability to do anything, from facilis, easy, facere, to do; another form of the word in Lat. facilitas, facility, ease, keeps the original meaning)

faculty for moving and impressive art . The technique of Du Maurier's work in the 'eighties and the 'nineties, though to the See also:

• AVERAGE

average man it seems a marvel of finish and dexterity, is considered by artists a falling off from what was displayed in some of his earlier Punch drawings, and especially in his contributions to the Cornhill Magazine and Once a Week . His later work is undoubtedly more mannered, more " finicking," less simple, less broadly effective . But it is to his See also:

• FELLOW

fellow-craftsmen only and to experts that this is noticeable . A See also:

• QUAINT (O. Fr. cointe, from Lat. cognitus, known, probably influenced by association with Lat. corn plus, neat)

quaint See also:

• TRIBUTE (Lat. tributurn, a stated payment, contribution)

tribute has been paid to the See also:

• LITERARY

literary talent shown in Du Maurier's See also:

• INSCRIPTIONS (from Lat. inscribere, to write upon)

inscriptions to his drawings by Mr F .

See also:

• ANSTEY, CHRISTOPHER (1724—1805)

Anstey (See also:

• GUTHRIE
• GUTHRIE, SIR JAMES (1859– )
• GUTHRIE, THOMAS (1803-1873)
• GUTHRIE, THOMAS ANSTEY (1856- )

Guthrie), author of See also:

• VICE

Vice Versa, and Du Maurier's colleague on the See also:

• STAFF (O. Eng. staef, cf. Du. staf, Ger. Stab, &c.; Icel. stafr meant also a written letter, and O. Eng. stafas, the letters of the alphabet; " stave," one of the thin pieces of wood of which a cask is made, is a doublet)

staff of Punch . " In these lines of letterpress," says Mr Anstey, "he has brought the art of precis-See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing to perfection." They are indeed singularly concise and to the point . It is the more curious, therefore, to See also:

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

note that in his novels, and even in his See also:

• CRITICAL (in alphabetical order of authors)

critical essays, Du Maurier reveals very different qualities: the precis-writer has become an See also:

• IMPROVISATORE

improvisatore, pouring out his stories and ideas in full See also:

• FLOOD (in O. Eng. flod, a word common to Teutonic languages, cf. Ger. Flut, Dutch vloed, from the same root as is seen in " flow," " float ")
• FLOOD, HENRY (1732-1791)

flood, his style changing with every See also:

• MOOD

mood —by turn humorous, eloquent, tender, gay, sometimes merely " skittish," sometimes quite See also:

• SOLEMN (Lat. sollemnis, sollemnis, less correctly solennis, yearly, annual; from sollus = totus, whole, entire, Gr. Mos., and annus, year)

solemn, but never for long; some-times, again, breaking into graceful and haunting See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse . He writes with apparent artlessness; but, in his novels at least, on closer examination, it is found that he has in fact exerted all his ingenuity to give them—what such flagrantly untrue tales most require—verisimilitude . It is hard to say which of the three stories is the more impossible: that of Trilby, the See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone-See also:

• DEAF

deaf artist's See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model who becomes a prima donna, that of Barty Josselin and his See also:

• GUARDIAN

guardian See also:

• ANGEL

angel from See also:

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

Mars, or that of the See also:

• DREAM (from a root dreug, connected with Germ. trugen, to deceive)

dream-existence of Peter Ibbetson and the duchess of Towers . They are all equally preposterous, and yet plausible . The drawings are cunningly made to serve the purpose of See also:

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

evidence, circumstantial and See also:

• DIRECT

direct . These books cannot be criticized by the See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary canons of the art of fiction . They are a genre by themselves, a blend of unfettered day-dream and See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

rose-coloured See also:

• REMINISCENCE (from Lat. reminisci, to remember)

reminiscence . For the dramatic version of Trilby by Mr See also:

• PAUL
• PAUL (PAULUS)

Paul See also:

• POTTER, ALONZO (1800-1865)
• POTTER, HENRY CODMAN (1835–1908)
• POTTER, J
• POTTER, JOHN (c. 1674-1747)
• POTTER, PAUL (1625—1654)
• POTTER, PHILIP CIPRIANI HAMBLEY (1792—1871)

Potter Du Maurier would accept no See also:

• CREDIT (Lat. credere, to believe)

credit . The play was produced in 1895 by See also:

• HERBERT (FAMILY)
• HERBERT, GEORGE (1593-1633)
• HERBERT, HENRY WILLIAM
• HERBERT, SIR THOMAS (1606-1682)

Herbert Beerbohm 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, at the Haymarket, with immense popular success . Some striking examples of Du Maurier's work for Once a Week and the Cornhill Magazine are included in Gleeson 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's English Illustrators of the Sixties .

The following is a See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list of the See also:

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

chief works which he illustrated: See also:

• FOXE, JOHN (1516-1587)

Foxe's Book of Martyrs (1865); Mrs . See also:

• GASKELL, ELIZABETH CLEGHORN (1810-1865)

Gaskell's Wives and Daughters (1866); Jerrold's Story of a Feather (1867); See also:

• OWEN, JOHN (1616-1683)
• OWEN, JOHN [OVENUS Or AUDOENUS] (c. 1560-1622)
• OWEN, ROBERT (1771-1858)
• OWEN, SIR HUGH (1804-1881)
• OWEN, SIR RICHARD (1804–1892)

Owen See also:

• MEREDITH, GEORGE (1828-1908)

Meredith's Lucile (1868); The Book of Drawing-room Plays, by H . See also:

• DALTON
• DALTON, JOHN (1766-1844)

Dalton (1868); Sooner or Later, by C . A . G . See also:

• BROOKE, FRANCES (1724-1789)
• BROOKE, FULKE OREVILLE, 1ST BARON (1554-1628)
• BROOKE, HENRY (c. 1703-1783)
• BROOKE, SIR JAMES (1803-1868)
• BROOKE, STOPFORD AUGUSTUS (1832– )

Brooke (1868); Thackeray's Esmond (1869 and 1879), and Ballads (1879) ; Misunderstood, by See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence See also:

• MONTGOMERY
• MONTGOMERY ( Tre' Faldwyn)
• MONTGOMERY, GABRIEL, SEIGNEUR DE LORGES, COMTE DE (c. 1530-1574)
• MONTGOMERY, JAMES (1771-1854)
• MONTGOMERY, ROBERT (1807-1855)

Montgomery (1874); See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

Round about the Islands, by C . W . See also:

• SCOTT, ALEXANDER (fl. 1550)
• SCOTT, DAVID (18o6-1849)
• SCOTT, MICHAEL (1789-1835)
• SCOTT, ROBERT (1811-1887)
• SCOTT, SIR GEORGE GILBERT (1811-1878)
• SCOTT, SIR WALTER, BART
• SCOTT, WILLIAM BELL (1811-1890)
• SCOTT, WINFIELD (1786-1866)

Scott (1874); Hurlock See also:

• CHASE
• CHASE, SALMON PORTLAND (1808-1873)
• CHASE, SAMUEL (1741–1811)
• CHASE, WILLIAM MERRITT (1849– )

Chase, by G . E . See also:

• SARGENT, JOHN SINGER (1856– )

Sargent (1876); Songs of many Seasons, by J . See also:

• BROWNE
• BROWNE, EDWARD HAROLD (18,1–1891)
• BROWNE, ISAAC HAWKINS (1705-1760)
• BROWNE, JAMES (1793–1841)
• BROWNE, MAXIMILIAN ULYSSES, COUNT VON, BARON DE CAMUS AND MOUNTANY (1705-1757)
• BROWNE, PETER (?1665-1735)
• BROWNE, ROBERT (1550-1633)
• BROWNE, SIR JAMES (1839–1896)
• BROWNE, SIR THOMAS (1605-1682)
• BROWNE, WILLIAM (1591–1643)
• BROWNE, WILLIAM GEORGE (1768-1813)

Browne (in collaboration) (1876); See also:

• PEGASUS (from Gr. lrgyor, compact, strong)

Pegasus Re-saddled, by H . C .

See also:

• PENNELL, JOSEPH (186o– )

Pennell (1877) ; Ingoldsby Legends (in collaboration), by R . See also:

• BARHAM, RICHARD HARRIS (1788-1845)

Barham (1877); Prudence, by L . C . Lillie (1882); As in a Looking-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, by F . C . See also:

• PHILLIPS
• PHILLIPS, ADELAIDE (1833-1882)
• PHILLIPS, EDWARD (163o-1696)
• PHILLIPS, JOHN (1800—1874)
• PHILLIPS, SAMUEL (1814—1854)
• PHILLIPS, STEPHEN (1868– )
• PHILLIPS, THOMAS (1770-1845)
• PHILLIPS, WENDELL (1811-1884)

Phillips (1889) ; See also:

• LUKE
• LUKE, GOSPEL OF ST

Luke Ashleigh, by A . Elwes (1891) ; and his own three novels, which appeared serially in Harper's Magazine: Peter Ibbetson (1892); Trilby (1894); The Martian (1897), and published after his death . In 1897 also there was published, under the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title English Society, with an introduction by W . D . See also:

• HOWELLS, WILLIAM DEAN (1837– )

Howells, a collection of full-See also:

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

page drawings which he had contributed regularly to Harper's Magazine . Some of his Punch drawings have been reproduced also in The Collections of Mr Punch (188o) • Society Pictures from Punch (189o) ; A See also:

• LEGEND (through the French from the med. Lat. legenda, things to be read, from legere, to read)

Legend of Camelot (189o) . To his Social Pictorial Satire (189o) reference has been made .

He contributed two essays upon book See also:

• ILLUSTRATION

illustration to the Magazine of Art (189o) . See also the Magazine of Art for 1892, for an See also:

• ARTICLE (from Lat. articulus, a joint)

article upon his work by W . Delaplaine See also:

• SCULL (the same word as " skull," cf. Swed. skill, basin, hufvud-skal, skull of the head)

Scull, with illustrations . Other volumes containing See also:

• INFORMATION (from Lat. informare, to give shape or form to, to represent, describe)

information about his life and work are: The History of Punch, by M . H . Spielmann; In Bohemia with Du Maurier, by See also:

• FELIX
• FELIX, ANTONIUS
• FELIX, LIA (1830– )

Felix See also:

• MOSCHELES, IGNAZ (1794–1870)

Moscheles; See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James's " Du Maurier and London Society," Century Magazine (1883) ; and " Du See also:

• MAURICE (1521–1553)
• MAURICE (MAURICIUS FLAVIUS TIBERIUS) (c. 539–602)
• MAURICE [or MAURITIUS], ST (d. c. 286)
• MAURICE, JOHN FREDERICK DENISON (1805-1872)

Maurice," Harper's Magazine (See also:

• SEPTEMBER (Lat. septem, seven)

September 1897, June 1899) . See also See also:

• RUSKIN, JOHN (1819-1goo)

Ruskin's Art or See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, Lecture 5, Pennell's Pen-Drawing and Pen-Draughtsmen, and Muther's See also:

• MODERN

Modern See also:

• PAINTING

Painting, vol. ii . (F . W .