See also:

• BARON
• BARON (1835-1895)
• BARON, MICHEL (1653—1729)

BARON 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 See also:

• BARON FREDERICK LEIGHTON LEIGHTON (183o–1896)
• LEIGHTON, ROBERT (161x—1684)

LEIGHTON LEIGHTON (183o–1896)  , See also:

• ENGLISH

English painter and sculptor, the son of a physician, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• SCARBOROUGH

Scarborough on the 3rd of See also:

• DECEMBER (Lat. decent, ten)

December 183o . His grandfather, See also:

• SIR

Sir 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:

• LEIGHTON, FREDERICK LEIGHTON, BARON (183o–1896)
• LEIGHTON, ROBERT (161x—1684)

Leighton, also a physician, was See also:

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

long See also:

• RESIDENT

resident at the 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 of St See also:

• PETERSBURG

Petersburg . 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 Leighton was taken abroad at a very See also:

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

early See also:

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

age . In 184o he learnt See also:

• DRAWING

drawing at See also:

• ROME
• ROME (Roma)

Rome under Signor Meli . The See also:

• FAMILY

family moved to See also:

• DRESDEN

Dresden and See also:

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

Berlin, where he attended classes at the See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy . In 1843 he was sent to school at See also:

• FRANKFORT

Frankfort, and in the See also:

• WINTER, JOHN STRANGE
• WINTER, PETER (c. 1755-1825)

winter of 1844 accompanied his family to See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence, where his future career as an artist was decided . There he studied under Bezzuoli and Segnolini at the Accademia delle Belle Arti, and attended See also:

• ANATOMY
• ANATOMY (Gr. avaroyil, from ava-silo c', to cut up)

anatomy classes under Zanetti; but he soon returned to See also:

• COMPLETE

complete his See also:

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

general See also:

• EDUCATION

education at See also:

• FRANK, JAKOB (1726-1791)

Frank-fort, receiving no further See also:

• DIRECT

direct instruction in See also:

• ART

art for five years . He went to See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels in 1848, where he met Wiertz and See also:

• GALLAIT, LOUIS (1810-1887)

Gallait, and painted some pictures, including " See also:

• CIMABUE, GIOVANNI (1240 to about 1302)

Cimabue finding See also:

• GIOTTO

Giotto," and a portrait of himself . In 1849 he studied for a few months in 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, where he copied See also:

• TITIAN
• TITIAN (c. 1477-1576)

Titian and CorreggiQ in the Louvre, and then returned to Frankfort, where he settled down to serious art See also:

• WORK

work under See also:

• EDWARD

Edward Steinle, whose See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil he declared he was " in the fullest sense of the See also:

• TERM

term." Though his See also:

• ARTISTIC

artistic training was mainly See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German, and his 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 belonged to the same school as See also:

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

Cornelius and See also:

• OVERBECK, JOHANN FRIEDRICH (1789-1869)

Overbeck, he loved See also:

• ITALIAN

Italian art and See also:

• ITALY
• ITALY (Italia)

Italy and the first Picture by which he became known to the See also:

• BRITISH

British public was " C imabue's Madonna carried in Procession through the Streets of Florence," which appeared at the Royal Academy in 18J5 . 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 the See also:

• WORKS

works of the Pre-Raphaelites almost absorbed public See also:

• INTEREST

interest in art—it was the See also:

• YEAR

year of 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 " See also:

• LIGHT

Light of the See also:

• WORLD

World," and the " See also:

• RESCUE (in Middle Eng. rescous, from O. Fr. recousse, Low Lat. rescussa, from reexcussa,reexcutere, to shake off again, re, again, ex, off, quatere, to shake)

Rescue," by See also:

• MILLAIS, SIR JOHN EVERETT (1829-1896)

Millais . Yet Leighton's picture, painted in quite a different See also:

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

style, created a sensation, and was See also:

• PURCHASED

purchased by 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:

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

Victoria . Although, since his See also:

• INFANCY

infancy, he had only visited See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England once (in 1851, when he came to see the See also:

• GREAT

Great See also:

• EXHIBITION

Exhibition), he was not quite unknown in the cultured and artistic world of See also:

• LONDON

London, as he had made many See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends during a See also:

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

residence in Rome of some two years or more after he See also:

• LEFT

left Frankfort in 1852 .

Amongst these were Giovanni See also:

• COSTA, GIOVANNI (1826–1903)
• COSTA, LORENZO (146o-r535)
• COSTA, SIR MICHAEL ANDREW AGNUS (1808-1884)

Costa, See also:

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

Robert See also:

• BROWNING, ELIZABETH BARRETT (z8o6-r861)
• BROWNING, OSCAR (1837- )
• BROWNING, ROBERT (1812-1889)

Browning, James See also:

• KNOWLES, JAMES SHERIDAN (1784-1862)
• KNOWLES, SIR JAMES (1831-1908)

Knowles, See also:

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

George See also:

• MASON, FRANCIS (1799—1874)
• MASON, GEORGE (1725—1792)
• MASON, GEORGE HEMMING (1818–1872)
• MASON, JAMES MURRAY (1798-1871)
• MASON, JOHN (1586-1635)
• MASON, JOHN YOUNG (1799-1859)
• MASON, LOWELL (1792—1872)
• MASON, SIR JOHN (1503–1566)
• MASON, SIR JOSIAH (1795-1881)
• MASON, WILLIAM (1725—1797)

Mason and Sir Edward See also:

• POYNTER, SIR EDWARD JOHN, BART

Poynter, then a youth, whom he allowed to work in his studio . He also met See also:

• THACKERAY, WILLIAM MAKEPEACE (1811-1863)

Thackeray, who wrote from Rome to the 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 Millais: " Here is a versatile young See also:

• DOG

dog, who will run you See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close for the presidentship one of these days." During these years he painted several Florentine subjects—"Tybalt and Romeo," " The See also:

• DEATH

Death of See also:

• BRUNELLESCHI (or BRUNELLESCO), FILIPPO

Brunelleschi," a See also:

• CARTOON (Ital. cartone, pasteboard)

cartoon of " The Pest in Florence according to See also:

• BOCCACCIO, GIOVANNI (1313-1375)

Boccaccio," and " The Reconciliation of the Montagues and the Capulets." He now turned his See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention to themes of classic See also:

• LEGEND (through the French from the med. Lat. legenda, things to be read, from legere, to read)

legend, which at first he treated in a " Romantic spirit." His next picture, exhibited in 1856, was " The See also:

• TRIUMPH (triumphus)

Triumph of See also:

• MUSIC

Music: See also:

• ORPHEUS

Orpheus by the See also:

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

Power of his Art redeems his Wife from Hades." It was not a success, and he did not again exhibit till 1858, when he sent a little picture of " The Fisherman and the Syren " to the Royal Academy, and " See also:

• SAMSON (1135-1211)
• SAMSON (cf. Heb. shemesh, " sun ")
• SAMSON, JOSEPH ISIDORE (1793-1871)

Samson and See also:

• DELILAH

Delilah " to the Society of British Artists in See also:

• SUFFOLK
• SUFFOLK, CHARLES BRANDON, 1ST DUKE OF (c. 1484–'545)
• SUFFOLK, EARLS AND DUKES OF
• SUFFOLK, THOMAS HOWARD, 1ST EARL OF (1561-1626)
• SUFFOLK, WILLIAM DE LA POLE

Suffolk See also:

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

Street . In 1858 he visited London and made the acquaintance of the leading Pre-Raphaelites—See also:

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

Rossetti, Holman Hunt and Millais . In the 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 of 1859 he was at See also:

• CAPRI (anc. Capreae)

Capri, always a favourite resort of his, and made many studies from nature, including a very famous drawing of a See also:

• LEMON
• LEMON, MARK (1809-1870)

lemon See also:

• TREE (0. Eng. treo, treow, cf. Dan. tree, Swed. Odd, tree, trd, timber; allied forms are found in Russ. drevo, Gr. opus, oak, and 36pv, spear, Welsh derw, Irish darog, oak, and Skr. dare, wood)
• TREE, SIR HERBERT BEERBOHM (1853- )

tree . It was not till 186o that he settled in London, when he took up his quarters at 2 See also:

• ORME, ROBERT (1728-1801)

Orme Square, Bayswater, where he stayed till, in 1866, he moved to his celebrated 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 in 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 See also:

• PARK (Fr. part; Ital. parco; Sp. Marque; O.Eng. pearroc; connected with Ger. pferch, fold, and pfarrei, district, translating med. Lat. parochia, parish)
• PARK, EDWARDS AMASA (1808–1900)
• PARK, MUNGO (1771-1806?)

Park Road, with its Arab See also:

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

hall decorated with See also:

• DAMASCUS

Damascus tiles . There he lived till his death . He now began to fulfil the promise of his " Cimabue," and by such pictures as " See also:

• PAOLO (GIROLAMO GASPARE)5 (1532-1600)

Paolo e Francesca," " The See also:

• STAR

Star of See also:

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

Bethlehem," " See also:

• JEZEBEL (Heb. i-zebel, perhaps an artificial form to suggest " un-exalted," a divine name or its equivalent would naturally be expected instead of the first syllable)

Jezebel and See also:

• AHAB (in Heb. 'ah'(ib, " father's brother ")

Ahab taking See also:

• POSSESSION
• POSSESSION (Lat. possessio, possidere, to possess)

Possession of Naboth's Vineyard," " See also:

• MICHAEL
• MICHAEL (1596-1645)
• MICHAEL (Hebrew Sn,q, " Who is like God? ")

Michael Angelo musing over his Dying Servant," " A Girl feeding Peacocks," and " The See also:

• ODALISQUE

Odalisque," all exhibited in 1861-1863, See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

rose rapidly to the 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 his profession . The two latter pictures were marked by the See also:

• RHYTHM (Greek pvBµds, from bap, to flow)

rhythm of See also:

• LINE

line and luxury of See also:

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

colour which are among the most See also:

• CONSTANT, BENJAMIN (1845-1902)

constant attributes of his art, and may be regarded as his first dreams of See also:

• ORIENTAL

Oriental beauty, with which he afterwards showed so great a sympathy . In 1864 he exhibited " See also:

• DANTE

Dante in See also:

• EXILE (Lat. exsilium or exilium, from exsul or exul, which is derived from ex, out of, and the root sal, to go, seen in salire, to leap, consul, &c.; the connexion with solum, soil, country is now generally considered wrong)

Exile " (the greatest of his Italian pictures), " Orpheus and See also:

• EURYDICE (Evpuiixq)

Eurydice" and " See also:

• GOLDEN

Golden See also:

• HOURS, CANONICAL

Hours." In the winter of the same year he was elected an See also:

• ASSOCIATE (Lat. associates, from ad, to, and sociare to join)

Associate of the Royal Academy . After this the See also:

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

main effort of his See also:

• LIFE

life .was to realize visions of beauty suggested by classic myth and See also:

• HISTORY

history . If we add to pictures of this class a few Scriptural subjects, a few Oriental dreams, one or two of See also:

• TENDER

tender sentiment like " Wedded " (one of the most popular of his pictures, and well known by not only an See also:

• ENGRAVING

engraving, but a statuette modelled by an Italian sculptor), a number of studies of very various types of See also:

• FEMALE

female beauty, " Teresina," Biondina," " Bianca," " Moretta," &c., and an occasional portrait, we shall nearly exhaust the two classes into which 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 Leighton's work (as a painter) can be divided . Amongst the finest of his classical pictures were—" Syracusan 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 leading See also:

• WILD, JONATHAN (c. 1682-1725)

Wild Beasts in Procession to the See also:

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

Temple of See also:

• DIANA

Diana " ( 1866), " See also:

• VENUS

Venus disrobing for the See also:

• BATH
• BATH, THOMAS THYNNE
• BATH, WILLIAM

Bath " (1867), " See also:

• ELECTRA ('HMKTpa)

Electra at the See also:

• TOMB (Gr. Tuµ/3a, Tuµ(3os, probably allied to Lat. tumulus, literally a swelling, tumere, to swell)

Tomb of See also:

• AGAMEMNON

Agamemnon," and " Helios and Rhodos " (1869), " See also:

• HERCULES
• HERCULES (0. Lat. Hercoles, Hercles)

Hercules See also:

• WRESTLING (O. Eng. wrcestlian)

wrestling with Death for the See also:

• BODY

Body of See also:

• ALCESTIS (A1,CEST1s)

Alcestis " (1871), " Clytemnestra " (1874), " The See also:

• DAPHNEPHORIA

Daphnephoria " (1876), " See also:

• NAUSICAA

Nausicaa " (1878), " An Idyll " (1881), two lovers under a spreading See also:

• OAK (O. Eng., (lc)

oak listening to the piping of a shepherd and gazing on the See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich See also:

• PLAIN (O. Fr. plain, from Lat. plenum)

plain below; " See also:

• PHRYNE

Phryne " (1882), a nude figure See also:

• STANDING

standing in the See also:

• SUN
• SUN (0. Eng. sonne, Ger. sonne. Fr. soleil, Lat. sol, Gr. ijXior, from which comes helio- in various English compounds)

sun; " Cymon and Iphigenia " (1884), " See also:

• CAPTIVE (from Lat. capere, to take)

Captive See also:

• ANDROMACHE

Andromache " (1888), now in the See also:

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

Manchester Art See also:

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

Gallery; with the " Last See also:

• WATCH (in O. Eng. wcecce, a keeping guard or watching, from wacian, to guard, watch, wacan, to wake)

Watch of See also:

• HERO (Gr. open)
• HERO, THE YOUNGER

Hero " (1887), " The Bath of See also:

• PSYCHE (//vxi7)

Psyche " (1890), now in the See also:

• CHANTREY, SIR FRANCIS LEGATT (1782-1841)

Chantrey See also:

• BEQUEST (from 0. Eng. becwethan, to declare or express in words; cf. " quoth ")

Bequest collection; " The Gardenof the See also:

• HESPERIDES

Hesperides " (1892), " See also:

• PERSEUS

Perseus and See also:

• ANDROMEDA

Andromeda " and " The Return of Persephone," now in the See also:

• LEEDS
• LEEDS, THOMAS OSBORNE

Leeds Gallery (1891); and " Clytie," his last work (1896) .

All these pictures are characterized by See also:

• NOBILITY

nobility of conception, by almost perfect draughtsmanship, by colour which, if not of the highest quality, is always See also:

• ORIGINAL

original, choice and effective . They often reach distinction and dignity of attitude and gesture, and occasionally, as in the " Hercules and Death, " the " Electra " and the " Clytemnestra," a See also:

• NOBLE, SIR ANDREW (1832- )

noble intensity of feeling . Perhaps, amidst the great variety of qualities which they possess, none is more universal and more characteristic than a rich elegance, combined with an almost fastidious selection of beautiful forms . It is the super-See also:

• EMINENCE (Lat. eminentia)

eminence of these qualities, associated with great decorative skill, that make the splendid See also:

• PAGEANT

pageant of the "Daphnephoria " the most perfect expression of his individual See also:

• GENIUS (from Lat. genere, gignere)

genius . Here we have his See also:

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

composition, his colour, his sense of the joy and See also:

• MOVEMENT

movement of life, his love of art and nature at their purest and most spontaneous, and the result is a work without a See also:

• RIVAL

rival of its See also:

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

kind in the British School . Leighton was one of the most thorough draughtsmen of his 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 . His sketches and studies for his pictures are numerous and very highly esteemed . They contain the essence of his conceptions, and much of their spiritual beauty and subtlety of expression was often lost in the elaboration of the finished picture . He seldom succeeded in retaining the freshness of his first See also:

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

idea more completely than in his last picture—" Clytie —which was left unfinished on his easel . He rarely painted sacred subjects . The most beautiful of his few pictures of this kind was the " See also:

• DAVID
• DAVID (a Hebrew name meaning probably beloved 1)
• DAVID, FELICIEN (1810—1876)
• DAVID, GERARD [GHEERAERT DAVIT], (?=1523)
• DAVID, PIERRE JEAN (1789–1856)
• DAVID, ST (Dewi, Sant)

David musing on the Housetop" (1865) . Others were " See also:

• ELIJAH (a Hebrew name meaning " Yah[weh] is God ")

Elijah in the See also:

• WILDERNESS

Wilderness " (1879), " See also:

• ELISHA (a Hebrew name meaning " God is deliverance ")

Elisha raising the Son of the Shunammite " (1881) and a See also:

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

design intended for the decoration of the See also:

• DOME (Lat domus, house; Ital. duomo, cathedral)

dome of St See also:

• PAUL
• PAUL (PAULUS)

Paul's See also:

• CATHEDRAL

Cathedral, " And 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 gave up the Dead which were in it " (1892), now in the See also:

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

Tate Gallery, and the terrible " Rizpah " of 1893 .

His diploma picture was " St See also:

• JEROME, JEROME KLAPKA (1859– )
• JEROME, ST (HIERONYMUS, in full EUSEBIUS SOPHRONIUS HIERONYMUS) (c. 340–420)

Jerome," exhibited in 1869 . Besides these pictures of sacred subjects, he made some designs for Dalziel's See also:

• BIBLE
• BIBLE, ENGLISH

Bible, which for force of See also:

• IMAGINATION

imagination excel the paintings . The finest of these are " See also:

• CAIN

Cain and See also:

• ABEL (better ABELL), THOMAS (d. 1540)
• ABEL (Hebrew for breath)
• ABEL, KARL FRIEDRICH (1725-1787)
• ABEL, NIELS HENRIK (1802-1829)
• ABEL, SIR FREDERICK AUGUSTUS, BART

Abel," and " Samson with the See also:

• GATES, HORATIO (1728-1806)

Gates of See also:

• GAZA (or `AllAH, mod. Ghuzzeh)
• GAZA, THEODORUS (c. 1400-1475)

Gaza." Not so easily to be classed, but among the most individual and beautiful of his pictures, are a few of which the See also:

• MOTIVE (from Lat. movere, to move)

motive was purely aesthetic . Amongst these may specially be noted " The Summer See also:

• MOON (a common Teutonic word, cf. Ger. Mond, Du. maan, Dan. maane, &c., and cognate with such Indo-Germanic forms as Gr. µlip, Sans. ma's, Irish mi, &c.; Lat. uses luna, i.e. lucna, the shining one, lucere, to shine, for the moon, but preserves the word i
• MOON, SIR RICHARD, 1ST BARONET (1814-1899)

Moon," two See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek girls sleeping on a See also:

• MARBLE (from Lat. marmor, Gr. pApµapos, shining stone)

marble See also:

• BENCH (an O.E. and Eng. form of a word common to Teutonic languages, cf. Ger. Bank, Dan. baenk and the Eng. doublet " bank ")

bench, and "The Music See also:

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

Lesson," in which a lovely little girl is seated on her lovely young See also:

• MOTHER

mother's See also:

• LAP

lap learning to See also:

• PLAY

play the See also:

• LUTE (Arabic al'ud, " the wood "; Fr. luth; Ital. liuto; Span. laud; Ger. Laute; Dut. luit)

lute . With these, as a work produced without any See also:

• LITERARY

literary See also:

• SUGGESTION

suggestion, though very different in feeling, may be associated the "Eastern Slinger scaring Birds in the See also:

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

Harvest-time: Moon-rise " (1875), a nude figure standing on a raised See also:

• PLATFORM (Fr. plateforme, i.e. ground plan)

platform in a See also:

• FIELD (a word common to many West German languages, cf. Ger. Feld, Dutch veld, possibly cognate with O.E. f olde, the earth, and ultimately with root of the Gr. irAaror, broad)
• FIELD, CYRUS WEST (1819-1892)
• FIELD, DAVID DUDLEY (18o5-1894)
• FIELD, EUGENE (1850-1895)
• FIELD, FREDERICK (18o1—1885)
• FIELD, HENRY MARTYN (1822-1907)
• FIELD, JOHN (1782—1837)
• FIELD, MARSHALL (183 1906)
• FIELD, NATHAN (1587—1633)
• FIELD, STEPHEN JOHNSON (1816-1899)
• FIELD, WILLIAM VENTRIS FIELD, BARON (1813-1907)

field of See also:

• WHEAT
• WHEAT (Triticum)

wheat . Leighton also painted a few portraits, including ,those of Signor Costa, the Italian landscape painter, Mr F . P . See also:

• COCKERELL, CHARLES ROBERT (1788-1863)

Cockerell, Mrs See also:

• SUTHERLAND, EARLS AND DUKES OF

Sutherland Orr (his See also:

• SISTER

sister), Amy, See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

Lady See also:

• COLERIDGE, HARTLEY (1796-1849)
• COLERIDGE, JOHN DUKE COLERIDGE, 1ST BARON
• COLERIDGE, SAMUEL TAYLOR (1772-1834)
• COLERIDGE, SARA (1802–1852)
• COLERIDGE, SIR JOHN TAYLOR (1790-1876)

Coleridge, Mrs 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 Ralli and (the finest of all) Sir See also:

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

Richard See also:

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

Burton, the traveller and Eastern See also:

• SCHOLAR, SCHOLARSHIP

scholar, which was exhibited in 1876 and is now in the See also:

• NATIONAL

National Portrait Gallery . Like other painters of the day, notably G . F . See also:

• WATTS, ALARIC ALEXANDER (1797-1864)
• WATTS, GEORGE FREDERICK (1817-1904)
• WATTS, ISAAC (1674-1748)

Watts, Lord Leighton executed a few pieces of See also:

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

sculpture . His " See also:

• ATHLETE (Gr. aOX177'7r; Lat. athleta)

Athlete struggling with a See also:

• PYTHON

Python " was exhibited at the Royal Academy in 1877, and was purchased for the Chantrey Bequest collection .

Another statue, " The Sluggard," of equal merit, was exhibited in 1886; and a charming statuette of a nude figure of a girl looking over her See also:

• SHOULDER (in O.E. sculder, cognate with Ger. Schulter, Dutch schouder, Swed. skuldra, &c; the root is unknown)

shoulder at a See also:

• FROG

frog, called "Needless Alarms," was completed in the same year, and presented by the artist to Sir 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 Millais in See also:

• ACKNOWLEDGMENT (from the old acknow, a compound of on- and know, to know by the senses, which passed through the forms oknow, aknow and acknow; acknowledge is formed on analogy of " knowledge ")

acknowledgment of the 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 by the latter of his picture, " Shelling Peas." He made the beautiful design for the See also:

• REVERSE

reverse of the See also:

• JUBILEE (or JUBILE), YEAR OF

Jubilee See also:

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

Medal of 1887 . It was also his See also:

• HABIT (through the French from Lat. habitus, from habere, to have, hold, or, in a reflective sense, to be in a certain condition; in many of the English senses the French use habitude, not habit)

habit to make 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 See also:

• MODELS

models in See also:

• WAX

wax for the figures in his pictures, many of which are in the possession of the Royal Academy . As an illustrator in See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

black and See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white he also deserves to be remembered, especially for the cuts to Dalziel's Bible, already mentioned, and his illustrations to George See also:

• ELIOT, CHARLES WILLIAM (1834– )
• ELIOT, GEORGE
• ELIOT, JOHN (1604-1690)
• ELIOT, SIR JOHN (1592-1632)

Eliot's Rorola, which appeared in the Cornhill See also:

• MAGAZINE

Magazine . The latter are full of the spirit of Florence and the Florentines, and show a keen sense of See also:

• HUMOUR (Latin humor)

humour, elsewhere excluded from his work . Of his decorative paintings, the best known are the elegant compositions (in spirit See also:

• FRESCO (Ital. for cool, " fresh ")

fresco) on the walls of the Victoria and 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 Museum, representing " The See also:

• INDUSTRIAL

Industrial Arts 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." There, also, is the refined and spirited figure of " Cimabue " in See also:

• MOSAIC (corresponding to Lat. opus musivum, from Gr. µovoeiov, an artificial grotto often decorated with mosaics; the word is only found in the sense of mosaic in late Greek, which generally uses k oXI yrlµa)

mosaic . In See also:

• LYNDHURST, JOHN SINGLETON COPLEY, BARON (1772–1863)

Lyndhurst 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 are mural decorations to the memory of Mr See also:

• PEPYS, SAMUEL (1633-1703)

Pepys Cockerell, illustrating " The See also:

• PARABLE (Gr. 7apa(3oXi7, a comparison or similitude)

Parable of the See also:

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

Wise and Foolish Virgins." Leighton's life was throughout marked by distinction, artistic and social . Though not tall, he had a See also:

• FINE

fine presence and See also:

• MANNERS, CHARLES (1857– )

manners, at once genial and courtly . He was welcomed in all See also:

• SOCIETIES, LEARNED

societies, from the See also:

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

palace to the studio . He spoke German, Italian and See also:

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

French, as well as English . He had much See also:

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

taste and love for music, and considerable gifts as an orator of a florid type . His Presidential Discourses (published, London, 1896) were full of elegance and culture . For seven years (1876—1883) he commanded the loth See also:

• MIDDLESEX
• MIDDLESEX, LIONEL CRANFIELD, 1ST EARL OF (1575-1645)

Middlesex (Artists) See also:

• RIFLE

Rifle See also:

• VOLUNTEERS

Volunteers, retiring with the See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank of honorary See also:

• COLONEL (derived either from Lat. column, Fr. colonne, column, or Lat. corona, a crown)

colonel, and subsequently receiving the Volunteer Decoration .

Yet no socialattractionsorsuccesses diverted him from his devotion to his profession, the welfare of his brethren in art or of the Royal Academy . As See also:

• PRESIDENT (Fr. president, from Lat. praesidens, post-Augustan Lat. for praeses, director, ruler, from praesidere, to sit in front of, preside)

president he was punctilious in the See also:

• DISCHARGE (adapted from the O. Fr. discharge, modern decharge, from a med. Lat. discargare, to unload, dis- and earn care, to load, cf. " charge ")

discharge of his duties, ready to give help and encouragement to artists young and old, and his See also:

• TENURE (Fr. tenure, from Lat. tenere, to hold)

tenure of the 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 was marked by some wise and liberal reforms . He frequently went abroad, generally to Italy, where he was well known and appreciated . He visited See also:

• SPAIN
• SPAIN (Espana)

Spain in 1866, See also:

• EGYPT

Egypt in 1868, when he went up the See also:

• NILE
• NILE, BATTLE OF THE
• NILE, SOBAT

Nile with 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 de See also:

• LESSEPS, FERDINAND DE (1805-1894)

Lesseps in a steamer See also:

• LENT (0. Eng. lenclen, " spring," M. Eng. lenten, lente, lent; cf. Dut. lente, Ger. Lenz, " spring," 0. H. Ger. lenzin, lengizin, lenzo, probably from the same root as " long " and referring to " the lengthening days ")

lent by the See also:

• KHEDIVE

Khedive . He was at Damascus for a See also:

• SHORT, FRANCIS JOB (1857– )

short time in 1873 . It was his See also:

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

custom on all these trips to make little lively sketches of landscape and buildings . These fresh little See also:

• FLOWERS, ARTIFICIAL

flowers of his leisure used to decorate the walls of his studio, and at the See also:

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

sale of its contents after his death realized considerable prices . It was when he was in the full See also:

• TIDE (O. Eng. lid, cf. Ger. Zeit, time or season, connected with root of Sanskrit a-diti, endless)

tide of his popularity and success, and apparently in the full tide of his See also:

• PERSONAL

personal vigour also, that he was struck with angina pectoris . For a long time he struggled bravely with this cruel disease, never omitting except from See also:

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

absolute See also:

• NECESSITY (Lat. necessitas)

necessity any of his See also:

• OFFICIAL (Late Lat. QJicialis, for class. Lat. apparitor, from officium, office, duty)

official duties except during a brief See also:

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

period of See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest abroad, which failed to produce the desired effect . His death occurred on the 25th of See also:

• JANUARY

January 1896 . Leighton was elected an Academician in 1868, and succeeded Sir 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 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 as President in 1878, when he was knighted . He was created a See also:

• BARONET

baronet in 1886, and was raised to the See also:

• PEERAGE
• PEERAGE (Fr. pairage, med. Lat. paragium; M.E. Pere, 0. Fr. per, peer, later pair; Lat. Paris, " equal ")

peerage in 1896, a few days before his death .

He held honorary degrees at the See also:

• UNIVERSITIES

universities of 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, See also:

• CAMBRIDGE
• CAMBRIDGE, EARLS AND DUKES OF
• CAMBRIDGE, RICHARD OWEN (1717-1802)

Cambridge, See also:

• DUBLIN

Dublin, See also:

• EDINBURGH

Edinburgh and See also:

• DURHAM
• DURHAM, JOHN GEORGE LAMBTON, 1ST EARL OF (1792–1840)

Durham, was an Associate of the See also:

• INSTITUTE (from Lat. instituere, to establish or set up)

Institute of See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France; a See also:

• COMMANDER

Commander of the See also:

• LEGION (Lat. legio)

Legion of 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, and of 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 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 . He was a See also:

• KNIGHT, CHARLES (1791-1873)
• KNIGHT, DANIEL RIDGWAY (1845– )
• KNIGHT, JOHN BUXTON (1843–1908)

Knight of the See also:

• COBURG

Coburg Order, " Dem Verdienste,". and of the Prussian Order, " Pour le Write," and a member of at least ten See also:

• FOREIGN

foreign See also:

• ACADEMIES

Academies . In 1859 he won a medal of the second class at the Paris See also:

• SALON

Salon, and at the Exposition Universelle of 1889 a See also:

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

gold medal . As a sculptor he was awarded a medal of the first class in 1878 and the See also:

• GRAND

Grand Prix in 1889 . See Art See also:

• ANNUAL

Annual (Mrs A . See also:

• LANG, ANDREW (1844— )
• LANG, KARL HEINRICH, RITTER VON (1764-1835)

Lang), 1884; Royal Academy See also:

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

Catalogue, Winter Exhibition, 1897; National Gallery of British Art Catalogue; C . See also:

• MONKHOUSE, WILLIAM COSMO (1840—1901)

Monkhouse, British Contemporary Artists (London, 1899) ; Ernest Rhys, Frederick, Lord Leighton (London, 1898, 1900) . (C .