See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

JOSEPH VON See also:

• JOSEPH VON FUHRICH (1800-1876)

FUHRICH (1800-1876)  , See also:

• AUSTRIAN

Austrian painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Kratzau in Bohemia on the 9th of See also:

• FEBRUARY

February r800 . Deeply impressed as a boy by See also:

• RUDE, FRANCOIS (1784–1855)

rude pictures adorning the wayside chapels of his native 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, his first See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt at See also:

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

composition was a 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 of the Nativity for the festival of See also:

• CHRISTMAS (i.e. the Mass of Christ)

Christmas in his See also:

• FATHER

father's 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 . He lived to see 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 when, becoming celebrated as a composer of scriptural episodes, his sacred subjects were transferred in numberless repetitions to the roadside churches of the Austrian See also:

• STATE
• STATE, GREAT OFFICERS OF

state, where humble peasants thus learnt to admire See also:

• MODERN

modern See also:

• ART

art reviving the See also:

• MODELS

models of earlier ages . See also:

• FUHRICH, JOSEPH VON (1800-1876)

Fuhrich has been fairly described as a " Nazarene," a romantic religious artist whose, See also:

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

pencil did more than any other to restore the old spirit of See also:

• DURER, ALBRECHT (1471-1528)

Durer and give new shape to countless incidents of the 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 and scriptural legends . Without the See also:

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

power of See also:

• CORNELIUS
• CORNELIUS, CARL AUGUST PETER (1824-1874)
• CORNELIUS, PETER VON (1784–1867)

Cornelius or the 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 of See also:

• OVERBECK, JOHANN FRIEDRICH (1789-1869)

Overbeck, he composed with See also:

• GREAT

great skill, especially in outline . His mastery of See also:

• DISTRIBUTION (Lat. distribuere, to deal out)

distribution, See also:

• FORM (Lat. forma)

form, See also:

• MOVEMENT

movement and expression was considerable . In its See also:

• PECULIAR

peculiar way his drapery was perfectly See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast . Essentially creative as a landscape draughtsman, he had still no feeling for See also:

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

colour; and when he produced monumental pictures he was not nearly so successful as when designing subjects for woodcuts . Fuhrich's fame extended far beyond the walls of the Austrian See also:

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

capital, and his illustrations to See also:

• TIECK, JOHANN LUDWIG

Tieck's Genofeva, the 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's See also:

• PRAYER (from Lat. precari, entreat; Ital. pregaria, Fr. priere)
• PRAYER, BOOK OF COMMON

Prayer, the See also:

• TRIUMPH (triumphus)

Triumph of See also:

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

Christ, the Road to See also:

• BETHLEHEM
• BETHLEHEM (Heb. " House of Bread," or, according to a more questionable etymology, " of [the god] Lakhmu ")

Bethlehem, the See also:

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

Succession of Christ according to See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas a Kempis, the Prodigal Son, and the verses of the Psalter, became well known . His Prodigal Son, especially, is remarkable for the See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy with which the spirit of evil is embodied in a figure constantly recurring, and like that of See also:

• MEPHISTOPHELES

Mephistopheles exhibiting temptation in a human yet demoniacal shape . Fuhrich became a See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil at the See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy of See also:

• PRAGUE (Ger. Prag; Bohemian Praha)

Prague in 1816 . His first See also:

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

inspiration was derived from the prints of Diirer and the See also:

• FAUST, or FAUSTUS

Faust of Cornelius, and the first See also:

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

fruit of this turn of study was the Genofeva See also:

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

series .

In 1826 he went to See also:

• ROME
• ROME (Roma)

Rome, where he added three frescoes to those executed by Cornelius and Overbeck in the Palazzo Massimi . His subjects were taken from the See also:

• LIFE

life of See also:

• TASSO, TORQUATO (1544-1595)

Tasso, and are almost solitary examples of 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 this class of composition . In 1831 he finished the Triumph of Christ now in the Raczynski See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

palace at See also:

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

Berlin . In 1834 he was made custos and in 1841 See also:

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

professor of composition in the Academy of See also:

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

Vienna . After this he completed the monumental pictures of the 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 of St See also:

• NEPOMUK (or Pollux), JOHN OF

Nepomuk, and in 1854–1861 the vast series 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 which See also:

• COVER (from the Fr. convert, from couvrir, to cover, Lat. cooperire)

cover the inside of the Lerchenfeld church at Vienna . In 1872 he was pensioned and made a See also:

• KNIGHT, CHARLES (1791-1873)
• KNIGHT, DANIEL RIDGWAY (1845– )
• KNIGHT, JOHN BUXTON (1843–1908)

knight of the See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order of See also:

• FRANZ, ROBERT (1815-1892)

Franz See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph; 1875 is the date of his illustrations to the See also:

• PSALMS, BOOK
• PSALMS, BOOK OF, or PSALTER

Psalms . He died on the 13th of See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1876 . His autobiography was published in 1875, and a memoir by his son See also:

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

Lucas in 1886 .