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 See also:

• GIBSON, CHARLES DANA (1867- )
• GIBSON, EDMUND (1669-1748)
• JOHN GIBSON (1790-1866)
• GIBSON, THOMAS MILNER (1806-1884)
• GIBSON, WILLIAM HAMILTON (1850-1896)

GIBSON (1790-1866)  , See also:

• ENGLISH

English sculptor, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born near See also:

• CONWAY (Conwy, or Aberconwy)
• CONWAY, HENRY SEYMOUR (1721-1795)
• CONWAY, HUGH
• CONWAY, MONCURE DANIEL (1832–1907)
• CONWAY, SIR WILLIAM MARTIN (1856– )

Conway in 1790, his See also:

• FATHER

father being a See also:

• MARKET (Lat. mercatus, trade or place of trade)

market gardener . To his See also:

• MOTHER

mother, whom he described as ruling his father and all the See also:

• FAMILY

family, he owed, like many other See also:

• GREAT

great men, the See also:

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

energy and determination which carried him over every obstacle . When he was nine years old the family were on the point of emigrating to See also:

• AMERICA

America, but Mrs See also:

• GIBSON, CHARLES DANA (1867- )
• GIBSON, EDMUND (1669-1748)
• GIBSON, JOHN (1790-1866)
• GIBSON, THOMAS MILNER (1806-1884)
• GIBSON, WILLIAM HAMILTON (1850-1896)

Gibson's determination stopped this project on their arrival at See also:

• LIVERPOOL
• LIVERPOOL, EARLS
• LIVERPOOL, EARLS OF

Liverpool, and there 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 was sent to school . The windows of the See also:

• PRINT

print shops of Liverpool riveted his See also:

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

attention, and, having no means to See also:

• PURCHASE

purchase the commonest print, he acquired the 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 of committing to memory the outline of one figure after another, See also:

• DRAWING

drawing it on his return See also:

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

home . Thus See also:

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

early he formed the See also:

• SYSTEM

system of observing, remembering and noting, sometimes even a See also:

• MONTH
• MONTH (a common Teutonic word, cf. Ger. Mond, Du. maand, Dan. maaned, &c., and cognate with Lat. mensis, Gr. µi7v, &c., in other branches of the Indo-Germanic family; all ultimately from the root seen in the word for the moon in nearly all those languages

month later, scenes and momentary actions from nature . In this way he, by degrees, transferred from the See also:

• SHOP

shop window to his See also:

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

paper at home the See also:

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

chief figures from 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's picture of See also:

• NAPOLEON

Napoleon See also:

• CROSSING

crossing the See also:

• ALPS

Alps, which, by particular See also:

• REQUEST, LETTERS OF

request, he copied in See also:

• BRIGHT, JOHN (1811-188g)
• BRIGHT, SIR CHARLES TILSTON

bright See also:

• COLOURS, MILITARY

colours as a See also:

• FRONTISPIECE (through the French, from Med. Lat. frontispicium, a front view, frons, frontis, forehead or front, and specere, to look at; the English spelling is a mistaken adaptation to " piece ")

frontispiece to a little schoolfellow's new See also:

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

prayer-See also:

• BOOK

book, for sixpence . At fourteen years of See also:

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

age Gibson was apprenticed to a See also:

• FIRM

firm of cabinetmakers,—portrait and See also:

• MINIATURE

miniature painters in Liverpool requiring a See also:

• PREMIUM (Lat. praemium, profit, reward, prae+emere, to buy)

premium which his father could not give . This employment so disgusted him that after a See also:

• YEAR

year (being interesting and engaging then apparently as in after-See also:

• LIFE

life) he persuaded his masters to See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change his indentures, and bind him to 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-See also:

• CARVING

carving with which their See also:

• FURNITURE (from " furnish," Fr. fournir)

furniture was ornamented . This satisfied him for another year, when an introduction to the foreman of some See also:

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

marble See also:

• WORKS

works, and the sight of a small 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 Bacchus, unsettled him again . He had here caught a glimpse of his true vocation, and in his leisure See also:

• HOURS, CANONICAL

hours began to See also:

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

model with such success that his efforts found their way to the See also:

• NOTICE

notice of Mr See also:

• FRANCIS
• FRANCIS (FRarrcols) OF SALES, ST (1567-1622)
• FRANCIS (Lat. Franciscus, Ital. Francesco, Span. Francisco, Fr. Francois, Ger. Franz)
• FRANCIS, SIR PHILIP (174o-1818)

Francis, the proprietor of the marble works . The wood-carving now, in turn, becamehis aversion; and having in vain entreated his masters to set him See also:

• FREE

free, he instituted a strike . He was every 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 duly at his See also:

• POST

post, but did no See also:

• WORK

work .

Threats, and even a See also:

• BLOW, JOHN (1648-1708)

blow, moved him not . At length the offer of £70 from Francis for the rebellious apprentice was accepted, and Gibson found himself at last See also:

• BOUND, or BOUNDARY (from O. Fr. bonde, Med. Lat. bodena or butina, a frontier line)

bound to a 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 for the See also:

• ART

art of See also:

• SCULPTURE
• SCULPTURE (Lat. sculptura, from sculpere, to carve, cognate with Gr. yXb4ew)

sculpture . Francis paid the lad 6s. a See also:

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

week, and received See also:

• GOOD, JOHN MASON (1764-1827)

good prices for his works,—sundry early works by the youthful sculptor, which exist in Liverpool and the neighbourhood, going by the name of Francis to this day . It was while thus apprenticed that Gibson attracted the notice of See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William See also:

• ROSCOE, WILLIAM (1753—1831)

Roscoe, the historian . For him Gibson executed a basso rilievo in terra-See also:

• COTTA
• COTTA, BERNHARD VON (1808—1879)
• COTTA, GAIUS AURELIUS (c. 124—73 B.c.)

cotta, now in the Liverpool museum . Roscoe opened to the sculptor the treasures of his library at Allerton, by which he became acquainted with the designs of the great See also:

• ITALIAN

Italian masters . A See also:

• CARTOON (Ital. cartone, pasteboard)

cartoon of the Fall of the Angels marked. this See also:

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

period,—now also in the Liverpool museum . We must pass over his studies in See also:

• ANATOMY
• ANATOMY (Gr. avaroyil, from ava-silo c', to cut up)

anatomy, pursued gratuitously by the kindness of a medical See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man, and his introductions to families of refinement and culture in Liverpool . Roscoe was an excellent See also:

• GUIDE (in Mid. Eng. gyde, from the Fr. guide; the earlier French form was guie, English " guy," the d was due to the Italian form guida; the ultimate origin is probably Teutonic, the word being connected with the base seen in O. Eng. witan, to know)

guide to 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 aspirant, pointing to the Greeks as the only examples for a sculptor . Gibson here found his true vocation . A basso rilievo of See also:

• PSYCHE (//vxi7)

Psyche carried by the Zephyrs was the result . He sent it to the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy, where See also:

• FLAXMAN, JOHN (1755-1826)

Flaxman, recognizing its merits, gave it an excellent See also:

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

place .

Again he became unsettled . The ardent young See also:

• BREAST (a word common to Teutonic languages, cf. the Ger. Brust, possibly connected with an O. Sax. brustian, to bud)

breast panted for " the great university of Art "—See also:

• ROME
• ROME (Roma)

Rome; and the first step to the desired See also:

• GOAL

goal was to See also:

• LONDON

London . Here he stood between the opposite See also:

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

advice and See also:

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

influence of Flaxman and See also:

• CHANTREY, SIR FRANCIS LEGATT (1782-1841)

Chantrey—the one urging him to Rome as the highest school of sculpture in the See also:

• WORLD

world, the other maintaining that London could do as much for him . It is not difficult to guess which was Gibson's choice . He arrived in Rome in See also:

• OCTOBER

October 1817, at a comparatively See also:

• LATE

late age for a first visit . There he immediately experienced the See also:

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

charm and goodness of the true Italian See also:

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

character in the See also:

• PERSON, OFFENCES AGAINST THE

person of See also:

• CANOVA, ANTONIO (1757-1822)

Canova, to whom he had introductions,—the Venetian putting not only his experience in art but his See also:

• PURSE (Late Lat. bursa, adapted from Gr. Gupta, hide, skin; possibly O. Eng. pusa, bag, has influenced the change from b to p)

purse at the English student's service . Up to this 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, though his designs show 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 and See also:

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

power of See also:

• IMAGINATION

imagination in which no teaching is missed, Gibson had had no instruction, and had studied at no Academy . In Rome he first became acquainted with rules and technicalities, in which the merest tyro was before him . Canova introduced him into the Academy supported by See also:

• AUSTRIA
• AUSTRIA, LOWER (Ger. Niederosterreich or Osterreich unter der Enns, " Austria below the river Enns ")
• AUSTRIA, UPPER (Ger. Oberosterreich or Osterreich ob der Enns, " Austria above the river Enns ")

Austria, and, as is natural with a mind like Gibson's, the first sense of his deficiencies in See also:

• COMMON

common matters of practice was depressing to him . He saw Italian youths already excelling, as they all do, in the drawing of the figure . But the tables were soon turned . His first work in marble—a " Sleeping Shepherd " modelled from a beautiful Italian boy—has qualities of the highest 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 .

Gibson was soon launched, and distinguished patrons, first sent by Canova, made their way to his studio in the Via Fontanella . His aim, from the first day that he See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt the power of the See also:

• ANTIQUE (Lat. antiquus, old)

antique, was purity of character and beauty of See also:

• FORM (Lat. forma)

form . He very seldom declined into the prettiness of Canova, and if he did not often approach the masculine strength which redeems the faults of See also:

• THORWALDSEN, BERTEL (1770.1844)

Thorwaldsen, he more than once surpassed him even in that quality . We allude specially to his " See also:

• HUNTER, JOHN (1728-1793)
• HUNTER, ROBERT MERCER TALIAFERRO (r8o9-1887)
• HUNTER, SIR WILLIAM WILSON (1840-19oo)
• HUNTER, WILLIAM (1718–1783)
• HUNTER, WILLIAM ALEXANDER (1844-1898)

Hunter and See also:

• DOG

Dog," and to the See also:

• GRAND

grand promise of his " See also:

• THESEUS

Theseus and Robber," which take See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank as the highest productions of See also:

• MODERN

modern sculpture . He was essentially classic in feeling and aim, but here the habit of observation we have mentioned enabled him to snatch a 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 beyond the reach of a See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere imitator . His subjects were gleaned from the free actions of the splendid Italian See also:

• PEOPLE

people noticed in his walks, and afterwards baptized with such mythological names as best fitted them . Thus a girl kissing a See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

child, with a sudden wring of the figure, over her See also:

• SHOULDER (in O.E. sculder, cognate with Ger. Schulter, Dutch schouder, Swed. skuldra, &c; the root is unknown)

shoulder, became a " Nymph and See also:

• CUPID (Cupido, " desire ")

Cupid "; a woman helping her child with his See also:

• FOOT

foot on her See also:

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

hand on to her See also:

• LAP

lap, a " Bacchante and Faun "; his " See also:

• AMAZON

Amazon thrown from her See also:

• HORSE (a word common to Teutonic languages in such forms as hors, hros, ros; cf. the Ger. ross)

Horse," one of his most See also:

• ORIGINAL

original productions, was taken from an See also:

• ACCIDENT
• ACCIDENT (from Lat. accidere, to happen)

accident he witnessed to a See also:

• FEMALE

female rider in a See also:

• CIRCUS (Lat. circus, Gr. Kipeos or Kptxot, a ring or' circle; probably " circus " and " ring " are of the same origin)

circus; and the " Hunter holding in his Dog " was also the result of a See also:

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

street See also:

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

scene . The prominence he gave among his favourite subjects to the little See also:

• GOD

god " of soft tribulations" was no less owing to his facilities for observing the all but naked Italian See also:

• CHILDREN, LAW RELATING TO

children, in the hot summers he spent in Rome . In monumental and portrait statues for public places, necessarily represented in postures of dignity and repose, Gibson was very happy . His largest effort of this class—the See also:

• GROUP

group of 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:

• VICTORIA
• VICTORIA (or VITTORIA), TOMMASSO LUDOVICO DA (C. I540-C. 1613)
• VICTORIA [ALEXANDRINA VICTORIA]

Victoria supported by See also:

• JUSTICE (Lat. justitia)

Justice and Clemency, in the Houses of See also:

• PARLIAMENT (Anglo-Lat. parliamentum, Fr. parlement, from parler, to speak)

Parliament—was his finest work in the See also:

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

round . Of See also:

• NOBLE, SIR ANDREW (1832- )

noble character also in See also:

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

execution and expression of thought is the statue of See also:

• HUSKISSON, WILLIAM (1770-1830)

Huskisson with the bared See also:

• ARM (a common Teutonic word; the Indo-European root is ar, to join or fit; cf. the Lat. armus, shoulder, and the plural word arma, weapons, Gr. apphs, joint, and the reduplicated apapilKSV, to join)

arm; and no less, in effect of aristocratic ease and refinement, the seated figure of See also:

• DUDLEY
• DUDLEY, BARONS AND EARLS OF
• DUDLEY, EDMUND (c. 1462—1510)
• DUDLEY, SIR ROBERT (1573—1649)
• DUDLEY, THOMAS (1576-1653)

Dudley See also:

• NORTH
• NORTH, BARONS
• NORTH, MARIANNE (1830—1890)
• NORTH, ROGER (1653-1734)
• NORTH, SIR THOMAS (1535?-16o1?)

North . But great as he was in the round, Gibson's chief excellence See also:

• LAY

lay in basso rilievo, and in this less-disputed See also:

• SPHERE (Gr. vclsa?pa, a ball or globe)

sphere he obtained his greatest triumphs .

His thorough knowledge of the horse, and his See also:

• CONSTANT, BENJAMIN (1845-1902)

constant study of the See also:

• ELGIN

Elgin See also:

• MARBLES

marbles—casts of which are in Rome—resulted in the two matchless See also:

• BASSI, LAURA MARIA CATERINA (1711-1778)
• BASSI, UGO (1800-1849)

bassi rilievi, the See also:

• SIZE

size of life, which belong to 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:

• FITZWILLIAM, SIR WILLIAM (1526-1599)
• FITZWILLIAM, WILLIAM WENTWORTH FITZWILLIAM, 2ND EARL (1748-1833)

Fitzwilliam—the " Hours leading the Horses of the See also:

• SUN
• SUN (0. Eng. sonne, Ger. sonne. Fr. soleil, Lat. sol, Gr. ijXior, from which comes helio- in various English compounds)

Sun," and " See also:

• PHAETHON (Gr. gSaEBwv, shining, radiant)

Phaethon See also:

• DRIVING (from " to drive," i.e. generally to propel, force along or in, a word common in various forms to the Teutonic languages)

driving the See also:

• CHARIOT (derived from an O. Fr. word, formed from char, a car)

Chariot of the Sun." Most of his monumental works are also in basso rilievo . Some of these are of a truly refined and pathetic character, such as the See also:

• MONUMENT (Lat. monumentum or monumentum; from monere, to advise, bring to mind, remind; the German equivalent is Denkmal)

monument to the countess of See also:

• LEICESTER
• LEICESTER, EARLS OF
• LEICESTER, ROBERT DUDLEY, EARL
• LEICESTER, ROBERT SIDNEY, EARL OF (1563-1626)
• LEICESTER, THOMAS WILLIAM COKE, EARL OF (1754-1842)

Leicester, that to his friend Mrs Huskisson in See also:

• CHICHESTER

Chichester See also:

• CATHEDRAL

cathedral, and that of the See also:

• BONOMI, GIUSEPPI (1739-1808)

Bonomi children . See also:

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

Passion, either indulged or repressed, was the natural impulse of his art: repressed as in the " Hours leading the Horses of the Sun," and as in the " Hunter and Dog "; indulged as in the See also:

• MEETING (from " to meet," to come together, assemble, 0. Eng. metals ; cf. Du. moeten, Swed. mota, Goth. gamotjan, &c., derivatives of the Teut. word for a meeting, seen in O. Eng. Wit, moot, an assembly of the people; cf. witanagemot)

meeting of See also:

• HERO (Gr. open)
• HERO, THE YOUNGER

Hero and Leander, a drawing executed before he See also:

• LEFT

left See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England . Gibson was the first to intro-duce See also:

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

colour on his statues,—first, as a mere border to the drapery of a portrait statue of the queen, and by degrees extended to the entire flesh, as in his so-called " tinted " See also:

• VENUS

Venus, and in the " Cupid tormenting the Soul," in the Holford collection . Gibson's individuality was too strongly marked to be affected by any outward circumstances . In all worldly affairs and business of daily life he was See also:

• SIMPLE

simple and guileless in the extreme; but he was resolute in matters of principle, determined to walk straight at any cost of See also:

• PERSONAL

personal See also:

• ADVANTAGE

advantage . Unlike most artists, he was neither See also:

• NERVOUS

nervous nor irritable in temperament . It was said of him that he made the See also:

• HEATHEN

heathen See also:

• MYTHOLOGY

mythology his See also:

• RELIGION
• RELIGION, FOLKLORE, CUSTOM

religion; and indeed in serenity of nature, feeling for the beautiful, and a certain See also:

• PHILOSOPHY (Gr. gthos, fond of, and vo4 (a, wisdom)

philosophy of mind, he may be accepted as a type of what a pure-minded See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek See also:

• PAGAN
• PAGAN (Lat. paganus, of or belonging to a pagus, a canton, county district, village, commune)

pagan, in the See also:

• ZENITH (from the Arabic)

zenith of Greek art, may have been . Gibson was elected R.A. in 1836, and bequeathed all his See also:

• PROPERTY

property and the contents of his studio to the Royal Academy, where his marbles and casts are open to the public . He died at Rome on the 27th of See also:

• JANUARY

January 1866 . The letters between Gibson and Mrs 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:

• SANDBACH

Sandbach, grand-daughter of Mr Roscoe, and 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 his life that 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 induced him to write, furnish the chief materials for his See also:

• BIOGRAPHY (from the Gr. (3ios, life, and yp&4 , writing)

biography . See his Life, edited by Lady See also:

• EASTLAKE, SIR CHARLES LOCK (1793-1865)

Eastlake .

(E .