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:

• HOLMAN, JAMES (1786–1857)

HOLMAN See also:

• HUNT, ALFRED WILLIAM (183o-1896)
• HUNT, HENRY (1i73-1835)
• HUNT, HENRY JACKSON (1819-1889)
• HUNT, JAMES HENRY LEIGH (1784-1859)
• HUNT, ROBERT (1807-1887)
• HUNT, THOMAS STERRY (1826-1892)
• HUNT, WILLIAM HENRY (1790—1864)
• WILLIAM HOLMAN HUNT (1827-1910)
• HUNT, WILLIAM MORRIS (1824-1879)

HUNT (1827-1910)  , See also:

• ENGLISH

English artist, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• LONDON

London on the 2nd of See also:

• APRIL

April 1827 . An ancestor on his See also:

• FATHER

father's See also:

• SIDE
• SIDE (mod. Eski Adalia)

side See also:

• BORE

bore arms against See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles I., and went over to See also:

• HOLLAND
• HOLLAND, CHARLES (1733–1769)
• HOLLAND, COUNTY AND PROVINCE OF
• HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
• HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
• HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
• HOLLAND, JOSIAH GILBERT (1819-1881)
• HOLLAND, PHILEMON (1552-1637)
• HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
• HOLLAND, SIR HENRY, BART

Holland, where he fought in the See also:

• PROTESTANT

Protestant cause . He returned with 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 III., but the See also:

• FAMILY

family failed to recover their See also:

• PROPERTY

property . See also:

• HOLMAN, JAMES (1786–1857)

Holman See also:

• HUNT, ALFRED WILLIAM (183o-1896)
• HUNT, HENRY (1i73-1835)
• HUNT, HENRY JACKSON (1819-1889)
• HUNT, JAMES HENRY LEIGH (1784-1859)
• HUNT, ROBERT (1807-1887)
• HUNT, THOMAS STERRY (1826-1892)
• HUNT, WILLIAM HENRY (1790—1864)
• HUNT, WILLIAM HOLMAN (1827-1910)
• HUNT, WILLIAM MORRIS (1824-1879)

Hunt's father was the manager of a See also:

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

city warehouse,with tastes See also:

• SUPERIOR

superior to his position in See also:

• LIFE

life . He loved books and pictures, and encouraged his son to pursue See also:

• ART

art as an amusement, though not as a profession . At the See also:

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

age of twelve and a See also:

• HALF

half Holman Hunt was placed in a city See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office, but he employed his leisure in See also:

• READING

reading, See also:

• DRAWING

drawing and See also:

• PAINTING

painting, and at sixteen began an See also:

• INDEPENDENT

independent career as an artist . When he was between seventeen and eighteen he entered the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy See also:

• SCHOOLS

schools, where he soon made acquaintance with his lifelong friend 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:

• EVERETT
• EVERETT, ALEXANDER HILL (1790-1847)
• EVERETT, CHARLES CARROLL (1829-1900)
• EVERETT, EDWARD (1794–1865)

Everett See also:

• MILLAIS, SIR JOHN EVERETT (1829-1896)

Millais, then a boy of fifteen . In 1846 Holman Hunt sent to the Royal Academy his first picture (" Hark 1 "), which was followed by " Dr Rochecliffe performing Divine Service in the Cottage of Joceline Joliffe at See also:

• WOODSTOCK

Woodstock," in 1847, and " The See also:

• FLIGHT

Flight of Madeline and See also:

• PORPHYRIO, POMPONIUS

Porphyrio" (from See also:

• KEATS, JOHN (1795-1821)

Keats's See also:

• EVE

Eve of St See also:

• AGNES, SAINT

Agnes) in 1848 . In this See also:

• YEAR

year he and Millais, with the co-operation of See also:

• DANTE

Dante See also:

• GABRIEL (Heb. SKns, man of God)

Gabriel See also:

• ROSSETTI, CHRISTINA GEORGINA (1830-1894)
• ROSSETTI, DANTE GABRIEL (1828-1882)

Rossetti and others, initiated the famous Pre-Raphaelite See also:

• MOVEMENT

movement in art . Typical examples of the new creed were furnished in the next year's Academy by Millais's " See also:

• ISABELLA (1451-15o4)
• ISABELLA, ISABEAU

Isabella " and Holman Hunt's " See also:

• RIENZI, COLA DI (c. 1313–1354)

Rienzi vowing to obtain See also:

• JUSTICE (Lat. justitia)

Justice for the See also:

• DEATH

Death of his 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 See also:

• BROTHER

Brother." This last pathetic picture, which was sold to Mr See also:

• GIBBONS, GRINLING (1648-1721)
• GIBBONS, JAMES (1834– )
• GIBBONS, ORLANDO (1583-1625)

Gibbons for 1o5, was followed in 1850 by " A Converted See also:

• BRITISH

British Family sheltering a See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian Missionary from the Persecution of the Druid's " (bought by Mr See also:

• COMBE, ANDREW (1797-1847)
• COMBE, GEORGE (1788-1858)
• COMBE, or COOMB
• COMBE, WILLIAM (1741–1823)

Combe, of the See also:

• CLARENDON, CONSTITUTIONS OF
• CLARENDON, EDWARD HYDE, 1ST EARL OF (1609-1674)
• CLARENDON, GEORGE WILLIAM FREDERICK VILLIERS, 4TH EARL OF (in the Villiers line) (1800-r87o)
• CLARENDON, HENRY HYDE

Clarendon See also:

• PRESS (through Fr. presse from Lat. pressare, frequentative of premere, to crush, squeeze, press)

Press, See also:

• OXFORD
• OXFORD, EARLS OF
• OXFORD, EDWARD DE VERE, 17TH EARL
• OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
• OXFORD, PROVISIONS OF
• OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
• OXFORD, ROBERT HARLEY, 1ST

Oxford, for 15o), and in 1851 by " See also:

• VALENTINE, or VALENTINUS

Valentine protecting Sylvia from See also:

• PROTEUS
• PROTEUS (Proteus anguinus)

Proteus." This See also:

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

scene from The Two Gentlemen of See also:

• VERONA
• VERONA, CONGRESS OF

Verona was very warmly praised by See also:

• RUSKIN, JOHN (1819-1goo)

Ruskin (in letters to The Times), who declared that as studies both of drapery and of every See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

minor detail there had been nothing in art so See also:

• EARNEST (probably a corruption of the obsolete arles or erles, adapted from Lat. equivalent arrha, due to a confusion with the adjective " earnest," serious, O. Eng. eornust, cognate with Ger. ernst)

earnest and See also:

• COMPLETE

complete since the days of See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert See also:

• DURER, ALBRECHT (1471-1528)

Durer . It gained a See also:

• PRIZE, or PRIZE OF WAR (Fr. prise, from prendre, to take)

prize at See also:

• LIVERPOOL
• LIVERPOOL, EARLS
• LIVERPOOL, EARLS OF

Liverpool, and is reckoned as the finest of Holman Hunt's earlier See also:

• WORKS

works . In 1852 he exhibited " A Hireling Shepherd." " Claudio and Isabella," from Measure for Measure, and a brilliant study of the See also:

• DOWNS

Downs near See also:

• HASTINGS
• HASTINGS, FRANCIS
• HASTINGS, FRANK ABNEY (1794-1828)
• HASTINGS, WARREN (1732-1818)

Hastings, called in the See also:

• CATALOGUE (a Fr. adaptation of the Gr. KaraXoyos, a register, from Karalyety, to enrol or pick out)

catalogue " Our English Coasts, 1852 " (since generally known as " Strayed See also:

• SHEEP
• SHEEP (from the Anglo-Saxon sceap, a word common in various forms to Teutonic languages; e.g. the German Schaf)

Sheep "), were exhibited in 1853 .

For three of his works Holman Hunt was awarded prizes of £50 and £6o at Liverpool and See also:

• BIRMINGHAM

Birmingham, but in 1851 he had become so discouraged by the difficulty of selling his pictures, that he had resolved to give up art and learn farming, with a view to See also:

• EMIGRATION (from Lat. emigrare; e, ex, out of, and migrare, to depart)

emigration . In 1854 he achieved his first See also:

• GREAT

great success by the famous picture of " The See also:

• LIGHT

Light of the See also:

• WORLD

World," an allegorical See also:

• REPRESENTATION

representation of See also:

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

Christ knocking at the See also:

• DOOR (corresponding to the Gr. Bbpa,. Lat. fores or valvae; the English word, with other forms common in allied languages, comes from the same Indo-European stem as the Gr. Obpa and Lat. fares)

door of the human soul . This See also:

• WORK

work produced perhaps the greatest effect of any religious painting of the See also:

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

century . " For the first 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 See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England," wrote William See also:

• BELL
• BELL, ALEXANDER MELVILLE (1819—1905)
• BELL, ANDREW (1753—1832)
• BELL, GEORGE JOSEPH (1770-1843)
• BELL, HENRY (1767-1830)
• BELL, HENRY GLASSFORD (1803-1874)
• BELL, JACOB (1810-1859)
• BELL, JOHN (1691-178o)
• BELL, JOHN (1763-1820)
• BELL, JOHN (1797-1869)
• BELL, ROBERT (1800-1867)
• BELL, SIR CHARLES (1774—1842)

Bell See also:

• SCOTT, ALEXANDER (fl. 1550)
• SCOTT, DAVID (18o6-1849)
• SCOTT, MICHAEL (1789-1835)
• SCOTT, ROBERT (1811-1887)
• SCOTT, SIR GEORGE GILBERT (1811-1878)
• SCOTT, SIR WALTER, BART
• SCOTT, WILLIAM BELL (1811-1890)
• SCOTT, WINFIELD (1786-1866)

Scott, " a picture became a subject of conversation and See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general See also:

• INTEREST

interest from one end of the See also:

• ISLAND (O.E. ieg =isle, +land')

island to the other, and indeed continued so for many years." " The Awakening See also:

• CONSCIENCE (Lat. con-scientia, literally " knowledge of a thing shared with another person " or " complete knowledge," and derivatively " consciousness in general)
• CONSCIENCE, HENDRIK (1812-1883)

Conscience," exhibited at the same time, depicted a tragic moment in a life of See also:

• SIN
• SIN (O. Eng. syn: a common Teutonic word, cf. Dutch zonde, Ger. Siinde)

sin, when a girl, stricken with memories of her See also:

• INNOCENT (INNOCENTIUS)
• INNOCENT (POPES)

innocent childhood, rises suddenly from the knees of her paramour . The inner meaning of both these pictures was explained by Ruskin in letters to The Times in May 1854 . " The Light of the World " was See also:

• PURCHASED

purchased by Mr Combe, and was given by his wife to See also:

• KEBLE, JOHN (1792-1866)

Keble See also:

• COLLEGE (Collegium)

College . In 1904 Holman Hunt completed a second " Light of the World," slightly altered from the See also:

• ORIGINAL

original, the See also:

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

execution of which was due to his dissatisfaction with the way in which the Keble picture was shown there; and he in-tended the second edition of it for as wide public See also:

• EXHIBITION

exhibition as possible . It was acquired by Mr Charles See also:

• BOOTH (connected with a Teutonic root meaning to dwell, whence also " bower ")
• BOOTH, BARTON (1681–1933)
• BOOTH, CHARLES (184o– )
• BOOTH, EDWIN [THOMAS] (1833–1893)

Booth, who arranged for the exhibition of the new " Light of the World " in all the large cities of the colonies . In See also:

• JANUARY

January 1854 Holman Hunt See also:

• LEFT

left England for See also:

• SYRIA

Syria and See also:

• PALESTINE

Palestine with the See also:

• DESIRE

desire to revivifyoncanvas the facts of Scripture See also:

• HISTORY

history, " surrounded by the very See also:

• PEOPLE

people and circumstances of the life in See also:

• JUDAEA

Judaea of old days." The first See also:

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

fruit of this See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea, which may be. said to have dominated the artist's life, was " The Scapegoat," a solitary outcast See also:

• ANIMAL
• ANIMAL (Lat. animalis, from anima, breath, soul)

animal See also:

• STANDING

standing alone on the See also:

• SALT (a common Teutonic word, cf. Dutch zout, Ger. Salz, Scand. salt; cognate with Gr. &Xs, Lat. sal)
• SALT, SIR TITUS, BART

salt-encrusted shores of the Dead 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, with the mountains of See also:

• EDOM

Edom in the distance, seen under a gorgeous effect of See also:

• PURPLE

purple evening light . It was exhibited at the Royal Academy in 1856, together with three Eastern landscapes . His next picture (186o). one of the most elaborate and most successful of his works, was " The Finding of our Saviour in the See also:

• TEMPLE
• TEMPLE, FREDERICK (1821-1902)
• TEMPLE, RICHARD
• TEMPLE, SIR RICHARD, BART
• TEMPLE, SIR WILLIAM, BART

Temple." Like all his few pictures as the painter of " The Light of the World," " The Scapegoat," " The Finding of our Saviour in the Temple " and " The See also:

• TRIUMPH (triumphus)

Triumph of the Innocents "; and his greatness was recognized by his inclusion in 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 Merit . His History of Pre-Raphaelitism, a subject on which he could speak as a first authority, but not without dissent from at least one living member of the P.R.B., was published in 1905 .

On the 7th of See also:

• SEPTEMBER (Lat. septem, seven)

September 1910 he died in London, and on September 12th his remains, after See also:

• CREMATION (Lat. cremare, to burn)

cremation at Golder's See also:

• GREEN, A
• GREEN, ALEXANDER HENRY (1832—1896)
• GREEN, DUFF (1791—1875)
• GREEN, JOHN RICHARD (1837—1883)
• GREEN, MATTHEW (1696-1737)
• GREEN, THOMAS HILL (1836-1882)
• GREEN, VALENTINE (1739–1813)
• GREEN, WILLIAM HENRY (.1825–1900)

Green, were buried in St See also:

• PAUL
• PAUL (PAULUS)

Paul's See also:

• CATHEDRAL

Cathedral, with See also:

• NATIONAL

national honours . important pictures, it was the work of years . Many causes contributed to the delay in its completion, including a See also:

• SENTENCE (Lat. sententia, a way of thinking, opinion, judgment; vote, sentire, to feel, think)

sentence of what was tantamount to See also:

• EXCOMMUNICATION (Lat. ex, out of, away from; communis, common)

excommunication (afterwards revoked) passed on all See also:

• JEWS
• JEWS (Heb. Y8hudi, man of Judah; Gr. 'Iovbaiot; Lat. Judaei)

Jews acting as See also:

• MODELS

models . Thousands crowded to see this picture, which was exhibited in London and in many English provincial towns . It was purchased for £5500, and is now in the Birmingham Municipal Art See also:

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

Gallery . Holman Hunt's next great religious picture was " The See also:

• SHADOW (0. Eng. Schadewe, sceadu; a form of " shade "; connected with Gr. 6-Ore's, darkness)

Shadow of Death " (exhibited separately in 1873), an imaginary incident in the life of our 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, who, lifting His arms with weariness after labour in His workshop, throws a shadow on the 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 as of a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man crucified, which is perceived by His See also:

• MOTHER

mother . This work was presented to See also:

• MANCHESTER
• MANCHESTER (popularly Manchester-by-the-Sea)
• MANCHESTER, EARLS AND DUKES OF

Manchester by See also:

• SIR

Sir William See also:

• AGNEW, DAVID HAYES (1818–1892)

Agnew . Meanwhile there had appeared at the Royal Academy in 1861 " A See also:

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

Street in See also:

• CAIRO
• CAIRO (Arabic Misr-al-Kahira, or simply Misr)

Cairo: The Lanternmaker's Courtship," and in 1863 " 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 of See also:

• HEARTS

Hearts," and a portrait of the Right Hon . See also:

• STEPHEN
• STEPHEN (1097?-1154)
• STEPHEN (ISTVAN) BATHORY (1533-1586)
• STEPHEN, SIR JAMES (1789-1859)
• STEPHEN, SIR JAMES FITZJAMES, BART
• STEPHEN, SIR LESLIE (1832-1904)

Stephen Lushington, D.C.L . In 1866 came " Isabella and the Pot of See also:

• BASIL (Russ. VASILY)

Basil," " London See also:

• BRIDGE

Bridge on the See also:

• NIGHT

Night of the See also:

• MARRIAGE

Marriage of the See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

Prince of See also:

• WALES (Cymru, Gwalia, Cambria)

Wales," and " The See also:

• AFTERGLOW

Afterglow." In 1867 Holman Hunt sent a charming 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 " A Tuscan Girl " to the Grosvenor Gallery and two pictures to the Royal Academy . These were " Il See also:

• DOLCE, LUDOVICO, or LUIGI (15o8–i568 or 1569)

dolce far niente " and a lifelike study of pigeons in See also:

• RAIN (O.E. regn; the word is common to Teutonic languages, cf. Ger. Regen, Swed. and Dan. regn; it has been connected with Lat. rigare, to wet, Gr. 13pixeav)

rain called " The Festival of St Swithin," now in the See also:

• TAYLOR
• TAYLOR, ANN (1782-1866)
• TAYLOR, BAYARD (1825–1878)
• TAYLOR, BROOK (1685–1731)
• TAYLOR, ISAAC (1787-1865)
• TAYLOR, ISAAC (1829-1901)
• TAYLOR, JEREMY (1613-1667)
• TAYLOR, JOHN (158o-1653)
• TAYLOR, JOHN (1704-1766)
• TAYLOR, JOSEPH (c. 1586-c. 1653)
• TAYLOR, MICHAEL ANGELO (1757–1834)
• TAYLOR, NATHANIEL WILLIAM (1786-1858)
• TAYLOR, PHILIP MEADOWS (1808–1876)
• TAYLOR, ROWLAND (d. 1555)
• TAYLOR, SIR HENRY (1800-1886)
• TAYLOR, THOMAS (1758-1835)
• TAYLOR, TOM (1817-1880)
• TAYLOR, WILLIAM (1765-1836)
• TAYLOR, ZACHARY (1784-1850)

Taylor See also:

• BUILDING

Building, Oxford, with many others of this artist's work . After two years' See also:

• ABSENCE (Lat. absentia)

absence Holman Hunt returned to See also:

• JERUSALEM (Heb. ^S0-r, Yerushalaim, pronounced as a dual)
• JERUSALEM, SYNOD OF (1672)

Jerusalem in 1875, where he was engaged upon his great picture of " The Triumph of the Innocents," which proved to be the most serious labour of his life .

The subject is an imaginary See also:

• EPISODE

episode of the flight into See also:

• EGYPT

Egypt, in which the See also:

• HOLY

Holy Family are attended by a procession of the Holy Innocents, marching along the See also:

• WATERS, TERRITORIAL

waters of life and illuminated with unearthly light . Its execution was delayed by an extraordinary See also:

• CHAPTER (a shortened form of chapiter, a word still used in architecture for a capital; derived from O. Fr. chapitre, Lat. capitellum, diminutive of caput, head)

chapter of accidents . For months Holman Hunt waited in vain for the arrival of his materials, and at last he unfortunately began on an unsuitable piece of See also:

• LINEN

linen procured in despair at Jerusalem . Other troubles supervened, and when he arrived in England he found his picture in such a See also:

• STATE
• STATE, GREAT OFFICERS OF

state that he was compelled to abandon it and begin again . The new version of the work, which is somewhat larger and changed in several points, was not completed till 1885 . Meanwhile the old picture was relined and so skilfully treated that the artist was able to complete it satisfactorily, and there are now two pictures entitled " The Triumph of the Innocents," one in the Liverpool, the other in the Birmingham Art Gallery . The pictures exhibited between 1875 and 1885 included "The See also:

• SHIP

Ship," a realistic picture of the See also:

• DECK

deck of a passenger ship by night (1878), and portraits of his son (188o), Sir See also:

• RICHARD
• RICHARD (d. 1184)
• RICHARD, FRANCOIS MARIE BENJAMIN (18,9-1908)
• RICHARD, HENRY (1812-1888)
• RICHARD, ST

Richard See also:

• OWEN, JOHN (1616-1683)
• OWEN, JOHN [OVENUS Or AUDOENUS] (c. 1560-1622)
• OWEN, ROBERT (1771-1858)
• OWEN, SIR HUGH (1804-1881)
• OWEN, SIR RICHARD (1804–1892)

Owen (1881) and Dante Gabriel Rossetti (1884) . All of these were exhibited at the Grosvenor Gallery, where they were followed by " The See also:

• BRIDE (a common Teutonic word, e.g..Goth. bruths, O. Eng. bryd, O. H. Ger. prs2t, Mod. Ger. Bract, Dut. bruid, possibly derived from the root bru-, cook, brew; from the med. latinized form bruta, in the sense of daughter-in-law, is derived the Fr. bru)

Bride of See also:

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

Bethlehem " (1885), " See also:

• AMARYLLIS (the name of a girl in classical pastoral poetry)

Amaryllis " and a portrait of his son (tracing a drawing on a window) in 1886 . His most important later work is " May-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, Magdalen See also:

• TOWER (Lat. turris; Fr. tour, clocker; Ital. torre; Ger. Thurm)

Tower," a See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record of the service of See also:

• SONG

song which has been held on the tower of Magdalen, Oxford, at sunrise on May-Day from time immemorial . The subject had interested the artist for a great many years, and, after " The Triumph of the Innocents " was completed, he worked at it with his usual devotion, climbing up the tower for See also:

• WEEKS, EDWIN LORD (1849-1903)

weeks together in the See also:

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

early See also:

• MORNING

morning to study the sunrise from the See also:

• TOP (cf. Dan. top, Ger. Topf, also meaning pot)

top . This radiant poem of the simplest and purest devotion was exhibited at the See also:

• GAINSBOROUGH
• GAINSBOROUGH, THOMAS (1727-1788)

Gainsborough Gallery in Old See also:

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

Bond Street in 189r . He continued to send occasional contributions to the exhibitions cf the Royal See also:

• WATER

Water-See also:

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

Colour Society, to the New Gallery and to the New English Art See also:

• CLUB (connected with " clump ")

Club .

One of the most remarkable of his later works (New Gallery, 1899) is " The See also:

• MIRACLE (Lat. miraculum, from mirari, to wonder)

Miracle of Sacred 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 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 the See also:

• SEPULCHRE, CANONS REGULAR OF THE HOLY
• SEPULCHRE, EASTER
• SEPULCHRE, THE HOLY

Sepulchre, Jerusalem." By his strong and See also:

• CONSTANT, BENJAMIN (1845-1902)

constant individuality, no less than by his See also:

• PECULIAR

peculiar methods of work, Holman Hunt holds a somewhat isolated position among artists . He remained entirely unaffected by all the various movements in the art-world after 1850 . His ambition was always " to serve as high See also:

• PRIEST (Ger. Priester, Fr. pretre)

priest and expounder of the excellence of the works of the Creator." He spent too much labour on each work to complete many; but perhaps no painter of the 19th century produced so great an impression by a See See also:

• ARCHDEACON (Lat. archidiaconus, Gr. &oxt3tauovor)

Archdeacon See also:

• FARRAR, FREDERIC WILLIAM (1831-1903)

Farrar and Mrs Alice See also:

• MEYNELL, ALICE CHRISTIANA (1850— )

Meynell, " William Holman Hunt, his Life and Work " (Art See also:

• ANNUAL

Annual) (London, 1893) ; John Ruskin, See also:

• MODERN

Modern Painters; The Art of England (Lecture) [consult See also:

• GORDON
• GORDON, ADAM LINDSAY (1833—1870)
• GORDON, ALEXANDER (c. 1692—c. 1754)
• GORDON, CHARLES GEORGE (1833-'885)
• GORDON, LEON
• GORDON, LORD GEORGE (1751-1793)
• GORDON, PATRICK (1635–1699)
• GORDON, SIR JOHN WATSON (1788—1864)

Gordon Crauford's Ruskin's Notes on the Pictures of Mr Holman Hunt, 1886] ; See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert de la Sizeranne, La Peinture anglaise contemporasne (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, 1895); W . B . Scott, Autobiographical Notes; W . M . Rossetti, Pre-Raphaelite Diaries and Letters; See also:

• PERCY (FAMILY)
• PERCY, SIR HENRY
• PERCY, THOMAS (1729-1811)
• PERCY, THOMAS (c. 156o-16os)

Percy H . Bate, The Pre-Raphaelite Painters (1899); Sir W . Bayliss, Five Great Painters of the Victorian Era (1902) . (C .