See also:

• LEBRIJA, or LEBRIXA

LEBRIJA, or LEBRIXA  , a See also:

• TOWN

town of See also:

• SOUTHERN

southern See also:

• SPAIN
• SPAIN (Espana)

Spain, in the See also:

• PROVINCE
• PROVINCE (Lat. provincia; perhaps a contraction of providentia)

province of See also:

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

Seville, near the See also:

• LEFT

left See also:

• BANK

bank of the See also:

• GUADALQUIVIR (ancient Baetis, Moorish Wadi al Kebir, "the Great River ")

Guadalquivir, and on the eastern edge of the marshes known as See also:

• LAS

Las Marismas . Pop . (1900) 10,997 . See also:

• LEBRIJA, or LEBRIXA

Lebrija is 44 M . S. by W. of Seville, on the Seville-See also:

• CADIZ
• CADIZ (Cadiz)
• CADIZ (in Lat. Gades, and formerly called Cales by the English)

Cadiz railway . Its See also:

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

chief buildings are a ruined Moorish See also:

• CASTLE
• CASTLE (Lat. castellum, a fort, diminutive of castra, a camp; Fr. chateau and chdtel)

castle and the See also:

• PARISH (Gr. irapouda, district, neighbourhood; 7r&poucos, one dwelling near or beside, from crap&, OtKOS, house; Lat. paroecur, Late Lat. parochia; cf. Fr. paroisse)

parish 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, an imposing structure in a variety of styles—Moorish, See also:

• GOTHIC

Gothic, Romanesque—dating from the 14th See also:

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

century to the 16th, and containing some See also:

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

early specimens of the See also:

• CARVING

carving of Alonso Carlo (1601-1667) . There are manufactures of bricks, tiles and earthenware, for which See also:

• CLAY (from O. Eng. claeg, a word common in various forms to Teutonic languages, cf. Ger. Klei)
• CLAY, CASSIUS MARCELLUS (1810-1903)
• CLAY, CHARLES (1801–1893)
• CLAY, FREDERIC (1838–1889)
• CLAY, HENRY (1777–1852)

clay is found in the neighbourhood; and some 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 in See also:

• GRAIN (derived through the French from Lat. granum, seed, from an Aryan root meaning " to wear down," which also appears in the common Teutonic word " corn ")

grain, See also:

• WINE (Lat. vinum, Gr. oivos)

wine and oil . Lebrija is the Nabrissa or Nebrissa, surnamed Veneria, of the See also:

• ROMANS
• ROMANS, EPISTLE TO THE

Romans; by Silius Italicus (iii . 393), who connects it with the See also:

• WORSHIP (i.e. " worth-ship," O. Eng. weor8scipe)

worship of See also:

• DIONYSUS (probably = " son of Zeus," from & Os and vv(7os, a Thracian word for " son ")

Dionysus, the name is derived from the See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek ve,6pts (a " fawn-skin," associated with Dionysiac See also:

• RITUAL (from Lat. ritus, a custom, especially a religious rite or custom)

ritual) . Nebrishah was a strong and populous See also:

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

place during the See also:

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

period of Moorish domination (from 711); it was taken by St See also:

• FERDINAND
• FERDINAND (1577-1650)
• FERDINAND (COLOGNE)
• FERDINAND (Span. Fernando or Hernando; Ital. Ferdinando or Ferrante; in O. H. Ger. Herinand, i.e. " brave in the host," from O. H. G. Heri, "army," A. S. here, Mod. Ger. Heer, and the Goth. nan]jan, " to dare ")
• FERDINAND, MAXIMILIAN KARL LEOPOLD MARIA

Ferdinand in 1249, but again lost, and became finally subject to the Castilian See also:

• CROWN

crown only under See also:

• ALPHONSO

Alphonso the See also:

• WISE, HENRY ALEXANDER (1806-1876)
• WISE, ISAAC MAYER (1819-1900)

Wise in 1264 . It was the birthplace of Elio See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

Antonio de Lebrija or Nebrija (1444-1522), better known as Nebrissensis, one of the most important leaders in the revival of learning in Spain, the See also:

• TUTOR (Lat. tutor, guardian, tueri, to watch over, protect)

tutor of 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:

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

Isabella, and a collaborator with See also:

• CARDINAL (Lat. cardinalis)

Cardinal See also:

• JIMENES (or XIMENES) DE CISNEROS, FRANCISCO (1436-1517)

Jimenes in the preparation of the Cornplutensian Polyglot (see See also:

• ALCALA (Moorish al Kala, the " Fortress " or " Castle ")

ALCALA DE HENARES) . LE BRUN, 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 (1619-169o), See also:

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

French painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at 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 on the 24th of See also:

• FEBRUARY

February 1619, and attracted the See also:

• NOTICE

notice of See also:

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

Chancellor Seguier, who placed him at the See also:

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

age of eleven in the studio of See also:

• VOUET, SIMON (1590-1649)

Vouet .

At fifteen he received commissions from Cardinal See also:

• RICHELIEU, ARMAND EMMANUEL SOPHIE SEPTEMANIE DU PLESSIS
• RICHELIEU, ARMAND JEAN DU PLESSIS
• RICHELIEU, LOUIS FRANCOIS ARMAND DU PLESSIS

Richelieu, in the See also:

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

execution of which he displayed an ability which obtained the generous commendations of Poussin, in whose See also:

• COMPANY

company Le Brun started for See also:

• ROME
• ROME (Roma)

Rome in 1642 . In Rome he remained four years in the See also:

• RECEIPT (M.E. receite, derived through Fr. from Lat. recepta, participle of recipere, to receive)

receipt of a See also:

• PENSION (Lat. pensio, a payment, from pendere, to weigh, to pay)

pension due to the liberality of the chancellor . On his return to Paris Le Brun found numerous patrons, of whom See also:

• SUPERINTENDENT

Superintendent See also:

• FOUQUET (or FOUCQUET), NICOLAS (1615-168o)

Fouquet was the most important . Employed at See also:

• VAUX, CALVERT (1824-1895)

Vaux le Vicomte, Le Brun ingratiated himself with See also:

• MAZARIN, JULES (1602-1661)

Mazarin, then secretly pitting See also:

• COLBERT, JEAN BAPTISTE (1619-1683)

Colbert against Fouquet . Colbert also promptly recognized Le Brun's See also:

• POWERS, HIRAM (1805-1873)

powers of organization, and attached him to his interests . Together they founded the See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy of See also:

• PAINTING

Painting and See also:

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

Sculpture (1648), and the Academy of See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France at Rome (1666), and gave a new development to the See also:

• INDUSTRIAL

industrial arts . In 166o they established the Gobelins, which at first was a See also:

• GREAT

great school for the manufacture, not of tapestries only, but of every class of See also:

• FURNITURE (from " furnish," Fr. fournir)

furniture required in the royal palaces . Commanding the industrial arts through the Gobelins—of which he was director—and the whole artist See also:

• WORLD

world through the Academy—in which he successively held every See also:

• POST

post—Le Brun imprinted his own See also:

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

character on all that was produced in France during his lifetime, and gave a direction to the See also:

• NATIONAL

national tendencies which endured after his See also:

• DEATH

death . The nature of his emphatic and pompous See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent was in See also:

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

harmony with the See also:

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

taste of 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, who, full of admiration at the decorations designed by Le Brun for his triumphal entry into Paris (166o), commissioned him to execute a See also:

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

series of subjects from the See also:

• HISTORY

history of 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 . The first of these, " Alexander and the See also:

• FAMILY

Family of See also:

• DARIUS (Pers. Darayavaush; Old Test. Daryavesh)

Darius," so delighted 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 XIV. that he at once ennobled Le Brun (See also:

• DECEMBER (Lat. decent, ten)

December, 1662), who was also created first painter to his See also:

• MAJESTY (Fr. majeste; Lat. majestas, grandeur, greatness, from the base mag-, as in magnus, great, major, greater, &c.)

majesty with a pension of 12,000 livres, the same amount as he had yearly received in the service of the magnificent Fouquet . From this date all that was done in the royal palaces was directed by Le Brun . The See also:

• WORKS

works of the See also:

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

gallery of See also:

• APOLLO (Gr. 'A2r6XXwv,'Airkkhwv)

Apollo in the Louvre were interrupted in 1677 when he accompanied the king to See also:

• FLANDERS (Flem. Vlaanderen)

Flanders (on his return from See also:

• LILLE

Lille he painted several compositions in the See also:

• CHATEAU (from Lat. castellum, fortress, through O. Fr. chastel, chasteau)

Chateau of St Germains), and finally—for they remained unfinished at his death—by the vast labours of See also:

• VERSAILLES

Versailles, where he reserved for himself the Halls of See also:

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

War and See also:

• PEACE
• PEACE, BREACH OF THE

Peace, the Ambassadors' See also:

• STAIRCASE

Staircase, and the Great Gallery, other artists being forced to accept the position of his assistants .

At the death of Colbert, See also:

• LOUVOIS, FRANCOIS MICHEL LE TELLIER, MARQUIS DE (1641–1691)

Louvois, who succeeded him in the See also:

• DEPARTMENT (Fr. departement, from departir, to separate into parts)

department of public works, showed no favour to Le Brun, and in spite of the king's continued support he See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt a See also:

• BITTER, KARL THEODORE FRANCIS (1867– )

bitter 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 in his position . This contributed to the illness which on the 22nd of February 1690 ended in his death in the Gobelins . Besides his gigantic labours at Versailles and the Louvre, the number of his works for religious corporations and private patrons is enormous . He modelled and engraved with much facility, and, in spite of the heaviness and poverty of See also:

• DRAWING

drawing and See also:

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

colour, his extraordinary activity and the vigour of his conceptions justify his claim to fame . Nearly all his compositions have been reproduced by celebrated engravers .