See also:

• SIR

SIR See also:

• EDWIN, AEDUINI
• EDWIN, JOHN (1749–1790)

EDWIN See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

HENRY See also:

• SIR EDWIN HENRY LANDSEER (1802-1873)

LANDSEER (1802-1873)  , See also:

• ENGLISH

English painter, third son of 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:

• LANDSEER, SIR EDWIN HENRY (1802-1873)

Landseer, A.R.A., a well-known engraver and writer on See also:

• ART

art, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at 71 See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen See also:

• ANNE (1665-1714)
• ANNE (1693-1740)

Anne See also:

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

Street See also:

• EAST
• EAST, ALFRED (1849- )

East (afterwards 33 See also:

• FOLEY, JOHN HENRY (1818-1874)
• FOLEY, SIR THOMAS (1757-1833)

Foley Street), See also:

• LONDON

London, on 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 7th 1802 . His See also:

• MOTHER

mother was See also:

• MISS

Miss Potts, who sat to See also:

• SIR

Sir See also:

• JOSHUA, BOOK OF

Joshua See also:

• REYNOLDS, JOHN FULTON (182o-1863)
• REYNOLDS, SIR JOSHUA (1723-1792)
• REYNOLDS, WALTER (d. 1327)

Reynolds as the reaper with a sheaf of See also:

• CORN (a common Teutonic word; cf. Lat. granum, seed, grain)
• CORN (fromm Lat. corms, horn)

corn on her 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 " See also:

• MACKLIN, CHARLES (c. 1699-1797)

Macklin's See also:

• FAMILY

Family Picture," or " The Gleaners."1 See also:

• EDWIN, AEDUINI
• EDWIN, JOHN (1749–1790)

Edwin See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry Landseer began his See also:

• ARTISTIC

artistic See also:

• EDUCATION

education under his See also:

• FATHER

father so successfully that in his fifth See also:

• YEAR

year he See also:

• DREW
• DREW, SAMUEL (1765-1833)

drew fairly well, and was See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar with See also:

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

animal See also:

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

character and See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion . Drawings of his, at See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

South See also:

• KENSINGTON

Kensington, dated by his father, attest that he drew excellently at eight years of See also:

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

age; at ten he was an admirable draughtsman and his See also:

• WORK

work shows considerable sense of See also:

• HUMOUR (Latin humor)

humour . At thirteen he drew a majestic St See also:

• BERNARD, CHARLES DE
• BERNARD, CLAUDE (1813-1878)
• BERNARD, JACQUES (1658--1718)
• BERNARD, MOUNTAGUE (1S2o—1882)
• BERNARD, SAINT
• BERNARD, SAINT (Iogo-1153)
• BERNARD, SIMON (1779—1839)
• BERNARD, SIR THOMAS, BART

Bernard See also:

• DOG

dog so finely that his See also:

• BROTHER

brother See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas engraved and published the work . At this date (1815) he sent two pictures to the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy, and was described in the See also:

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

catalogue as " 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 E . Landseer, 33 Foley Street." Youth forbade his being reckoned among practising artists, and caused him to be considered as the " Honorary Exhibitor " of " No . 443, Portrait of a See also:

• MULE (Lat. mulus)

Mule," and " No . 584, Portraits of a Pointer Bitch and Puppy." Adopting the See also:

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

advice of B . R . See also:

• HAYDON, BENJAMIN ROBERT (1786-1846)

Haydon, he studied the See also:

• ELGIN

Elgin See also:

• MARBLES

Marbles, the animals in the See also:

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

Tower of London and See also:

• EXETER
• EXETER, EARL, MARQUESS AND DUKE OF

Exeter '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 dissected every animal whose See also:

• CARCASS

carcass he could obtain . In 1816 Landseer was admitted a student of the Royal Academy See also:

• SCHOOLS

schools . In 1817 he sent to the Academy a portrait of " Old See also:

• BRUTUS (originally an adjective meaning " heavy," "stupid," kindred with Gr. aap(s, cf. Eng. " brute," " brutal")

Brutus," a much-favoured dog, which, as well as its son, another Brutus, often appeared in his later pictures .

Even at this date Landseer enjoyed considerable reputation, and had more work than he could readily perform, his renow; having been zealously fostered by his father in 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:

• ELMES, HARVEY LONSDALE (1813-1847)
• ELMES, JAMES (1782-1862)

Elmes's See also:

• ANNALS (Annales, from annus, a year)

Annals of the See also:

• FINE

Fine Arks . At the Academy he was a diligent student and a favourite of Henry See also:

• FUSELI, HENRY (1741-1825)

Fuseli's, who would 'John Landseer died See also:

• FEBRUARY

February 29, 1852, aged ninety-one (or eight} -three, according to Cosmo See also:

• MONKHOUSE, WILLIAM COSMO (1840—1901)

Monkhouse) . Sir Edwin's eldest brother Thomas, an A.R.A. and a famous engraver, whose interpretations of his junior's pictures have made them known throughout the See also:

• WORLD

world, was born in 1795, and died See also:

• JANUARY

January 20, 1880 . 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 Landseer, R.A., and Keeper of the Royal Academy, the second brother, was born in 1799, and died See also:

• JULY

July 22, 1879 . John Landseer's brother Henry was a painter of some reputation, who emigrated to See also:

• AUSTRALIA

Australia.look about the crowded See also:

• ANTIQUE (Lat. antiquus, old)

antique school and ask, " Where is my See also:

• CURLY, JEAN NICOLAS (1774-1827)

curly-headed dog-boy ? " Although his pictures sold easily from the first, the prices he received at this 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 were comparatively small . In 1818 Landseer sent to the Society of Painters in Oil and See also:

• WATER

Water See also:

• COLOURS, MILITARY

Colours, which then held its exhibitions in See also:

• SPRING (from " to spring," " to leap or jump up," " burst out," O. Eng., springau, a common Teut. word, cf. Ger. springer, possibly allied to Gr. QnrFpxecOac, to move rapidly)

Spring Gardens, his picture of " Fighting See also:

• DOGS, ISLE OF

Dogs getting See also:

• WIND
• WIND (a common Teut. word, cognate with Skt. vats, Lat. ventus, cf. " weather," to be of course distinguished from to " wind," to coil or twist, O.Eng. windan, cf. "wander," "wend," &c.)

Wind." The See also:

• SALE
• SALE, GEORGE (c. 1697-1736)
• SALE, SIR ROBERT HENRY (1782—1845)

sale of this work to Sir See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George See also:

• BEAUMONT
• BEAUMONT, BELMONT, or BELLOMONT
• BEAUMONT, CHRISTOPHE DE (1703-1781)
• BEAUMONT, SIR JOHN (1583–1627)

Beaumont vastly enhanced the fame of the painter, who soon became " the See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion." This picture illustrates the See also:

• PRIME, PRIMER AND PRIMING

prime strength of Landseer's earlier See also:

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

style . Unlike the productions of his later See also:

• LIFE

life, it displays not an iota of sentiment . Perfectly See also:

• DRAWN

drawn, solidly and minutely finished, and carefully composed, its See also:

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

execution attested the skill acquired during ten years' studies from nature . Between 1818 and 1825 Landseer did a See also:

• GREAT

great See also:

• DEAL

deal of work, but on the whole gained little besides facility of technical expression, a greater zest for humour and a larger style . The work of this See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage ended with the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of the See also:

• PAINTING

painting called " The See also:

• CAT
• CAT, CIVET
• CAT, HOUSE

Cat's Paw," which was sent to the See also:

• BRITISH

British Institution in 1824, and made an enormous sensation . The See also:

• PRICE
• PRICE, BARTHOLOMEW (1818–1898)
• PRICE, BONAMY (1807-1888)
• PRICE, RICHARD (1723-1791)

price obtained for this picture, £See also:

• LOO (formerly called " Lanterloo," Fr. lanturlu, the refrain of a popular 17th-century song)

loo, enabled Landseer to set up for himself in the 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 No .

1 St John's See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

Wood Road, where he lived nearly fifty years and in which he died . During this See also:

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

period Landseer's See also:

• PRINCIPAL

principal pictures were " The Cat Disturbed "; " Alpine Mastiffs reanimating a Distressed Traveller," a famous work engraved by his father; " The Ratcatchers " ; " Pointers to be " ; " The Larder Invaded " ; and " See also:

• NEPTUNE
• NEPTUNE (Lat. NEPTUNUS)

Neptune," the head and shoulders of a See also:

• NEWFOUNDLAND

Newfoundland dog . In 1824 Landseer and C . R . See also:

• LESLIE
• LESLIE, CHARLES (1650-1722)
• LESLIE, CHARLES ROBERT (1794–1859)
• LESLIE, FRED [FREDERICK HOBSON] (1855–1892)
• LESLIE, SIR JOHN (1766-1832)
• LESLIE, THOMAS EDWARD CLIFFE (1827-1882)

Leslie made a See also:

• JOURNEY (through O. Fr. jornee or journee, mod. Fr. journee, from med. Lat. diurnata, Lat. diurnus, of or belonging to dies, day)

journey to the See also:

• HIGHLANDS, THE

Highlands—a momentous visit for the former, who thenceforward rarely failed annually to repeat it in See also:

• SEARCH, or VISIT AND SEARCH

search of studies and subjects . In 1826 Landseer was elected an A.R.A . In 1827 appeared " The See also:

• MONKEY

Monkey who has seen the World," a picture which marked the growth of a See also:

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

taste for humorous subjects in the mind of the painter that had been evoked by the success of the " Cat's Paw." " Taking a See also:

• BUCK
• BUCK, CARL DARLING (1866– )
• BUCK, DUDLEY (1839-1909)

Buck " (1825) was the painter's first Scottish picture . Its execution marked a change in his style which, in increase of largeness, was a great improvement . In other respects, however, there was a decrease of solid qualities; indeed, finish, searching modelling, and elaborate draughtsmanship rarely appeared in Landseer's work after 1823 . The subject, as such, soon after this time became a very distinct See also:

• ELEMENT (Lat. elementum)

element in his pictures; ultimately it dominated, and in effect the artist enjoyed a greater degree of popularity than technical See also:

• JUDGMENT

judgment justified, so that later See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism has put Landseer's position in art much See also:

• LOWER

lower than the See also:

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

place he once occupied . Sentiment gave new See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm to his See also:

• WORKS

works, which had previously depended on the expression of animal passion and character, and the See also:

• EXHIBITION

exhibition of See also:

• NOBLE, SIR ANDREW (1832- )

noble qualities of draughtsmanship . Sentimentality ruled in not a few pictures of later See also:

• DATES

dates, and quasi-human humour, or pathos, superseded that masculine animalism which rioted in its See also:

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

energy, and enabled the artist to See also:

• RIVAL

rival See also:

• SNYDERS, FRANZ (1579-1657)

Snyders, if not See also:

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

Velazquez, as a painter of beasts .

After " High Life " and " See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

Low Life," now in the See also:

• TATE, JAMES (1771-1843)
• TATE, NAHUM (1652-1715)
• TATE, RALPH (1840-1901)
• TATE, SIR HENRY, BART

Tate See also:

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

Gallery, London, Landseer's dogs, and even his lions and birds, were sometimes more than See also:

• HALF

half civilized . It was not that these later pictures were less true to nature than their forerunners, but the See also:

• MODELS

models were chosen from different grades of animal society . As Landseer prospered he kept finer See also:

• COMPANY

company, and his new patrons did not care about See also:

• RAT (a word common to Teut. and Rom. languages; probably first adopted in Teut.; the ultimate origin is not known; Skeat suggests the root rad-, to scratch; cf. Ger. Ratte, Dan. rotte, Fr. rat, &c.)

rat-catching and dog-fighting, however vigorously and learnedly those subjects might be depicted . It cannot be said that the world lost much when, in See also:

• EXCHANGE

exchange for the " Cat Disturbed " and " Fighting Dogs getting Wind," came " See also:

• JACK

Jack in 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," " The Old Shepherd's See also:

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

Chief Mourner," and " The Swannery invaded by Eagles," three pictures which are types of as many diverse moods of Landseer's art, and each a noble one . Landseer was elected a Royal Academician in 1831 . " Chevy See also:

• CHASE
• CHASE, SALMON PORTLAND (1808-1873)
• CHASE, SAMUEL (1741–1811)
• CHASE, WILLIAM MERRITT (1849– )

Chase " (1826), which is at See also:

• WOBURN

Woburn, " The Highland See also:

• WHISKY, or WHISKEY

Whisky Still " (1829), " High Life " (1829) and " Low Life " (1829), besides other important works, had appeared in the See also:

• INTERVAL

interval . Landseer had by this time attained such amazing mastery that he painted "Spaniel and See also:

• RABBIT

Rabbit " in two See also:

• HOURS, CANONICAL

hours and a half, and " Rabbits," which was at the British Institution, in three-quarters of an See also:

• HOUR

hour; and the fine dog-picture " See also:

• ODIN, or OTHIN (O. Norse 66inn)

Odin " (1836) was the work of one sitting, i.e. painted within twelve hours . But perhaps the most wonderful instance of his rapid but sure and dexterous See also:

• BRUSH (from Fr. brosse, which, like the English word, means both the undergrowth of a wood and the instrument; if the word in both these meanings is ultimately the same, then the origin is from a bundle of brushwood used as a brush or broom, but this is h
• BRUSH, GEORGE DE FOREST (1855– )

brush-handling was " The See also:

• CAVALIER
• CAVALIER, JEAN (1681-1740)

Cavalier's Pets " (1845), the picture of two 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 Charles's spaniels in the See also:

• NATIONAL

National Gallery, which was executed in two days . Another remarkable feat consisted in See also:

• DRAWING

drawing, simultaneously, a See also:

• STAG (0. Eng. stagga, a Norse word, cf. Icel. steggr, steggi, a male animal, cf. Steggander, a drake; it is usually referred to stigan, to climb, to mount, but this is doubtful)

stag's head with one See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand and a head of a See also:

• HORSE (a word common to Teutonic languages in such forms as hors, hros, ros; cf. the Ger. ross)

horse with the other . " See also:

• HARVEST (A.S. hcerfest " autumn," O.H. Ger. herbist, possibly through an old Teutonic root representing Lat. car pere, " to pluck ")

Harvest in the Highlands," and that masterpiece of humour, " Jack in Office," were exhibited in 1833 . In 1834 a noble work of sentiment was given.to the world in " Suspense," which is now at South Kensington, and shows a dog watching at the closed 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 his wounded master . Many think this to be Landseer's finest work, others prefer "The Old Shepherd's Chief Mourner" (1837) .

The over-praised and unfortunate " See also:

• BOLTON (BOLTON-LE-MOORS)
• BOLTON (or BOULTON), EDMUND (1S75?-1633?)
• BOLTON, DUKES OF

Bolton See also:

• ABBEY (Lat. abbatia; from Syr. abba, father)
• ABBEY, EDWIN AUSTIN (1852– )

Abbey in the Olden Time," a See also:

• GROUP

group of portraits in character, was also shown in 1834, and was the first picture for which the painter received L400 . A few years later he sold " See also:

• PEACE
• PEACE, BREACH OF THE

Peace " and " See also:

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

War " for £1500, and for the copyrights alone obtained 6000 . In 1881 " See also:

• MAN
• MAN, ISLE OF (anc. Mona)

Man proposes, See also:

• GOD

God Disposes " (1864) was resold for 6300 guineas, and a See also:

• CARTOON (Ital. cartone, pasteboard)

cartoon of " The Chase " (1866) fetched 5000 guineas . " A Distinguished Member of the Humane Society," a dog reclining on a See also:

• QUAY
• QUAY, MATTHEW STANLEY (1833-1904)

quay 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 (1838), was succeeded by " Dignity and Impudence " (1839) . The " See also:

• LION
• LION (Lat, leo, leonis; Gr. Mew)

Lion Dog of See also:

• MALTA
• MALTA (or MEDITERRANEAN) FEVER

Malta," and " Laying down 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 " appeared in 1840 . In 1842 was finished the See also:

• CAPITAL (i.e. capital stock or fund)
• CAPITAL (Lat. caput, head)

capital " Highland Shepherd's See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

Home " (See also:

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

Sheep-shanks See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

Gift), together with the beautiful " Eos," a portrait of See also:

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

Prince 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's most graceful of greyhounds, to which Thomas Landseer added an ineffable charm and solidity not in the painting . The " Rout of See also:

• COMUS (from sd p.os, revel, or a company of revellers)

Comus " was painted in the summerhouse of See also:

• BUCKINGHAM
• BUCKINGHAM, EARLS, MARQUESSES AND DUKES OF
• BUCKINGHAM, FIRST DUKE
• BUCKINGHAM, GEORGE VILLIERS, 1ST DUKE 0E1
• BUCKINGHAM, GEORGE VILLIERS, 2ND DUKE 0E1 (1628-1687)
• BUCKINGHAM, HENRY STAFFORD, 2ND DUKE OF3 (1454-1483)
• BUCKINGHAM, JAMES SILK (1786-1855)

Buckingham See also:

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

Palace See also:

• GARDEN (from O. Fr. garden, mod. Fr. jardin; this, like our words " garth," a paddock attached to a building, and " yard," comes from a Teutonic word for an enclosure which appears in Gothic as gards and O. H. Ger. gart, cf. Dutch gaarde and Ger. .garten)

garden in 1843 . The " See also:

• CHALLENGE (O. Fr. chalonge, calenge, &c., from Lat. calumnia, originally meaning trickery, from calvi, to deceive, hence a false accusation, a " calumny ")

Challenge " was accompanied (1844) by " Shoeing the See also:

• BAY

Bay See also:

• MARE

Mare " (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 Gift), and followed by " Peace " and " War," and the " Stag at Bay " (1846) . " See also:

• ALEXANDER
• ALEXANDER (1461-1506)
• ALEXANDER (ALEXANDER OF BATTENBERG) (1857-1893)
• ALEXANDER (ALEXANDER OsxENOVici) (1876-1903)
• ALEXANDER, ARCHIBALD (1772—1851)
• ALEXANDER, FRANCIS (1800—1881)
• ALEXANDER, GEORGE (1858— )
• ALEXANDER, JOHN WHITE (1856- )
• ALEXANDER, JOSEPH ADDISON (18o9—186o)
• ALEXANDER, SIR JAMES EDWARD (1803—1885)
• ALEXANDER, WILLIAM (1824— )
• ALEXANDER, WILLIAM LINDSAY (1808—1884)

Alexander and See also:

• DIOGENES

Diogenes," and a " See also:

• RANDOM (older forms randon, randrun; from the French, cf. randir, to run quickly, impetuously; generally taken to be of Teutonic origin and connected with Ger. Rand, edge, brim, the idea being possibly of a brimming river)

Random Shot," a dead kid lying in the See also:

• SNOW (in O. Eng. sndw; a common Indo-European word; cf. in Teutonic languages, Ger. Schnee, Du. sneeuw; in Slavonic snieg', Lith. snegas; Gr. vi4a, Lat. nix, nivis, whence the Romanic forms, Ital. neve, Fr. neige, &c.; Ir. and Gael. sneachd; the original

snow, came forth in 1848 . In 185o Landseer received a national See also:

• COMMISSION (from Lat. commissio, committere)

commission to paint in the Houses of See also:

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

Parliament three subjects connected with the chase . Although they would have been See also:

• WORTH
• WORTH, CHARLES FREDERICK (1825-1895)

worth three times as much See also:

• MONEY

money, the House of See also:

• COMMONS

Commons refused to See also:

• GRANT (from A.-Fr. graunter, O. Fr. greanter for creanter, popular Lat. creantare, for credentare, to entrust, Lat. credere, to believe, trust)
• GRANT, ANNE (1755-1838)
• GRANT, CHARLES (1746-1823)
• GRANT, GEORGE MONRO (1835–1902)
• GRANT, JAMES (1822–1887)
• GRANT, JAMES AUGUSTUS (1827–1892)
• GRANT, ROBERT (1814-1892)
• GRANT, SIR ALEXANDER
• GRANT, SIR FRANCIS (1803-1878)
• GRANT, SIR JAMES HOPE (1808–1895)
• GRANT, SIR PATRICK (1804-1895)
• GRANT, U
• GRANT, ULYSSES SIMPSON (1822-1885)

grant £150o for these pictures, and the See also:

• MATTER

matter See also:

• FELL
• FELL, JOHN (1625-1686)

fell through, more to the artist's profit than the nation's gain . The famous " Monarch of the Glen " (1851) was one of these subjects .

" See also:

• NIGHT

Night " and " See also:

• MORNING

Morning," romantic and pathetic See also:

• DEER (O. E. rigor, dfor, a common Teutonic word, meaning a wild animal, cf. Ger. Tier, Du. dier, &c., probably from a root dhus-, to breathe)
• DEER, CHINESE

deer subjects, came in due 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 (1853) . For " The See also:

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

Sanctuary " (1842) the Fine Arts See also:

• JURY

jury of experts awarded to the artist the great 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 of the Exposition Universelle, 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, 1855 . The " See also:

• DIALOGUE

Dialogue at See also:

• WATERLOO

Waterloo " (1850), which he afterwards regarded with strong disapproval, showed how Landseer, like nearly all English artists of See also:

• ORIGINAL

original See also:

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

power and considerable fertility, owed nothing to See also:

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

French or See also:

• ITALIAN

Italian training . In the same year he received the See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

honour of See also:

• KNIGHTHOOD

knighthood . Next came " See also:

• GENEVA
• GENEVA (Fr. Geneve, Ger. Genf, Ital. Ginevra, Late Lat. Gebenna, though Genava in good Latin)
• GENEVA, LAKE OF

Geneva " (1851), " Titania and Bottom " (1851), which comprises a charming queen of the fairies, and the " Deer Pass " (1852), followed by " The See also:

• CHILDREN, LAW RELATING TO

Children of the Mist " (1853), " Saved " (1856), " See also:

• BRAEMAR

Braemar," a noble stag, " Rough and Ready," and " See also:

• UNCLE

Uncle Tom and his Wife for Sale " (1857) . " The Maid and the See also:

• MAGPIE

Magpie " (1858), the extraordinarily large cartoon called " Deer Browsing " (1857), " The Twa Dogs " (1858), and one or two See also:

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

minor paintings were equal to any previously produced by the artist . Nevertheless, signs of failing See also:

• HEALTH

health were remarked in " Doubtful Crumbs " and a " See also:

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

Kind See also:

• STAR

Star " (1859) . The immense and profoundly dramatic picture called " A See also:

• FLOOD (in O. Eng. flod, a word common to Teutonic languages, cf. Ger. Flut, Dutch vloed, from the same root as is seen in " flow," " float ")
• FLOOD, HENRY (1732-1791)

Flood in the Highlands " (1860) more than reinstated the painter before the public, but See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends still saw ground for uneasiness . Extreme See also:

• NERVOUS

nervous excitability manifested itself in many ways, and in the choice (1864) of the dreadful subject of " Man Proposes, God Disposes," bears clumsily clambering among See also:

• RELICS (Lat, reliquiae, the equivalent of the English " remains " in the sense of a dead body)

relics of Sir John See also:

• FRANKLIN
• FRANKLIN, BENJAMIN (1706-1790)
• FRANKLIN, SIR JOHN (1786-1847)
• FRANKLIN, WILLIAM BUEL (1823-1903)

Franklin's party, there was occult pathos, which some of the artist's intimates suspected, but did not avow . In 1862 and 1863 Landseer produced nothing; but " A See also:

• PIPER, CARL, COUNT (1647-1716)

Piper and a Pair of Nutcrackers " (1864) revealed his old power . He declined the presidentship of the Royal Academy in 1865, in See also:

• SUCCESSION (Lat. successio, from succedere, to follow after)

succession to Sir Charles See also:

• EASTLAKE, SIR CHARLES LOCK (1793-1865)

Eastlake . In 1867 the four lions which he hadmodelled for the See also:

• BASE

base of the See also:

• NELSON
• NELSON, HORATIO NELSON, VISCOUNT (1758-1805)
• NELSON, ROBERT (s656-1715)

Nelson See also:

• MONUMENT (Lat. monumentum or monumentum; from monere, to advise, bring to mind, remind; the German equivalent is Denkmal)

Monument in See also:

• TRAFALGAR, BATTLE OF

Trafalgar Square, London, were unveiled, and with" The Swannery invaded by Eagles " (1869) he achieved his last See also:

• TRIUMPH (triumphus)

triumph .

After four years more, full of suffering, mainly of broken art and shattered See also:

• MENTAL

mental See also:

• POWERS, HIRAM (1805-1873)

powers, Sir Edwin Landseer died on the 1st of See also:

• OCTOBER

October 1873, and was buried, ten days later, in St See also:

• PAUL
• PAUL (PAULUS)

Paul's See also:

• CATHEDRAL

Cathedral . Those who would see the full strength of Landseer's brush should examine his sketches and the like in the See also:

• VICTORIA
• VICTORIA (or VITTORIA), TOMMASSO LUDOVICO DA (C. I540-C. 1613)
• VICTORIA [ALEXANDRINA VICTORIA]

Victoria and Albert Museum and similar works . In these he shows himself endowed with the strength of Paul See also:

• POTTER, ALONZO (1800-1865)
• POTTER, HENRY CODMAN (1835–1908)
• POTTER, J
• POTTER, JOHN (c. 1674-1747)
• POTTER, PAUL (1625—1654)
• POTTER, PHILIP CIPRIANI HAMBLEY (1792—1871)

Potter . See Algernon See also:

• GRAVES, ALFRED PERCEVAL (1846— )

Graves's Catalogue of the Works of the See also:

• LATE

late Sir Edwin Landseer, R.A . (London, n.d.); See also:

• FREDERIC, HAROLD (1856-1898)

Frederic G . See also:

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

Stephens's Sir Edwin Landseer (1880); W . Cosmo Monkhouse's The Studies of Sir Edwin Landseer, R.A., with a See also:

• HISTORY

History of his Art-Life (London, n.d.) ; W . P See also:

• FRITH (or FRYTH), JOHN (c. 1503-1533)
• FRITH, WILLIAM POWELL (1818-19og)

Frith's My Autobiography and Reminiscences (1887) ; See also:

• VERNON
• VERNON, EDWARD (1684-1757)

Vernon See also:

• HEATH
• HEATH, BENJAMIN (1704-1766)
• HEATH, WILLIAM (1737—1814)

Heath's Recoliections (1892) ; and James A . See also:

• MANSON, GEORGE (1850-1876)

Manson's " Sir Edwin Landseer, R.A.,'' The Makers of British Art (London, 1902) . See also:

• LAND

LAND'S END, a promontory of See also:

• CORNWALL

Cornwall, forming the western. most point of See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England . It is a fine headland of See also:

• GRANITE (adapted from the Ital. granite, grained; Lat. granum, grain)

granite, pierced by a natural See also:

• ARCH
• ARCH, JOSEPH (1826– )

arch, on a See also:

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

coast renowned for its cliff scenery . Dangerous reefs See also:

• LIE, JONAS LAURITZ EDEMIL (1833—1908)
• LIE, MARIUS SOPHUS (1842–1899)

lie off the point, and one group a mile from th, mainland is marked by the Longships Lighthouse, in 50° 4' N .

5° 43' W . The Land's End is the westernmost of the granite masses which rise at intervals through Cornwall from See also:

• DARTMOOR

Dartmoor, The phenomenon of a raised See also:

• BEACH

beach may be seen here, but indica• tions of a submerged See also:

• FOREST

forest have also been discovered in the neighbourhood .