See also:

• HENRI

HENRI See also:

• HENRI HARPIGNIES (1819– )

HARPIGNIES (1819– )  , See also:

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

French landscape painter, See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• VALENCIENNES

Valenciennes in 1819, was intended by his parents for a business career, but his determination to become an artist was so strong that it conquered all obstacles, and he was allowed at the See also:

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

age of twenty-seven to enter See also:

• ACHARD, FRANZ CARL (1753-1821)

Achard's atelier in 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 . From this painter he acquired a groundwork of See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound constructive draughtsmanship, which is so marked a feature of his landscape See also:

• PAINTING

painting . After two years under this exacting teacher he went to See also:

• ITALY
• ITALY (Italia)

Italy, whence he returned in I85o . During the next few years he devoted himself to the painting of See also:

• CHILDREN, LAW RELATING TO

children in landscape setting, and See also:

• FELL
• FELL, JOHN (1625-1686)

fell in with See also:

• COROT

Corot and the other See also:

• BARBIZON

Barbizon masters, whose principles and methods are to a certain extent reflected in his own See also:

• PERSONAL

personal See also:

• ART

art . To Corot he was See also:

• UNITED

united by a See also:

• BOND
• BOND, SIR EDWARD AUGUSTUS (1815-1898)

bond of warm friendship, and the two artists went together to Italy in 186o . On his return, he scored his first See also:

• GREAT

great success at the See also:

• SALON

Salon, in 1861, with his " Lisiere de bois sur See also:

• LES

les bords de 1'See also:

• ALLIER
• ALLIER (anc. Slaver)

Allier." After that See also:

• YEAR

year he was a See also:

• REGULAR

regular exhibitor at the old Salon; in 1886 he received his first See also:

• MEDAL (Fr. medaille, from Lat. metallum)

medal for " Le Soir dans la campagne de See also:

• ROME
• ROME (Roma)

Rome," which was acquired for the Luxembourg See also:

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

Gallery . Many of his best See also:

• WORKS

works were painted at Herisson in the Bourbonnais, as well as in the See also:

• NIVERNAIS, LOUIS CHARLES BARBON MANCINI MAZARINI

Nivernais and the See also:

• AUVERGNE

Auvergne . Among his See also:

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

chief pictures are " Soir sur les bords de la See also:

• LOIRE

Loire " (1861), " Les Corbeaux " (1865), " Le Soir " (1866), " Le Saut-du-Loup " (1873), " La Loire " (1882), and " Vue de See also:

• SAINT (lat. sanctus, " holy ")

Saint-Prive " (1883) . He also did some decorative See also:

• WORK

work for the Paris See also:

• OPERA (Italian for " work ")

Opera—the " Vallee d'Egerie " See also:

• PANEL (O. Fr. panel, mod. panneau, piece of cloth, from Med. Lat. pannellus, diminutive of pannus, cloth)

panel, which he Showed at the Salon of 187o . See also:

• HARP (Fr. harpe; Ger. Harfe; Ital. arpa)

HARP-See also:

• LUTE (Arabic al'ud, " the wood "; Fr. luth; Ital. liuto; Span. laud; Ger. Laute; Dut. luit)

LUTE, or DITAL HARP, one of the many attempts to revive the popularity of the See also:

• GUITAR (Fr. guitarre, Ger. Guitarre, Ital. chitarra, Span. guitarra)

guitar and to increase its See also:

• COMPASS (Fr. corn pas, ultimately from Lat. cum, with, and passus, step)

compass, invented in 1798 by See also:

• EDWARD

Edward See also:

• LIGHT

Light . The harp-lute owes the first See also:

• PART

part of its name to the characteristic mechanism for shortening the effective length of the strings; its second name—dital harp—emphasizes the nature of the stops, which are worked by the thumb in contradistinction to the pedals of the harp workedby the feet . It consists of a See also:

• PEAR (Pyrus communis)

pear-shaped See also:

• BODY

body, to which is added a curved See also:

• NECK (O. Eng. hnecca; the word appears in many Teutonic languages; cf. Dutch ride, Ger. Nacken; in O. E. the common word was heals; cf. Ger. Hals)

neck supported on a front See also:

• PILLAR (0. Fr. piler, Mod. pilier, Late Lat. pilare, from pila, column)

pillar or 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 springing from the body, and therefore reminiscent of the harp .

There are 12 See also:

• CATGUT

catgut strings . The curved fingerboard, almost parallel with the neck, is provided with frets, and has in addition a thumb-See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

key for each See also:

• STRING

string, by means of which the accordance of the string is mechanically raised a semitone at will . The dital or key, on being depressed, acts upon a stop-See also:

• RING (O.E. hring; a word common to Teutonic languages; and probably cognate with the Lat. circus, Gr. KtpKOS or KpLKOS, Skt'. chakra, wheel, circle, cf. also " harangue "); in art, a band of circular shape of varying sizes, made of any material and used f

ring or 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, which draws the string down against the See also:

• FRET

fret, and thus shortens its effective length . The fingers then stop the strings as usual over the remaining frets . A further improvement was patented in 1816 as the See also:

• BRITISH

British harp-lute . Other attempts possessing less See also:

• PRACTICAL

practical merit than the dital harp were the See also:

• LYRA (" The Harp ")

lyra-guitarre, which appeared in See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany at the beginning of the 19th See also:

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

century; the See also:

• ACCORD (from Fr. accorder, to agree)

accord-guitarre, towards the See also:

• MIDDLE

middle of the same century; and the keyed guitar . (K .