WILHELM VON See also:

• WILHELM VON KAULBACH (1805-1874)

KAULBACH (1805-1874)  , See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• WESTPHALIA (Ger. Westfalen)
• WESTPHALIA, TREATY OF

Westphalia on the 15th of See also:

• OCTOBER

October 18o5 . His See also:

• FATHER

father, who was poor, combined See also:

• PAINTING

painting with the See also:

• GOLDSMITH
• GOLDSMITH, LEWIS (c. 1763–1846)
• GOLDSMITH, OLIVER (1728–1774)

goldsmith's See also:

• TRADE (O. Eng. trod, footstep, from tredan, to tread; in M. Eng. the forms teed, trod and trade appear, the last in the sense of a beaten track)
• TRADE, BOARD OF

trade, but means were found to See also:

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

place Wilhelm, a youth of seventeen, in the See also:

• ART

art See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

academy of See also:

• DUSSELDORF

Dusseldorf, then becoming renowned under the directorship of See also:

• PETER
• PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
• PETER (PEDRO)
• PETER, EPISTLES OF
• PETER, ST

Peter von See also:

• CORNELIUS
• CORNELIUS, CARL AUGUST PETER (1824-1874)
• CORNELIUS, PETER VON (1784–1867)

Cornelius . 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:

• KAULBACH, WILHELM VON (1805-1874)

Kaulbach See also:

• CON

con-tended against hardships, even See also:

• HUNGER

hunger . But his courage never failed; and, uniting See also:

• GENIUS (from Lat. genere, gignere)

genius with See also:

• INDUSTRY (Lat. industria, from indu-, a form of the pre, position in, and either stare, to stand, or struere, to pile up)

industry, he was ere See also:

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

long fore-most among the young See also:

• NATIONAL

national party which sought to revive the arts of See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany . The ambitious See also:

• WORK

work by which See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis I. sought to transform See also:

• MUNICH (Ger. Munchen)

Munich into a German See also:

• ATHENS
• ATHENS ['AN vat, Athenae, modem colloquial Greek `Ath va]

Athens afforded the young painter an appropriate See also:

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

sphere . Cornelius had been commissioned to execute the enormous frescoes in the See also:

• GLYPTOTHEK (from Gr. y?tnrros, carved, and OiiKf, a place of storage)

Glyptothek, and his See also:

• CUSTOM (from O. Fr. costume, costume or coustume; Low Lat. costuma, a shortened form of consuetudo)

custom was in the winters, with the aid of Kaulbach and others, to See also:

• COMPLETE

complete the cartoons at Dusseldorf, and in the summers, accompanied by his best scholars, to carry out the designs in See also:

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

colour on the museum walls in Munich . But in 1824 Cornelius became director of the Bavarian academy . Kaulbach, not yet twenty, followed, took up his permanent See also:

• RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence in Munich, laboured hard on the public See also:

• WORKS

works, executed See also:

• INDEPENDENT

independent commissions, and in 1849, when Cornelius See also:

• LEFT

left for See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin, succeeded to the directorship of the academy, an 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 which he held till his See also:

• DEATH

death on the 7th of See also:

• APRIL

April 1874 . His son See also:

• HERMANN, JOHANN GOTTFRIED JAKOB (1772–1848)
• HERMANN, KARL FRIEDRICH (1804–1855)

Hermann (1846-1909) also became a distinguished painter . Kaulbach matured, after the example of the masters of the See also:

• MIDDLE

Middle Ages, the practice of mural or monumental decoration; he once more conjoined painting with See also:

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

architecture, and displayed a creative fertility and readiness of resource scarcely found since the era of See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael and See also:

• MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo . See also:

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

Early in the See also:

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

series of his multitudinous works came the famous Narrenhaus, the appalling memories of a certain madhouse near Dusseldorf; the See also:

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

composition all the more deserves mention for points of contact with See also:

• HOGARTH, WILLIAM (1697–1764)

Hogarth . Somewhat to the same See also:

• CATEGORY (Gr. Karrlyopia, " accusation ")

category belong the illustrations to Reineke See also:

• FUCHS, JOHANN NEPOMUK VON (1774-1856)
• FUCHS, LEONHARD (15o1-1566)

Fuchs .

These, together with occasional figures or passages in complex pictorial dramas, show how dominant and irrepressible were the artist's sense of See also:

• SATIRE (Lat. satira, satura; see below)

satire and enjoyment of fun; See also:

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

character in its breadth and sharpness is depicted with keenest relish, and at times the sardonic smile bursts into the loudest laugh . Thus occasionally the See also:

• GROTESQUE

grotesque degenerates into the vulgar, the See also:

• GRAND

grand into the ridiculous, as in the satire on " the Pigtail See also:

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

Age " in a See also:

• FRESCO (Ital. for cool, " fresh ")

fresco outside the New Pinakothek . Yet these exceptional extravagances came not of weakness but from excess of See also:

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

power . Kaulbach tried hard to become Grecian and See also:

• ITALIAN

Italian; but he never reached Phidias or Raphael; in See also:

• SHORT, FRANCIS JOB (1857– )

short the See also:

• BLOOD

blood of Diirer, See also:

• HOLBEIN, HANS

Holbein and See also:

• MARTIN (Martinus)
• MARTIN, BON LOUIS HENRI (1810-1883)
• MARTIN, CLAUD (1735-1800)
• MARTIN, FRANCOIS XAVIER (1762-1846)
• MARTIN, HOMER DODGE (1836-1897)
• MARTIN, JOHN (1789-1854)
• MARTIN, LUTHER (1748-1826)
• MARTIN, SIR THEODORE (1816-1909)
• MARTIN, SIR WILLIAM FANSHAWE (1801–1895)
• MARTIN, ST (c. 316-400)
• MARTIN, WILLIAM (1767-1810)

Martin See also:

• SCHONGAUER (or Suon), MARTIN (c. 1445-c. 1488)

Schongauer ran strong in his See also:

• VEINS

veins . The art products in Munich during the middle of the 19th See also:

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

century were of a quantity to preclude first-See also:

• RATE

rate quality, and Kaulbach contracted a fatal facility in covering 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 and See also:

• CANVAS

canvas by the See also:

• ACRE
• ACRE, or AQUIRY

acre . He painted in the Hofgarten, the Odeon, the See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

Palace and on the See also:

• EXTERNAL

external walls of the New Pinakothek . His perspicuous and showy manner also gained him abundant occupation as a See also:

• BOOK

book illustrator: in the pages of the poets his See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy revelled; he was glad to take See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

inspiration from See also:

• WIELAND, CHRISTOPH MARTIN (1733-1813)

Wieland, See also:

• GOETHE, JOHANN WOLFGANG VON (1749-1832)

Goethe, even See also:

• KLOPSTOCK, GOTTLIEB FRIEDRICH (1724–1803)

Klopstock; among his engraved designs are the See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare See also:

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

gallery, the Goethe gallery and a See also:

• FOLIO (properly the ablative case of the Lat. folium, leaf, but also frequently an adaptation of the Ital. foglio)

folio edition of the Gospels . With regard to these examples of " the Munich school," it was asserted that Kaulbach had been unfortunate alike in having found Cornelius for 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 and 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 Louis for a See also:

• PATRON

patron, that he attempted " subjects far beyond him, believing that his admiration for them was the same as inspiration "; and supplied the lack of real See also:

• IMAGINATION

imagination by " a See also:

• COMPOUND
• COMPOUND (from Lat. componere, to combine or put together)

compound of See also:

• INTELLECT (Lat. intellectus, from intelligere, to understand)

intellect and fancy." Nevertheless in such compositions as the Destruction of See also:

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

Jerusalem and the See also:

• BATTLE

Battle of the See also:

• HUNS

Huns Kaulbach shows creative imagination . As a dramatic poet he tells the See also:

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

story, depicts character, seizes on See also:

• ACTION

action and situation, and thus as it were takes the spectator by See also:

• STORM (in O. Eng..storm, and so in Du. and Low Ger.; in O. H. Ger. and mod. Ger. Sturm; the root is probably that seen in " stir," to rouse, move, disturb, cf. Ger. storen)
• STORM, THEODOR WOLDSEN (1817-1888)

storm . The manner may be occasionally noisy and ranting, but the effect after its See also:

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

kind is tremendous . The See also:

• CARTOON (Ital. cartone, pasteboard)

cartoon, which, as usual in See also:

• MODERN

modern German art, is See also:

• SUPERIOR

superior to the ultimate picture, was executed in the artist's See also:

• PRIME, PRIMER AND PRIMING

prime at the age of See also:

• THIRTY

thirty . At this See also:

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

period, as here seen, the knowledge was little short of See also:

• ABSOLUTE (Lat. absolvere, to loose, set free)

absolute; subtle is the sense of beauty; playful, delicate, See also:

• FIRM

firm the 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; the whole treatment See also:

• ARTISTIC

artistic .

Ten or more years were devoted to what the Germans See also:

• TERM

term a " cyclus "—a series of pictures depicting the See also:

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

Tower of See also:

• BABEL

Babel, the Age of See also:

• HOMER, WINSLOW (1836-191o)

Homer, the Destruction of Jerusalem, the Battle of the Huns, the See also:

• CRUSADES

Crusades and the See also:

• REFORMATION
• REFORMATION, THE

Reformation . These See also:

• MAJOR
• MAJOR (Lat. for " greater ")
• MAJOR (or MAIR), JOHN (1470-1550)

major tableaux, severally 3o ft. long, and each comprising over one See also:

• HUNDRED

hundred figures above See also:

• LIFE

life-See also:

• SIZE

size, are surrounded by See also:

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

minor compositions making more than twenty in all . The See also:

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

idea is to congregate around the See also:

• WORLD

world's historic dramas the prime agents of See also:

• CIVILIZATION

civilization; thus here are assembled allegoric figures of Architecture and other arts, of See also:

• SCIENCE (Lat. scientia, from scire; to learn, know)

Science and other kingdoms of know-ledge, together with lawgivers from the 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 of See also:

• MOSES (Gr. Mwvo c, Mcoo-i3s)
• MOSES, ASSUMPTION OF

Moses, not for-getting See also:

• FREDERICK
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

Frederick the See also:

• GREAT

Great . .The chosen situation for this imposing didactic and theatric display is the Treppenhaus or grand See also:

• STAIRCASE

staircase in the new museum, Berlin; the See also:

• SURFACE

surface is a granulated, absorbent wall, specially prepared; the technical method is that known as " See also:

• WATER

water-See also:

• GLASS
• GLASS (O.E. glees, cf. Ger. Glas, perhaps derived from an old Teutonic root gla-, a variant of glo-, having the general sense of shining, cf. " glare," " glow ")
• GLASS, STAINED

glass," or " liquid See also:

• FLINT
• FLINT, AUSTIN (1812-1886)
• FLINT, or FLTNTSHTRE (sir Gallestr)
• FLINT, ROBERT (1838- )
• FLINT, TIMOTHY (1780-1840)

flint," the infusion of See also:

• SILICA

silica securing permanence . The same See also:

• MEDIUM

medium was adopted in the later wall-pictures in the Houses of See also:

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

Parliament, See also:

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

Westminster . The painter's last period brings no new departure; his ultimate works stand conspicuous by exaggerations of early characteristics . The series of designs illustrative of Goethe, which had an immense success, were melodramatic and pandered to popular See also:

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

taste . The vast canvas, more than 30 ft. long, 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 Fight at See also:

• SALAMIS

Salamis, painted for the Maximilianeum, Munich, evinces wonted imagination and facility in composition; the handling also retains its largeness and vigour; but in this astounding scenic uproar moderation and the simplicity of nature are thrown to the winds, and the whole See also:

• ATMOSPHERE (Gr. fir µ6r, vapour; orkaipa, a sphere)

atmosphere is hot and feverish . Kaulbach's was a beauty-loving art . He is not supreme as a colourist; he belongs in fact to a school that holds colour in sub-ordination; but he laid, in See also:

• COMMON

common with the great masters, the sure See also:

• FOUNDATION (Lat. fundatio, from fundare, to found)

foundation of his art in See also:

• FORM (Lat. forma)

form and composition . Indeed, the science of composition has seldom if ever been so clearly understood or worked out with equal complexity and exactitude; the constituent lines, the relation of the parts to the whole, are brought into absolute agreement; in modern Germany painting and See also:

• MUSIC

music have trodden parallel paths, and Kaulbach is musical in the See also:

• MELODY (Gr. ,ueXw3ia, a choral song, from name, tune, and gi6i, song)

melody and See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony of his compositions . His narrative too is lucid, and moves as a stately 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 or royal See also:

• TRIUMPH (triumphus)

triumph; the sequence of the figures is unbroken; the arrangement of the See also:

• GROUPS
• GROUPS, THEORY

groups accords with even See also:

• LITERARY

literary form; the picture falls into incident, See also:

• EPISODE

episode, See also:

• DIALOGUE

dialogue, action, See also:

• PLOT
• PLOT, ROBERT (164o-1696)

plot, as a See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama .

The See also:

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

style is eclectic; in the Age of Homer the types and the treatment are derived from See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek See also:

• MARBLES

marbles and vases; then in the Tower of Babel the severity of the See also:

• ANTIQUE (Lat. antiquus, old)

antique gives place to the suavity of the Italian See also:

• RENAISSANCE, THE

renaissance; while in the Crusades the composition is let loose into modern romanticism, and so the manner descends into the midst of the 19th century . And yet this scholastically compounded art is so nicely adjusted and smoothly blended that it casts off all incongruity and becomes homogeneous as the issue of one mind . But a fickle public craved for 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; and so the great master in later years waned in favour, and had to See also:

• WITNESS
• WITNESS (from O. Eng. witan, to know)

witness, not without inquietude, the rise of an opposing party of See also:

• NATURALISM

naturalism and See also:

• REALISM (from Low Lat. realis, appertaining to res, things, as opposed to ideas and imaginations)

realism . (J . B . A.) KAUNITZ-RIETBURG, See also:

• WENZEL, KARL FRIEDRICH (1740-1793)

WENZEL ANTON, See also:

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

PRINCE VON (1711-1794), See also:

• AUSTRIAN

Austrian See also:

• CHANCELLOR (M. Eng. and Anglo-Fr. canceler, chanceler, Fr. chancelier, Lat. cancellarius)

chancellor and diplomatist, was born at See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna on the 2nd of See also:

• FEBRUARY

February 1711 . His father, Max See also:

• ULRICH

Ulrich,was the third See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

count of Kaunitz, and married an heiress, Maria Ernestine Franziska von Rietburg . The See also:

• FAMILY

family was See also:

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

ancient, and was believed to have been of See also:

• SLAVONIC, OLD

Slavonic origin in See also:

• MORAVIA (Ger., Ma/wen; Czech, Morava)

Moravia . Wenzel Anton. being a second son, was designed for 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, but on the death of his See also:

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

elder See also:

• BROTHER

brother he was trained for the See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law and for See also:

• DIPLOMACY (Fr. diplomatic)

diplomacy, at Vienna, See also:

• LEIPZIG

Leipzig and See also:

• LEIDEN

Leiden, and by travel . Hisfamily had served the Habsburgs with some distinction, and Kaunitz had no difficulty in obtaining employment . In 1735 he was a Reichshofrath . When the See also:

• EMPEROR (Fr. empereur, from the Lat. imperator)

Emperor 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 VI. died in 1740, he is said to have hesitated before deciding to support Maria See also:

• THERESA, ST (1515-1582)

Theresa .

If so, his hesitation did not last long, and left no trace on his See also:

• LOYALTY

loyalty . From 1742 to 1744 he was See also:

• MINISTER (Lat. minister, servant)

minister at See also:

• TURIN

Turin, and in the latter See also:

• YEAR

year was sent as minister with the See also:

• ARCH
• ARCH, JOSEPH (1826– )

Arch-See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke Charles of See also:

• LORRAINE

Lorraine, the See also:

• GOVERNOR (from the Fr. gouverneur, from gouverner, O. Fr. governer, Lat. gubernare, to steer a ship, to direct, guide)

governor of See also:

• BELGIUM
• BELGIUM (Fr. Belgique; Flem. Belgic)

Belgium . He was therefore an 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-witness of the See also:

• CAMPAIGNS

campaigns in which See also:

• MARSHAL (med. Lat. marescalcus, from O.H.Ger. marah, horse, and scalc, servant)

Marshal See also:

• SAXE, JOHN GODFREY (1816-1887)
• SAXE, MAURICE, COMTE DE (1696-1750)

Saxe overran Belgium . At this time he was extremely discouraged, and sought for his recall . But he had earned the approval of Maria Theresa, who sent him as representative of 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 to the See also:

• PEACE
• PEACE, BREACH OF THE

peace See also:

• CONGRESS (Lat. congressus, coming together, from congredi; cum, with, and gradus, step)

congress of See also:

• AIX

Aix-la-Chapelle in 1748 . His tenacity and dexterity established his reputation as a diplomatist . He con-firmed his hold on the regard and confidence of the empress by the See also:

• LINE

line he took after the conclusion of the peace . In 1749 Maria Theresa appealed to all her counsellors for See also:

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

advice as to the policy Austria ought to pursue in view of the changed conditions produced by the rise of See also:

• PRUSSIA
• PRUSSIA (Ger. Preussen; Lat. Borussia)

Prussia . The great See also:

• MAJORITY (Fr. majorite; Med. Lat. majoritas; Lat. major, greater)

majority of them, including her See also:

• HUSBAND

husband 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 I., were of See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion that the old See also:

• ALLIANCE

alliance with the sea See also:

• POWERS, HIRAM (1805-1873)

Powers, See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England and 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, should be maintained . Kaunitz, either because he was really persuaded that the old policy must be given up, or because he saw that the dominating idea in the mind of Maria Theresa was the recovery of See also:

• SILESIA

Silesia, gave it as his opinion that Frederick was now the "most wicked and dangerous enemy of Austria," that it was hopeless to expect the support of See also:

• PROTESTANT

Protestant nations against him, and that the only way of recovering Silesia was by an alliance with See also:

• RUSSIA
• RUSSIA (Rossiya)

Russia and See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France . The empress eagerly accepted views which were already her own, and entrusted the adviser with the See also:

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

execution of his own plans . An See also:

• AMBASSADOR (also EMBASSADOR, the form sometimes still used in America; from the Fr. ambassadeur, with which compare Ital. ambasciatore and Span. embajador, all variants of the Med. Lat. ambassiator, ambassiator, ambasator, &c., derived from Med. Lat. amba

ambassador to France from 1750 to 1752, and after 1753 as " See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house, See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court and See also:

• STATE
• STATE, GREAT OFFICERS OF

state chancellor," Kaunitz laboured successfully to bring about the alliance which led to the Seven Years' See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

War .

It was considered a great feat of diplomacy, and established Kaunitz as the recognized master of the art . His triumph was won in spite of See also:

• PERSONAL

personal defects and absurdities which would have ruined most men . Kaunitz had manias rarely found in See also:

• COMPANY

company with absolute sanity . He would not hear of death, nor approach a sick See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man . He refused to visit his dying master See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph II. for two whole years . He would not breathe fresh See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air . On the warmest summer 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 he kept a handkerchief over his mouth when out of doors, and his only exercise was See also:

• RIDING

riding under glass, which he did every See also:

• MORNING

morning for exactly the same number of minutes . He relaxed from his work in the company of a small dependent society of sycophants and buffoons . He was consumed by a See also:

• SOLEMN (Lat. sollemnis, sollemnis, less correctly solennis, yearly, annual; from sollus = totus, whole, entire, Gr. Mos., and annus, year)

solemn, garrulous and pedantic vanity . When in 1770 he met Frederick the Great at 1Vlahrisch-See also:

• NEUSTADT (Polish, Prudnik)

Neustadt, he came with a See also:

• SUMMARY

summary of See also:

• POLITICAL

political principles, which he called a See also:

• CATECHISM (from Gr. Karnxeiv, teach by word of mouth)

catechism, in his See also:

• POCKET

pocket, and assured the king that he must be allowed to speak without interruption . When Frederick, whose See also:

• INTEREST

interest it was to See also:

• HUMOUR (Latin humor)

humour him, promised to listen quietly, Kaunitz rolled his mind out for two See also:

• HOURS, CANONICAL

hours, and went away with the firm conviction that he had at last enlightened the inferior intellect of the king of Prussia as to what politics really were . Within a very short time Frederick had completely deceived and out-manoeuvred him .

With all his pomposity and conceit, Kaunitz was astute, he was laborious and orderly; when his advice was not taken he would carry out the wishes of his masters, while no defeat ever damped his pertinacity . To tell his See also:

• HISTORY

history from 1750 till his retirement in 1792 would be to tell See also:

• PART

part of the See also:

• INTERNAL

internal history of Austria, and all the inter-national politics of eastern and central See also:

• EUROPE

Europe . His governing principle was to forward the interests of " the See also:

• AUGUST (originally Sextilis)

august house of Austria," a phrase sometimes repeated at every few lines of his despatches . In internal affairs he in 1758 recommended, and helped to promote, a simplification of the confused and sub-divided Austrian See also:

• ADMINISTRATION (Lat. administrare, to serve)

administration . But his See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main concern was always with diplomacy and See also:

• FOREIGN

foreign policy . Here he strove with untiring See also:

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

energy, and no small measure of success, to extend the Austrian dominions . After the Seven Years' War he endeavoured to avoid great risks, and sought to secure his ends by alliances, exchanges and claims professing to have a legal basis, and justified at enormous length by arguments both pedantic and hypocritical . The See also:

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

French Revolution had begun to alter all the relations of the Powers before his retirement . He never understood its full meaning . Yet the circular despatch which he addressed to the ambassadors of the emperor on the 17th of See also:

• JULY

July 1794 contains the first outlines of Metternich's policy of " See also:

• LEGITIMACY

legitimacy," and the first proposal for the combined action of the powers, based on the full recognition of one another's rights, to defend themselves against subversive principles . Kaunitz died at his house, the Garten Palast, near Vienna, on the 27th of See also:

• JUNE

June 1794 . He married on the 6th of May 1736, Maria Ernestine von Starhemberg, who died on the 6th of See also:

• SEPTEMBER (Lat. septem, seven)

September 1754 .

Four sons were born of the See also:

• MARRIAGE

marriage . See See also:

• HORMAYR, JOSEPH, BARON VON (1782-1848)

Hormayr, Oesterreichischer See also:

• PLUTARCH
• PLUTARCH (Gr. llXoi rapxos) (c. A.D. 46–120)

Plutarch (Vienna, 1823), for a See also:

• BIOGRAPHICAL

biographical 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 based on personal knowledge . Also see See also:

• BRUNNER, HENRY (184o– )

Brunner, Joseph II.: Correspondance avec Cobenzl et Kaunitz (Mayence, 1871); A . See also:

• BEER

Beer, Joseph II., See also:

• LEOPOLD (M.H. Ger. Liupolt; O.H. Ger. Liupald, from hut, Mod. Ger. Leute, " people," and paid, " bold," i.e. " bold for the people ")

Leopold II. and Kaunitz (Vienna, 1873) .