See also:

• NICOLAS
• NICOLAS, SIR NICHOLAS HARRIS (1799–1848)

NICOLAS See also:

• NICOLAS MAES (1632-1693)

MAES (1632-1693)  , Dutch painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• DORDRECHT (abbreviated Dordt, or Dort)

Dordrecht, and went about 165o to See also:

• AMSTERDAM
• AMSTERDAM (NEw AMSTERDAM)

Amsterdam, where he entered See also:

• REMBRANDT (1606-1669)

Rembrandt's studio.- Before his return to Dordrecht in 1654 See also:

• MAES, NICOLAS (1632-1693)

Maes painted a few Rembrandtesque genre pictures, with See also:

• LIFE

life-See also:

• SIZE

size figures and in a deep glowing See also:

• SCHEME (Lat. schema, Gr. oxfjya, figure, form, from the root axe, seen in exeiv, to have, hold, to be of such shape, form, &c.)

scheme of See also:

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

colour, like the " See also:

• REVERIE

Reverie " at the Ryks Museum in Amsterdam, the " Card Players " at the See also:

• NATIONAL

National See also:

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

Gallery, and the " See also:

• CHILDREN, LAW RELATING TO

Children with a See also:

• GOAT (a common Teut. word; O. Eng. gat, Goth. gaits, Mod. Ger. Geiss, cognate with Lat. haedus, a kid)

Goat See also:

• CARRIAGE

Carriage," belonging to Baroness N. de See also:

• ROTHSCHILD

Rothschild . So closely did his See also:

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

early See also:

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

style resemble that of Rembrandt, that the last-named picture, and other canvases in the See also:

• LEIPZIG

Leipzig and See also:

• BUDAPEST

Budapest galleries and in the collection of 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 See also:

• RADNOR, EARLS OF

Radnor, were or are still ascribed to Rembrandt . In his best See also:

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

period, from 1655 to 1665, Maes devoted himself to domestic genre on a smaller See also:

• SCALE
• SCALE (1) A

scale, retaining to a See also:

• GREAT

great extent the magic of colour he had learnt from Rembrandt . Only on rare occasions did he treat scriptural subjects, as in the See also:

• EARL

earl of See also:

• DENBIGH (Dinbych)
• DENBIGH, WILLIAM FEILDING, 1ST EARL

Denbigh's " Hagar's Departure," which has been ascribed to Rembrandt . His favourite subjects were See also:

• WOMEN

women See also:

• SPINNING (from O. Eng. spinnen, to spin, cf. Ger. spinnen, &c., the Teut. root is seen, to draw out, cf. span, spider)

spinning, or See also:

• READING

reading the See also:

• BIBLE
• BIBLE, ENGLISH

Bible, or preparing a See also:

• MEAL

meal . In 1665 he went to See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp, where he remained till 1678, in which See also:

• YEAR

year he probably returned to Amsterdam . His Antwerp period coincides with a See also:

• COMPLETE

complete 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 style and subject . He devoted himself almost exclusively to See also:

• PORTRAITURE

portraiture, and abandoned the intimacy and glowing colour harmonies of his earlier See also:

• WORK

work for a careless elegance which suggests the See also:

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

influence of See also:

• VAN

Van Dyck . So great indeed was the change, that it gave rise to the theory of the existence of another Maes, of See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels . Maes is well represented at the National Gallery by five paintings: " The See also:

• CRADLE (of uncertain etymology, possibly connected with " crate " and " creel," i.e. basket; the derivation from a Celtic word, with a sense of rocking, is scouted by the New English Dictionary)

Cradle," " The Dutch Housewife," " The Idle Servant," " The Card Players," and a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man's portrait . At Amsterdam, besides the splendid examples to be found at the Ryks Museum, is the " Inquisitive Servant " of the Six collection . At 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 is " The Listening Girl " (repeti;.ions exist), and at Apsley 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 " Selling See also:

• MILK (0. Eng. meoluc; from a common Indo-European root, cf. Lat. mulgere, Gr. ?t dXyetv)

Milk " and " The Listener." Other notable examples are at the See also:

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

Berlin, Brussels, St See also:

• PETERSBURG

Petersburg, the See also:

• HAGUE, THE (in Dutch, 's Gravenhage, or, abbreviated, den Haag; in Fr. La Haye; and in Late Lat. Haga Comitis)

Hague, See also:

• FRANKFORT

Frankfort, See also:

• HANOVER
• HANOVER (Ger. Hannover)

Hanover and See also:

• MUNICH (Ger. Munchen)

Munich galleries .