See also:

• LIMOUSIN (Lat. Pagus Lemovicinus, ager Lemovicensis, regio Lemovicum, Lemozinum, Limosinium, &c.)
• LIMOUSIN (or LIMOSIN), LEONARD (c. 1505-c. 1577)

LIMOUSIN (or LIMOSIN), LEONARD (c. 1505-c. 1577)  , See also:

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

French painter, the most famous of a See also:

• FAMILY

family of seven See also:

• LIMOGES

Limoges See also:

• ENAMEL (formerly " amel," derived through the Fr. amail, emmll, esmail, from a Latin word smaltum, first found in a 9th-century life of Leo IV.)

enamel painters, was the son of a Limoges innkeeper . He is supposed to have studied under Nardon Penicaud . He was certainly at the beginning of his career influenced by the See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German school—, indeed, his earliest authenticated See also:

• WORK

work, signed L . L. and dated 1532, is a See also:

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

series of eighteen' plaques of the " See also:

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

Passion of the 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," after Albrecht Dtfrer, but this See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence was counterbalanced by that of the See also:

• ITALIAN

Italian masters of the school of See also:

• FONTAINEBLEAU

Fontainebleau, Primaticcio, Rosso, Giulio Romano and See also:

• SOLARIO, ANTONIO (c. 1382-1455)

Solario, from whom he acquired his See also:

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

taste for See also:

• ARABESQUE

arabesque See also:

• ORNAMENT (Lat. ornare, to adorn)

ornament and for mythological subjects . Nevertheless the French tradition was sufficiently ingrained in him to See also:

• SAVE, or SAVA (Ger. Sau; Hungarian Szdva; Lat. Savus)

save him from becoming an imitator and from losing his See also:

• PERSONAL

personal See also:

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

style . In 1530 he entered the service of See also:

• FRANCIS
• FRANCIS (FRarrcols) OF SALES, ST (1567-1622)
• FRANCIS (Lat. Franciscus, Ital. Francesco, Span. Francisco, Fr. Francois, Ger. Franz)
• FRANCIS, SIR PHILIP (174o-1818)

Francis I. as painter and varlet de cltambre, a position which he retained under 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 II . For both these monarchs he executed many portraits in enamel—among them quite a number of plaques depicting Diane de See also:

• POITIERS

Poitiers in various characters,—plates, vases, ewers, and cups, besides decorative See also:

• WORKS

works for the royal palaces, for, though he is best known as an enameller distinguished for 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:

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

colour, and for graceful designs in See also:

• GRISAILLE

grisaille on See also:

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

black or See also:

• BRIGHT, JOHN (1811-188g)
• BRIGHT, SIR CHARLES TILSTON

bright See also:

• BLUE (common in different forms to most European languages)

blue backgrounds, he also enjoyed a See also:

• GREAT

great reputation as an oil-painter . His last signed works See also:

• BEAR
• BEAR, BLACK
• BEAR, BROWN
• BEAR, GRIZZLY
• BEAR, ISABELLINE
• BEAR, WHITE

bear the date 1574, but the date of his See also:

• DEATH

death is uncertain, though it could not have been later than the beginning of 1577 . It is on See also:

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

record that he executed See also:

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

close upon two thousand enamels . He is best represented at the Louvre, which owns his two famous votive tablets for the Sainte Chapelle, each consisting of twenty-three plaques, signed L . L. and dated 1553; " La See also:

• CHASSE (Fr. for " chased ")
• CHASSE (from the Fr., in full chasse-cafe, or " coffee-chaser ")

Chasse," depicting Henry II. on a 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 See also:

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

horse, Diane de Poitiers behind him on horseback; and many portraits, including the See also:

• KINGS, FIRST AND SECOND BOOKS OF

kings by whom he was employed, See also:

• MARGUERITE

Marguerite de See also:

• VALOIS, COUNTS AND DUKES OF
• VALOIS, HENRI DE [VALESIUS] (1603-1676)

Valois, the due de See also:

• GUISE
• GUISE, HOUSE OF

Guise, and the See also:

• CARDINAL (Lat. cardinalis)

cardinal de See also:

• LORRAINE

Lorraine . Other representative examples are at the See also:

• CLUNY, or CLUGNY

Cluny and Limoges museums .

In See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England some magnificent examples of his work are to be found at the See also:

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

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, the See also:

• BRITISH

British Museum, and the See also:

• WALLACE, ALFRED RUSSEL (1823— )
• WALLACE, LEWIS [LEW] (1827—1905)
• WALLACE, SIR RICHARD
• WALLACE, SIR WILLIAM (c. 1270-1305)
• WALLACE, WILLIAM (1768-1843)
• WALLACE, WILLIAM (1844-1897)
• WALLACE, WILLIAM VINCENT (1814-1865)

Wallace Collection . In the collection of Signor Rocchi, in See also:

• ROME
• ROME (Roma)

Rome, is an exceptionally interesting See also:

• PLAQUE

plaque representing Frances I. consulting a See also:

• FORTUNE, ROBERT (1813-188o)

fortune-See also:

• TELLER, WILHELM ABRAHAM (1734-1804)

teller . See Leonard See also:

• LIMOUSIN (Lat. Pagus Lemovicinus, ager Lemovicensis, regio Lemovicum, Lemozinum, Limosinium, &c.)
• LIMOUSIN (or LIMOSIN), LEONARD (c. 1505-c. 1577)

Limousin: peintre de portraits (L'(Euvre See also:

• DES

des peintres emailleurs), by L . Boudery and E . Lachenaud (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, 1897) a careful study, with an elaborate See also:

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

catalogue of the known existing examples of the artist's work . The See also:

• BOOK

book deals almost exclusively with the portraits illustrated . See also Alleaume and Duplessis, See also:

• LES

Les Douze Apotres—emaux de Leonard Limousin, &c . (Paris, 1865); L . Boudery, Exposition retrospective de Limoges en 1886 (Limoges, 1886) ; L . Boudery, Leonard Limousin et son ceuvre (Limoges, 1895); Limoges et le Limousin (Limoges, 1865); A . See also:

• MEYER, CHRISTIAN ERICH HERMANN VON (18or-1869)
• MEYER, HEINRICH AUGUST WILHELM (1800-1873)
• MEYER, JULIUS LOTHAR (183o-1895)
• MEYER, KONRAD FERDINAND (1825-1898)
• MEYER, VICTOR (1848-1897)
• MEYER, [MARIE] PAUL HYACINTHE (184o- )

Meyer, L'See also:

• ART

Art de l'email de Limoges, ancien et moderne (Paris, 1896) ; Emile See also:

• MOLINIER, AUGUSTE (1851-1904)

Molinier, L'Emaillerie (Paris, 1891) .