See also:

• JAN

JAN See also:

• JAN MABUSE (d. 1532)

MABUSE (d. 1532)  , the name adopted (from his See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth-See also:

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

place, See also:

• MAUBEUGE

Maubeuge) by the Flemish painter JENNI GOSART, or JENNYN See also:

• VAN

VAN HENNEGOUWE (Hainault), as he called himself when he matriculated in the gild of St See also:

• LUKE
• LUKE, GOSPEL OF ST

Luke, at See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp, in 1503 . We know nothing of his See also:

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

early See also:

• LIFE

life, but his See also:

• WORKS

works tell us that he stood in his first See also:

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

period under the See also:

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

influence of artists to whom plastic See also:

• MODELS

models were See also:

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

familiar; and this leads to the belief that he spent his youth on the See also:

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

French border rather than on the See also:

• BANKS, GEORGE LINNAEUS (1821-1881)
• BANKS, NATHANIEL PRENTISS (1816–1894)
• BANKS, SIR JOSEPH
• BANKS, THOMAS (1735-1805)

banks of the See also:

• SCHELDT (Fr. Escaut, Flem. Schelde)

Scheldt . Without the subtlety or See also:

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

power of Van der See also:

• WEYDEN, ROGIER VAN DER

Weyden, he had this much in See also:

• COMMON

common with the See also:

• GREAT

great 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 of See also:

• TOURNAI (Flemish Doornik)

Tournai and See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels, that his compositions were usually framed in architectural backgrounds . But whilst See also:

• MABUSE, JAN (d. 1532)

Mabuse thus early betrays his dependence on the masters of the French frontier, be also confesses admiration for the great painters who first gave lustre to Antwerp; and in the large See also:

• ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar-pieces of See also:

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

Castle See also:

• HOWARD (FAMILY)
• HOWARD, CATHERINE (d. 1542)
• HOWARD, JOHN (1726-1790)
• HOWARD, LORD WILLIAM (1563–1640)
• HOWARD, OLIVER OTIS (1830-19o9)
• HOWARD, SIR ROBERT (1626–1698)

Howard and Scawby he combines in a See also:

• QUAINT (O. Fr. cointe, from Lat. cognitus, known, probably influenced by association with Lat. corn plus, neat)

quaint and not unskilful medley the sentiment of Memling, the See also:

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

bright and decided contrasts of pigment See also:

• PECULIAR

peculiar to coloured reliefs, the cornered and packed drapery familiar to Van der Weyden, and the bold but Socratic See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast of See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face remarkable in the works of Quentin See also:

• MATSYS (MASSYS or METZYS), QUINTIN (1466-1530)

Matsys . At Scawby he illustrates the See also:

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

legend of the See also:

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

count of See also:

• TOULOUSE
• TOULOUSE, LOUIS ALEXANDRE DE BOURBON, COUNT OF (1678-1737)

Toulouse, who parted with his wordly goods to assume the See also:

• FROCK

frock of a See also:

• HERMIT

hermit . At Castle Howard he represents the See also:

• ADORATION (Lat. ad, to, and os, mouth; i.e. " carrying to one's mouth ")

Adoration of the See also:

• KINGS, FIRST AND SECOND BOOKS OF

Kings, and throws together some See also:

• THIRTY

thirty figures on an architectural background, varied in detail, massive in shape and fanciful in See also:

• ORNAMENT (Lat. ornare, to adorn)

ornament . He surprises us by pompous See also:

• COSTUME
• COSTUME (through the Fr. costume, from Ital. costume, Late Lat. costuma, a contracted form of Lat. consuetudinem, ace. of consuetudo, custom, habit, manner, &c.)

costume and flaring contrasts of See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone . His figures, like pieces on a See also:

• CHESS

chess-See also:

• BOARD (O. Eng. bord)

board, are often rigid and conventional . The landscape which shows through the colonnades is adorned with towers and steeples in the See also:

• MINUTE
• MINUTE (Lat. minutes, small; minuere, to make less)

minute See also:

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

fashion of Van der Weyden . After a See also:

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

residence of a few years at Antwerp, Mabuse took service with See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip, See also:

• BASTARD (O. Fr. bastard, mod. bdtard = fits de bast, "pack-saddle child," from bast, saddle)

bastard of Philip the See also:

• GOOD, JOHN MASON (1764-1827)

Good, at that 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 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 of Somerdyk and See also:

• ADMIRAL

admiral of See also:

• ZEELAND (or ZEALAND)

Zeeland . One of his pictures had already become celebrated —a Descent from the See also:

• CROSS

Cross (5o figures), on the high altar of the monastery of St See also:

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

Michael of Tongerloo . Philip of See also:

• BURGUNDY

Burgundy ordered Mabuse to execute a replica for the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of See also:

• MIDDELBURG

Middelburg; and the value which was then set on the picture is apparent from the fact that See also:

• DURER, ALBRECHT (1471-1528)

Durer came expressly to Middelburg (1521) to see it .

In 1568 the altar-piece perished by See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire . In 1508 Mabuse accompanied Philip of Burgundy on his See also:

• ITALIAN

Italian See also:

• MISSION

mission; and by this See also:

• ACCIDENT
• ACCIDENT (from Lat. accidere, to happen)

accident an important revolution was effected in the See also:

• ART

art of the See also:

• NETHERLANDS

Netherlands . Mabuse appears to have chiefly studied in See also:

• ITALY
• ITALY (Italia)

Italy the See also:

• COLD (in O. Eng. cald and ceald, a word coming ultimately from a root cognate with the Lat. gelu, gelidus, and common in the Teutonic languages, which usually have two distinct forms for the substantive and the adjective, cf. Ger. Kolte, kalt, Dutch koude

cold and polished works of the Leonardesques . He not only brought See also:

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

home a new See also:

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

style, but he also introduced the fashion of travelling to Italy; and from that time till the See also:

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

age of See also:

• RUBENS, PETER PAUL (1577-164o)

Rubens and Van Dyck it was considered proper that all Flemish painters should visit the See also:

• PENINSULA
• PENINSULA (Lat. paeninsula, from paene, almost, and insula, an island)

peninsula . The Flemings grafted Italian mannerisms on their own stock; and the cross turned out sounfortunately that for a See also:

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

century Flemish art lost all trace of originality . In the summer of 1509 Philip returned to the Netherlands, and, retiring to his seat of Suytburg in Zeeland, surrendered himself to the pleasures of planning decorations for his castle and ordering pictures of Mabuse and See also:

• JACOB
• JACOB, JOHN (1812-1858)

Jacob of Barbari . Being in See also:

• CONSTANT, BENJAMIN (1845-1902)

constant communication with 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 See also:

• MARGARET
• MARGARET (1283–1290)
• MARGARET (1353-1412)
• MARGARET (1489–1541)
• MARGARET, ST (c. 1045–1093)
• MARGARET, ST (SANCTA MARGARITA)

Margaret of See also:

• AUSTRIA
• AUSTRIA, LOWER (Ger. Niederosterreich or Osterreich unter der Enns, " Austria below the river Enns ")
• AUSTRIA, UPPER (Ger. Oberosterreich or Osterreich ob der Enns, " Austria above the river Enns ")

Austria at See also:

• MALINES (Flemish, Mechelen, called in the middle ages by the Latin name Mechlinia, whence the spelling Mechlin)

Malines, he gave the artists in his employ See also:

• FAIR

fair chances of See also:

• PRO

pro-See also:

• MOTION (Lat. motio, from movere, to move)
• MOTION, LAWS OF

motion . Barbari was made court painter to the See also:

• REGENT (from Lat. regere, to rule)

regent, whilst Mabuse received less important commissions . Records prove that Mabuse painted a portrait of Leonora of See also:

• PORTUGAL

Portugal, and other small pieces, for 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 V. in 1516 . But his only signed pictures of this period are the See also:

• NEPTUNE
• NEPTUNE (Lat. NEPTUNUS)

Neptune and See also:

• AMPHITRITE

Amphitrite of 1516 at See also:

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

Berlin, and the Madonna, with a portrait of See also:

• JEAN

Jean Carondelet of 1517, at the Louvre, in both of which we clearly discern that See also:

• VASARI, GIORGIO (1511-1571)

Vasari only spoke by hearsay of the progress made by Mabuse in " the true method of producing pictures full of nude figures and poesies." It is difficult to find anything more coarse or misshapen than the Amphitrite, unless we except the See also:

• GROTESQUE

grotesque and ungainly drayman who figures for Neptune . In later forms of the same subject—the See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam and See also:

• EVE

Eve at See also:

• HAMPTON
• HAMPTON, WADE (1818-1902)

Hampton Court, or its feebler replica at Berlin—we observe more nudity, combined with See also:

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

realism of the commonest type . Happily, Mabuse was capable of higher efforts .

His St Luke See also:

• PAINTING

painting the portrait of the Virgin in Sanct See also:

• VEIT, PHILIPP (1793-1877)

Veit at See also:

• PRAGUE (Ger. Prag; Bohemian Praha)

Prague, a variety of the same subject in the See also:

• BELVEDERE, or BELVIDERE (Ital. for " fair-view ")

Belvedere at See also:

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

Vienna, the Madonna of the See also:

• BARING

Baring collection in See also:

• LONDON

London, or the numerous repetitions of See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ and the scoffers (See also:

• GHENT (Flem. Gent, Fr. Gand)

Ghent and Antwerp), all prove that travel had See also:

• LEFT

left many of Mabuse's fundamental peculiarities unaltered . His figures still retain the See also:

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

character of See also:

• STONE
• STONE (0. Eng. shin; the word is common to Teutonic languages, cf. Ger. Stein, Du. steen, Dan. and Swed. sten; the root is also seen in Gr. aria, pebble)
• STONE, CHARLES POMEROY (1824-1887)
• STONE, EDWARD JAMES (1831-1897)
• STONE, FRANK (1800-1859)
• STONE, GEORGE (1708—1764)
• STONE, LUCY [BLACKWELL] (1818-1893)
• STONE, MARCUS (184o— )
• STONE, NICHOLAS (1586-1647)

stone; his See also:

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

architecture is as 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 and varied, his tones are as strong as ever . But bright contrasts of See also:

• GAUDY

gaudy tints are replaced by soberer greys; and a cold haze, the sfumato of the Milanese, pervades the surfaces . It is but seldom that these features fail to obtrude . When they least show, the master displays a brilliant See also:

• PALETTE (the Fr. diminutive of pale, spade, blade of an oar, from Lat. Pala, spade, baker's shovel or peel; cf. pandere, to spread)

palette combined with smooth See also:

• SURFACE

surface and incisive outlines . In this See also:

• FORM (Lat. forma)

form the Madonnas of See also:

• MUNICH (Ger. Munchen)

Munich and Vienna (1527), the likeness of a girl weighing See also:

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

gold pieces (Berlin), and the portraits of the See also:

• CHILDREN, LAW RELATING TO

children 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 of See also:

• DENMARK
• DENMARK (Danmark)

Denmark at Hampton Court, are fair specimens of his skill . As early as 1523, when See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian II. of Denmark came to See also:

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

Belgium, he asked Mabuse to paint the likenesses of his dwarfs . In 1528 he requested the artist to furnish to Jean de See also:

• HARE
• HARE, SIR JOHN (1844– )

Hare the See also:

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

design for his 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's See also:

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

tomb in the See also:

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

abbey of St See also:

• PIERRE

Pierre near Ghent . It was no doubt at this time that Mabuse completed the portraits 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, Dorothy and Christine, children of Christian II., which came into the collection of 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 VIII . No doubt, also, these portraits are identical with those of three children at Hampton Court, which were See also:

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

long known and often copied as likenesses of See also:

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

Prince See also:

• ARTHUR (Fr. Arius)
• ARTHUR, CHESTER ALAN (1830 – 1886)

Arthur, Prince Henry and Princess Margaret of See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England . One of the copies at See also:

• WILTON

Wilton, inscribed with the forged name of " Hans See also:

• HOLBEIN, HANS

Holbein, ye See also:

• FATHER

father," and the false date of 1495, has often been cited as a See also:

• PROOF (in M. Eng. preove, proeve, preve, &°c., from O. Fr . prueve, proeve, &c., mod. preuve, Late. Lat. proba, probate, to prove, to test the goodness of anything, probus, good)

proof that Mabuse came to England in the reign of Henry VII.; but the statement rests on no See also:

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

foundation whatever . At the period when these portraits were executed Mabuse lived at Middelburg .

But he dwelt at intervals elsewhere . When Philip of Burgundy became See also:

• BISHOP (A.S. bisceop, from Lat. episcopus, Gr. irio-Korros, " overlooker " or " overseer ")
• BISHOP, ISABELLA (1832-1904)
• BISHOP, SIR HENRY ROWLEY (1786-1855)

bishop of See also:

• UTRECHT
• UTRECHT, TREATY OF

Utrecht, and settled at Duerstede, near Wyck, in 1517, he was accompanied by Mabuse, who helped to decorate the new See also:

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

palace of his master . At Philip's See also:

• DEATH

death, in 1524, Mabuse designed and erected his tomb in the church of Wyck . He finally retired to Middelburg, where he took service with Philip's See also:

• BROTHER

brother, Adolph, lord of Veeren . Van See also:

• MANDER, CAREL VAN (1548-1606)

Mander's See also:

• BIOGRAPHY (from the Gr. (3ios, life, and yp&4 , writing)

biography accuses Mabuse of habitual See also:

• DRUNKENNESS

drunkenness; yet it describes the splendid See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance of the artist as, dressed in gold See also:

• BROCADE

brocade, he accompanied See also:

• LUCAS, CHARLES (1713–1771)
• LUCAS, JOHN SEYMOUR (1849– )
• LUCAS, SIR CHARLES (d. 1648)

Lucas of See also:

• LEYDEN, JOHN (1775-1811)

Leyden on a See also:

• PLEASURE (through Fr. plaisir from Lat. placere, to please; Gr. rlbovii)

pleasure trip to Ghent, Malines and Antwerp in 1527 . The works of Mabuse are those of a hardworking and patient artist; the number of his still extant pictures practically demonstrates that he was not a debauchee . The See also:

• MARRIAGE

marriage of his daughter with the painter Henry Van der See also:

• HEYDEN, JAN VAN DER (r637-1712)

Heyden of See also:

• LOUVAIN (Flem. Leuven)

Louvain proves that he had a home, and did not live habitually in taverns, as Van Mander suggests . His death at Antwerp, on the 1st of See also:

• OCTOBER

October 1532, is recorded in the portrait engraved by See also:

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

Jerome See also:

• COCK, EDWARD (1805-1892)

Cock . (J . A .