FRANCISCO See also:

• HERRERA, FERNANDO DE (c. 1534-1597)
• FRANCISCO HERRERA (1576-1656)

HERRERA (1576-1656)  , surnamed el Viejo (the old), See also:

• SPANISH

Spanish See also:

• HISTORICAL

historical and See also:

• FRESCO (Ital. for cool, " fresh ")

fresco painter, studied under Luis See also:

• FERNANDEZ, ALVARO
• FERNANDEZ, DIEGO
• FERNANDEZ, JOHN (Joao, Joam)
• FERNANDEZ, JUAN (fl. c. 1570)
• FERNANDEZ, LUCAS

Fernandez in See also:

• SEVILLE
• SEVILLE (Span. Sevilla, Lat. Ispalis or Hispalis, Moorish Ishbiliya)

Seville, his native See also:

• CITY (through Fr. cite, from Lat. civitas)

city, where he spent most of his See also:

• LIFE

life . Although so rough and coarse in See also:

• MANNERS, CHARLES (1857– )

manners that neither See also:

• SCHOLAR, SCHOLARSHIP

scholar nor 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 could remain with him, the See also:

• GREAT

great talents of See also:

• HERRERA, FERNANDO DE (c. 1534-1597)
• HERRERA, FRANCISCO (1576-1656)

Herrera, and the promptitude with which he used them, brought him abundant commissions . He was also a skilful worker in See also:

• BRONZE

bronze, an accomplishment that led to his being charged with coining See also:

• BASE

base See also:

• MONEY

money . From this See also:

• ACCUSATION (Lat. accusatio, accusare, to challenge to a causa, a suit or trial at law)

accusation, whether true or false, he sought See also:

• SANCTUARY (from the late Lat. sanctuarium, a sacred place)

sanctuary in the Jesuit See also:

• COLLEGE (Collegium)

college of See also:

• SAN

San Hermenegildo, which he adorned with a See also:

• FINE

fine picture of its See also:

• PATRON

patron See also:

• SAINT (lat. sanctus, " holy ")

saint . See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip IV., on his visit to Seville in 1624, having seen this picture, and learned the position of the artist, pardoned him at once,warning him, however, that such See also:

• POWERS, HIRAM (1805-1873)

powers as his should not be degraded . In 1650 Herrera removed to See also:

• MADRID

Madrid,where he lived in great honotlt till his See also:

• DEATH

death in 1656 . Herrera was the first to relinquish the timid See also:

• ITALIAN

Italian manner of the old Spanish school of See also:

• PAINTING

painting, and to initiate the See also:

• FREE

free, vigorous See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch and See also:

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

style which reached such perfection in See also:

• VELAZQUEZ, DIEGO RODRIGUEZ DE SILVA Y (1599-166o)

Velazquez, who had been for a See also:

• SHORT, FRANCIS JOB (1857– )

short 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 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 . His pictures are marked by an See also:

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

energy of See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design and freedom of See also:

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

execution quite in keeping with his bold, rough See also:

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

character . He is said to have used very See also:

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

long brushes in his painting; and it is also said that, when pupils failed, his servant used to dash the See also:

• COLOURS, MILITARY

colours on the See also:

• CANVAS

canvas with a See also:

• BROOM

broom under his directions, and that he worked them up into his designs before they dried . The See also:

• DRAWING

drawing ' The last-recorded instance of the See also:

• BITTERN
• BITTERN (from " bitter ")

bittern breeding in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England was in 1868, as mentioned by See also:

• STEVENSON, ADLA1 EWING (1835- )
• STEVENSON, ROBERT (1772-1850)
• STEVENSON, ROBERT LEWIS BALFOUR (1850-1894)

Stevenson (Birds of See also:

• NORFOLK
• NORFOLK, EARLS AND DUKES OF

Norfolk, ii . 162 See also:

• RICHARDSON, GEORGE
• RICHARDSON, HENRY HOBSON (1838-1886)
• RICHARDSON, SAMUEL (1689-1761)
• RICHARDSON, SIR JOHN (1787-1865)

Richardson, a most accurate observer, asserts (See also:

• FAUNA

Fauna Boreali-Americana, ii . 374) that its booming (whence the epithet) exactly resembles that of its Old-See also:

• WORLD

World congener, but See also:

• AMERICAN

American ornithologists seem only to have heard the croaking See also:

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

note it makes when disturbed .

' The very wonderful See also:

• SHOE (a word appearing in the Teutonic languages in various forms, as Ger. Schuh, Swed. and Dan. sko, sometimes supposed to come from an unknown root ska or sku, cover)

shoe-See also:

• BIRD

bird (Balaeniceps) has been regarded by many authorities as allied to Cancroma; but there can be little doubt that it is more nearly related to the genus Scopus belonging to the storks . 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-bittern (Eurypyga) forms a See also:

• FAMILY

family of itself, allied to the rails and See also:

• CRANES (so called from the resemblance to the long neck of the bird, cf. Gr. 'y pavor, Fr. grue)

cranes . in his pictures is correct, and the colouring See also:

• ORIGINAL

original and skilfully managed, so that the figures stand out in striking See also:

• RELIEF

relief . What has been considered his best easel-See also:

• WORK

work, the " Last See also:

• JUDGMENT

Judgment," in 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 San Bernardo at Seville, is an original and striking See also:

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

composition, showing in its treatment of the nude how See also:

• ILL

ill-founded the See also:

• COMMON

common belief was that Spanish painters, through See also:

• IGNORANCE (Lat. ignorantia, from ignorare, not to know); want of knowledge, a state of mind which in law has important consequences. A well-known legal maxim runs: ignorantia juris non excusat ("ignorance of the law does not excuse")

ignorance of See also:

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

anatomy, understood only the draped figure . Perhaps his best fresco is that on the See also:

• DOME (Lat domus, house; Ital. duomo, cathedral)

dome of the church of San See also:

• BUENAVENTURA

Buenaventura; but many of his frescoes have perished, some by the effects of the See also:

• WEATHER (O. Eng. weder; the word is common to Teutonic languages; cf. Du. weder, Dan. veir, Icel. ve8r, and Ger. Wetter and Gewitter, storm; the root is wa- to blow, from which is derived " wind ")

weather and others by the artist's own carelessness in preparing his surfaces . He has, however, preserved several of his own designs in etchings . For his easel-See also:

• WORKS

works Herrera often See also:

• CHOSE (Fr. for " thing ")

chose such humble subjects as fairs, carnivals, See also:

• ALE

ale-houses and the like . His son FRANCISCO HERRERA (1622-1685), surnamed el Mozo (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), was also an historical and fresco painter . Unable to endure his See also:

• FATHER

father's See also:

• CRUELTY (through the O. Fr. crualte, mod. cruaute, from the Lat. crudelitas)

cruelty, the younger Herrera, seizing what money he could find, fled from Seville to See also:

• ROME
• ROME (Roma)

Rome . There, instead of devoting himself to the antiquities and the works of the old Italian masters, he gave himself up to the study of See also:

• ARCHITECTURE (Lat. architectura, from the Gr. ap)(LTEKrwv, a master-builder)

architecture and See also:

• PERSPECTIVE (Lat. peespicere, to see through)

perspective, with the view of becoming a fresco-painter . He did not altogether neglect easel-work, but became renowned for his pictures of still-life, See also:

• FLOWERS, ARTIFICIAL

flowers and See also:

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

fruit, and from his skill in painting See also:

• FISH (O. Eng. fist, a word common to Teutonic languages, cf. Dutch visch, Ger. Fisch, Goth. fisks, cognate with the Lat. piscis)
• FISH, HAMILTON (1808-1893)

fish was called by the Italians Lo Spagnuolo degli pesci . In later life he painted portraits with great success .

He returned to Seville on 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 of his father's death, and in 166o was appointed subdirector of the new See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

academy there under See also:

• MURILLO, BARTOLOME ESTEBAN (1617-1682)

Murillo . His vanity, however, brooked the superiority of no one; and throwing up his See also:

• APPOINTMENT, POWER OF

appointment he went to Madrid . There he was employed to paint a San Hermenegildo for the barefooted See also:

• CARMELITES

Carmelites, and to decorate in fresco the roof of the See also:

• CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir of San Felipe el Real . The success of this last work procured for him a See also:

• COMMISSION (from Lat. commissio, committere)

commission from Philip IV. to paint in fresco the roof of the Atocha church . He chose as his subject for this the See also:

• ASSUMPTION, FEAST OF

Assumption of the Virgin . Soon afterwards he was rewarded with the See also:

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

title of painter to 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, and was appointed See also:

• SUPERINTENDENT

superintendent of the royal buildings . He died at Madrid in 1685 . Herrera el Mozo was of a somewhat similar temperament to his father, and offended many See also:

• PEOPLE

people by his inordinate vanity and suspicious See also:

• JEALOUSY (adapted from Fr. jalousie, formed from jaloux, jealous, Low Lat. zelosus, Gr. j'i os, ardour, zeal, from the root seen in '&u', to boil, ferment; cf. " yeast ")

jealousy . His pictures are inferior to the older Herrera's both in design and in execution; but in some of them traces of the vigour of his father, who was his first teacher, are visible . He was by no means an unskilful colourist, and was especially 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 effects of See also:

• CHIAROSCURO (from the Ital. chiaro, Iight or brightness, and oscuro, darkness or shade)

chiaroscuro . As his best picture See also:

• SIR

Sir See also:

• EDMUND
• EDMUND, or EADMUND (c. 980-1016)
• EDMUND, SAINT [EDMUND RICE] (d. 1240)

Edmund 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 in his Handbook names his " San Francisco," in Seville See also:

• CATHEDRAL

Cathedral . An See also:

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

elder See also:

• BROTHER

brother, known as Herrera el Rubio (the ruddy), who died very young, gave great promise as a painter .