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 See also:

• CLARKE, ADAM (1762?—1832)
• CLARKE, CHARLES COWDEN (1787-1877)
• CLARKE, EDWARD DANIEL (1769–1822)
• CLARKE, JAMES FREEMAN (1810–1888)
• CLARKE, JOHN SLEEPER (1833–1899)
• CLARKE, MARCUS ANDREW HISLOP (1846–1881)
• CLARKE, MARY ANNE (c.1776–1852)
• CLARKE, SAMUEL (1675–1729)
• CLARKE, SIR ANDREW (1824-1902)
• CLARKE, SIR EDWARD GEORGE (1841– )
• CLARKE, THOMAS SHIELDS (1866- )
• CLARKE, WILLIAM BRANWHITE (1798-1878)

CLARKE See also:

• JAMES CLARKE HOOK (1819-1907)
• HOOK, THEODORE EDWARD (1788-1841)
• HOOK, WALTER FARQUHAR (1798-1875)

HOOK (1819-1907)  , See also:

• ENGLISH

English painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• LONDON

London on the 21st of See also:

• NOVEMBER (Lat. novem, nine)

November 1819 . His See also:

• FATHER

father, 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 See also:

• HOOK, JAMES CLARKE (1819-1907)
• HOOK, THEODORE EDWARD (1788-1841)
• HOOK, WALTER FARQUHAR (1798-1875)

Hook, a Northumbrian by descent, See also:

• JUDGE (Lat. judex, Fr. juge)

Judge Arbitrator of Sierra Leone, married the second daughter of Dr See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam See also:

• CLARKE, ADAM (1762?—1832)
• CLARKE, CHARLES COWDEN (1787-1877)
• CLARKE, EDWARD DANIEL (1769–1822)
• CLARKE, JAMES FREEMAN (1810–1888)
• CLARKE, JOHN SLEEPER (1833–1899)
• CLARKE, MARCUS ANDREW HISLOP (1846–1881)
• CLARKE, MARY ANNE (c.1776–1852)
• CLARKE, SAMUEL (1675–1729)
• CLARKE, SIR ANDREW (1824-1902)
• CLARKE, SIR EDWARD GEORGE (1841– )
• CLARKE, THOMAS SHIELDS (1866- )
• CLARKE, WILLIAM BRANWHITE (1798-1878)

Clarke, the commentator on the See also:

• BIBLE
• BIBLE, ENGLISH

Bible, who gave to the painter his second name . 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 Hook's first See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste of the See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

sea was on See also:

• BOARD (O. Eng. bord)

board the See also:

• BERWICK, JAMES FITZJAMES

Berwick smacks which took him on his way to Wooler . He See also:

• DREW
• DREW, SAMUEL (1765-1833)

drew with rare facility, and determined to become an artist; and accordingly, without any supervision, he set to See also:

• WORK

work for more than a See also:

• YEAR

year in the See also:

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

sculpture galleries of the See also:

• BRITISH

British Museum . In 1836 he was admitted a student of the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy, where he worked for three years, and elsewhere learned a See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• DEAL

deal of the scientific technique of See also:

• PAINTING

painting from a See also:

• NEPHEW

nephew of See also:

• OPIE, AMELIA (1769-1853)
• OPIE, JOHN (1761-1807)

Opie . His first picture, called " The,Hard Task," was exhibited in 1837, and represented a girl helping her See also:

• SISTER

sister with a See also:

• LESSON (through Fr. lecon from Lat. lectio, reading; legere, to read)

lesson . Unusual facility in See also:

• PORTRAITURE

portraiture and a See also:

• DESIRE

desire to See also:

• EARN

earn his own living took the student into See also:

• IRELAND
• IRELAND, CHURCH
• IRELAND, CHURCH OF
• IRELAND, JOHN (1761-1842)
• IRELAND, JOHN (1838- )
• IRELAND, WILLIAM HENRY (1777-1835)

Ireland to paint likenesses of the See also:

• WATERFORD

Waterford See also:

• FAMILY

family and others; here he produced landscapes of the Vale of See also:

• AVOCA

Avoca, and much See also:

• DEVELOPED

developed his taste for See also:

• PASTORAL (from Lat. pastor, a shepherd)

pastoral See also:

• ART

art; later, he was similarly engaged in See also:

• KENT
• KENT, EARLS AND DUKES OF
• KENT, JAMES (1763-1847)
• KENT, WILLIAM (1685-1748)

Kent and See also:

• SOMERSETSHIRE

Somersetshire . In 1842 his second exhibited work was a portrait of " 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 J . See also:

• FINCH
• FINCH (Ger. Fink, Lat. Fringilla)

Finch See also:

• SMITH
• SMITH, ADAM (1723–1790)
• SMITH, ALEXANDER (183o-1867)
• SMITH, ANDREW JACKSON (1815-1897)
• SMITH, CHARLES EMORY (1842–1908)
• SMITH, CHARLES FERGUSON (1807–1862)
• SMITH, CHARLOTTE (1749-1806)
• SMITH, COLVIN (1795—1875)
• SMITH, EDMUND KIRBY (1824-1893)
• SMITH, G
• SMITH, GEORGE (1789-1846)
• SMITH, GEORGE (184o-1876)
• SMITH, GEORGE ADAM (1856- )
• SMITH, GERRIT (1797–1874)
• SMITH, GOLDWIN (1823-191o)
• SMITH, HENRY BOYNTON (1815-1877)
• SMITH, HENRY JOHN STEPHEN (1826-1883)
• SMITH, HENRY PRESERVED (1847– )
• SMITH, JAMES (1775–1839)
• SMITH, JOHN (1579-1631)
• SMITH, JOHN RAPHAEL (1752–1812)
• SMITH, JOSEPH, JR
• SMITH, MORGAN LEWIS (1822–1874)
• SMITH, RICHARD BAIRD (1818-1861)
• SMITH, ROBERT (1689-1768)
• SMITH, SIR HENRY GEORGE WAKELYN
• SMITH, SIR THOMAS (1513-1577)
• SMITH, SIR WILLIAM (1813-1893)
• SMITH, SIR WILLIAM SIDNEY (1764-1840)
• SMITH, SYDNEY (1771-1845)
• SMITH, THOMAS SOUTHWOOD (1788-1861)
• SMITH, WILLIAM (1769-1839)
• SMITH, WILLIAM (c. 1730-1819)
• SMITH, WILLIAM (fl. 1596)
• SMITH, WILLIAM FARRAR (1824—1903)
• SMITH, WILLIAM HENRY (1808—1872)
• SMITH, WILLIAM HENRY (1825—1891)
• SMITH, WILLIAM ROBERTSON (1846-'894)

Smith ": in this year he gained See also:

• SILVER

silver medals at the Royal Academy, and in 1843 he was one of the competitors in the See also:

• EXHIBITION

exhibition of cartoons in See also:

• WESTMINSTER
• WESTMINSTER, MARQUESSES AND DUKES OF
• WESTMINSTER, STATUTES OF
• WESTMINSTER, SYNODS OF

Westminster See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

Hall, with a 10 by 7 ft. See also:

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

design of " Satan in See also:

• PARADISE (Gr. lrap6BEwos)

Paradise." In 1844 the Academy contained a picture of a See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind with which his name was See also:

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

long associated, an See also:

• ILLUSTRATION

illustration of the Decameron, called " Pamphilius See also:

• RELATING

relating his See also:

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

Story," a meadow See also:

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

scene in See also:

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

bright See also:

• LIGHT

light, with sumptuous ladies, richly clad, reclining on the grass . The British Institution, 1844 and 1845, set forth two of Hook's idylls, subjects taken from See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare and See also:

• BURNS, JOHN (1858– )
• BURNS, ROBERT (1759-1796)
• BURNS, SIR GEORGE

Burns, which, with the above, showed him to be cultivating those See also:

• VEINS

veins of romantic sentiment and the picturesque which were then in See also:

• VOGUE, EUGENE MELCHIOR, COMTE DE (1848- )

vogue, but in a characteristically fresh and vigorous manner . " The See also:

• SONG

Song of Olden Times " (Royal Academy, 1845) marked the artist's future path distinctly in most technical respects . It was in this year Hook won the Academy See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

gold See also:

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

medal for an oil picture of " The Finding the See also:

• BODY

Body of Harold." The travelling studentship in painting was awarded to him for " Rizpah watching the Dead Sons of See also:

• SAUL (Heb. shd'ul, " asked ")

Saul " in 1846; and he went for three years to See also:

• ITALY
• ITALY (Italia)

Italy, having married See also:

• MISS

Miss Rosalie See also:

• BURTON, JOHN HILL (1809–1881)
• BURTON, ROBERT (1577-1640)
• BURTON, SIR FREDERICK WILLIAM (1816–f goo)
• BURTON, SIR RICHARD FRANCIS (1821-1890)
• BURTON, WILLIAM EVANS (1804-1860)

Burton before he See also:

• LEFT

left See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England .

Hook passed through 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, worked diligently for some 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 in the Louvre, traversed See also:

• SWITZERLAND

Switzerland, and, though he stayed only See also:

• PART

part of three years in Italy, gained much from studies of See also:

• TITIAN
• TITIAN (c. 1477-1576)

Titian, Tintoret, See also:

• CARPACCIO, VITTORIO, or VITTORE (c. 1465-c. 1522)

Carpaccio, Mansueti and other Venetians . Their See also:

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

influence thenceforth dominated the coloration of his pictures, and enabled him to apply the principles to which they had attained to the See also:

• REPRESENTATION

representation (as Bonington before him had done) of romantic subjects and to those English themes of the See also:

• LAND

land and sea with which the name of the artist is inseparably associated . " A See also:

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

Dream of See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

Ancient See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice " (R.A., 1848)—the first See also:

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

fruit of these See also:

• ITALIAN

Italian studies—" See also:

• BAYARD, PIERRE TERRAIL, SEIGNEUR DE (1473–1524)
• BAYARD, THOMAS FRANCIS (1828-1898)

Bayard of See also:

• BRESCIA
• BRESCIA (anc. Brixia)

Brescia " (R.A., 1849), " Venice " (B.I., 1849) and other See also:

• WORKS

works assured for Hook the Associateship of the Royal Academy in 1851 . Soon afterwards an incomparable See also:

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

series of English subjects was begun, in many pastorals and See also:

• FINE

fine brilliant idylls of the sea and rocks . " A 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 by the Wayside " and " A Few Minutes to Wait before Twelve o'See also:

• CLOCK

clock " proved his See also:

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

title to appear, in 1854, as a new and See also:

• ORIGINAL

original painter . After these See also:

• CANE

cane " A See also:

• SIGNAL

Signal on the See also:

• HORIZON (Gr. 6pfTwv, dividing)

Horizon " (1857), " A Widow's Son going to Sea," " The See also:

• SHIP

Ship-boy's See also:

• LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

Letter," "See also:

• CHILDREN, LAW RELATING TO

Children's Children are the See also:

• CROWN

Crown of Old Men," " A See also:

• COAST (from Lat. costa, a rib, side)

Coast-boy gathering Eggs," a scene at See also:

• LUNDY
• LUNDY, BENJAMIN (1789-1839)
• LUNDY, ROBERT (fl. 1688)

Lundy; the perfect " Luff, Boy.!" (1859), about which See also:

• RUSKIN, JOHN (1819-1goo)

Ruskin See also:

• BROKE, or BROOKE, ARTHUR (d. 1563)
• BROKE, SIR PHILIP BOWES VERE, BART

broke into a dithyrambic See also:

• CHANT (derived through the Fr. from the Lat. cantare, to sing; an old form is " chaunt ")

chant, " The See also:

• BROOK

Brook," " Stand Clear ! " " 0 Well for the Fisherman's Boy ! " (186o), " Leaving See also:

• CORNWALL

Cornwall for the See also:

• WHITBY

Whitby Fishing," " Sea Urchins," and a See also:

• SCORE (O.E. scor, from sceran, to cut, notch, cf. " shear ")

score more as fine as these . The artist was elected a full Academician on the 6th 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 s86o, in the See also:

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

place of James See also:

• WARD
• WARD, ADOLPHUS WILLIAM (1837- )
• WARD, ARTEMUS
• WARD, EDWARD MATTHEW (1816-1879)
• WARD, ELIZABETH STUART PHELPS (1844-1911)
• WARD, JAMES (1769--1859)
• WARD, JAMES (1843– )
• WARD, JOHN QUINCY ADAMS (1830-1910)
• WARD, LESTER FRANK (1841– )
• WARD, MARY AUGUSTA [MRS HUMPHRY WARD]
• WARD, WILLIAM (1766-1826)
• WARD, WILLIAM GEORGE (1812-1882)

Ward . He died on the 14th of See also:

• APRIL

April 1907 . See A . H .

See also:

• PALMER
• PALMER, EDWARD HENRY (1840-1882)
• PALMER, ERASTUS DOW (1817-1904)
• PALMER, GEORGE (1818-1897)
• PALMER, JOHN
• PALMER, RAY (1808-1887)
• PALMER, SAMUEL (1805-1881)
• PALMER, SIR CHARLES MARK, BART

Palmer, " J . C . Hook, R.A.," See also:

• PORTFOLIO (shortened form of Porto folio, adapted from the Ital. portafogli, portare, to carry, and fogli, sheets or leaves of paper, Lat. folium, leaf)

Portfolio (1888); F . G . See also:

• STEPHENS, ALEXANDER HAMILTON (1812-1883)
• STEPHENS, JOHN LLOYD (1805–1852)

Stephens, " J . C . Hook, Royal Academician: His See also:

• LIFE

Life and Work," Art See also:

• ANNUAL

Annual (London, 1888); P . G . See also:

• HAMERTON, PHILIP GILBERT (1834-1894)

Hamerton, See also:

• ETCHING (Dutch, etsen, to eat)

Etching and Etchers (London, 1877) .