See also:

• SIR

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 See also:

• EVERETT
• EVERETT, ALEXANDER HILL (1790-1847)
• EVERETT, CHARLES CARROLL (1829-1900)
• EVERETT, EDWARD (1794–1865)

EVERETT See also:

• SIR JOHN EVERETT MILLAIS (1829-1896)

MILLAIS (1829-1896)  , See also:

• ENGLISH

English painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• SOUTHAMPTON
• SOUTHAMPTON, EARL OF
• SOUTHAMPTON, HENRY WRIOTHESLEY, 3RD EARL OF (1J73—1624)

Southampton on the 8th of See also:

• JUNE

June 1829, the son 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 See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William See also:

• MILLAIS, SIR JOHN EVERETT (1829-1896)

Millais, who belonged to an old See also:

• NORMAN
• NORMAN, SIR HENRY WYLIE (1826-1904)

Norman See also:

• FAMILY

family settled in See also:

• JERSEY
• JERSEY, EARLS OF

Jersey for many generations, and Emily See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary, nee Evamy, the widow of a Mr See also:

• HODGKINSON, EATON (1759-1861)

Hodgkinson . After his See also:

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

birth the family returned to Jersey, where the boy soon began to 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 . At the See also:

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

age of eight he See also:

• DREW
• DREW, SAMUEL (1765-1833)

drew his maternal grandfather . He went to school for a See also:

• SHORT, FRANCIS JOB (1857– )

short 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, but showed no inclination for study, and was afterwards educated entirely by his See also:

• MOTHER

mother . In 1835 the family removed to See also:

• DINAN

Dinan in See also:

• BRITTANY

Brittany, where he sketched the See also:

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

French See also:

• OFFICERS

officers, to their See also:

• GREAT

great amusement, and in 1837, on the family's return to Jersey, he was taught See also:

• DRAWING

drawing by a Mr Bissel . In 1838 he came to See also:

• LONDON

London, and on the strong recommendation of See also:

• SIR

Sir See also:

• MARTIN (Martinus)
• MARTIN, BON LOUIS HENRI (1810-1883)
• MARTIN, CLAUD (1735-1800)
• MARTIN, FRANCOIS XAVIER (1762-1846)
• MARTIN, HOMER DODGE (1836-1897)
• MARTIN, JOHN (1789-1854)
• MARTIN, LUTHER (1748-1826)
• MARTIN, SIR THEODORE (1816-1909)
• MARTIN, SIR WILLIAM FANSHAWE (1801–1895)
• MARTIN, ST (c. 316-400)
• MARTIN, WILLIAM (1767-1810)

Martin See also:

• ARCHER, WILLIAM (1856— )

Archer See also:

• SHEE, SIR MARTIN ARCHER (1770-1850)

Shee, P.R.A., his future was decided . He was sent at once to Sass's school, and entered the See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy See also:

• SCHOOLS

schools in 184o . He won a See also:

• SILVER

silver See also:

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

medal from the Society of Arts in 1839, and carried off all the prizes at the Royal Academy . He was popular amongst the students, and was called " the See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

child," because he wore his boyish 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 till See also:

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

long after the usual age . In 184o and the immediately succeeding years he made the acquaintance of See also:

• WORDSWORTH, CHARLES (1806–1892)
• WORDSWORTH, CHRISTOPHER (1774–1846)
• WORDSWORTH, CHRISTOPHER (1807–1885)
• WORDSWORTH, DOROTHY (1771-1855)
• WORDSWORTH, WILLIAM (1770-185o)

Wordsworth and other interesting and useful See also:

• PEOPLE

people . He was at this time See also:

• PAINTING

painting small pictures, &c., for a dealer named See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas, and defraying a great See also:

• PART

part of the See also:

• HOUSEHOLD, ROYAL

household expenses in See also:

• GOWER
• GOWER, JOHN (d. 1408)

Gower See also:

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

Street, where his family lived . In 1846 he exhibited " See also:

• PIZARRO, FRANCISCO (c. 1471 or 1475-1541)

Pizarro seizing the Inca of See also:

• PERU
• PERU (apparently from Biru, a small river on the west coast of Colombia, where Pizarro landed)

Peru " at the Royal Academy, and in 1847 "• Elgiva seized by the Soldiers of See also:

• ODO

Odo." In the latter See also:

• YEAR

year he competed unsuccessfully at the See also:

• EXHIBITION

exhibition of designs for the decoration of the Houses of See also:

• PARLIAMENT (Anglo-Lat. parliamentum, Fr. parlement, from parler, to speak)

Parliament, sending a very large picture of " The Widow's See also:

• MITE

Mite," which was afterwards cut up .

In the beginning of 1848 he and W . 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, dissatisfied with the theory and practice of See also:

• BRITISH

British See also:

• ART

art, which had sunk to its lowest and most conventional level, initiated what is known as the Pre-Raphaelite See also:

• MOVEMENT

movement, and were joined by See also:

• DANTE

Dante See also:

• GABRIEL (Heb. SKns, man of God)

Gabriel See also:

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

Rossetti, and afterwards by five others, altogether forming the Pre-Raphaelite Brotherhood . Rossetti was then engaged, under the technical guidance of Hunt, upon llis picture of " The Girlhood of Mary Virgin," which, with Hunt's " See also:

• LIGHT

Light of the See also:

• WORLD

World " and Millais's " See also:

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

Christ in the 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 of His Parents," forms what has been called the trilogy of Pre-Raphaelite art . According to Millais, the Pre-Raphaelites had but one See also:

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

idea—" to See also:

• PRESENT

present on See also:

• CANVAS

canvas what they saw in Nature." Millais's first picture on his new principles was a banquet See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene from See also:

• KEATS, JOHN (1795-1821)

Keats's " See also:

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

Isabella " (1849), and contains all the characteristics of Pre-Raphaelite See also:

• WORK

work, including See also:

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

minute See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation of nature down to the smallest detail, and the study of all persons and See also:

• OBJECTS

objects directly from the originals . The See also:

• TALE (O.Eng. talu, number, account, story; the word is common to many Teutonic languages; cf. Ger. Zahl, number, Erzahlung, narrative, Du. taal, speech, language)

tale was told with dramatic force, and the expression of the heads was excellent . His next important picture, " Christ in the House of His Parents," or " The See also:

• CARPENTER, LANT (1780-1840)
• CARPENTER, MIRY (1807-1877)
• CARPENTER, WILLIAM BENJAMIN (1813-1885)

Carpenter's See also:

• SHOP

Shop " (185o), represented a supposed incident in the childhood of our 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 treated in a simply realistic manner, and drew down upon him a See also:

• STORM (in O. Eng..storm, and so in Du. and Low Ger.; in O. H. Ger. and mod. Ger. Sturm; the root is probably that seen in " stir," to rouse, move, disturb, cf. Ger. storen)
• STORM, THEODOR WOLDSEN (1817-1888)

storm of abuse from nearly all quarters, religious and See also:

• ARTISTIC

artistic . The 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 of his more strictly Pre-Raphaelite pictures—" The Return of the See also:

• DOVE
• DOVE (Dutch duyve, Dan. due, Ice. dufa, Ger. Taube)

Dove to the See also:

• ARK (a word common to Teutonic languages, cf. Ger. Arche, adapted from the Lat. area, chest, cf. arcere, to shut up, enclose)„ a chest, basket or box. The Hebrew word tebah, translated in the' A.V. by " ark," is used in the Old Testament (1)

Ark," " The Woodman's Daughter " and the " See also:

• MARIANA, JUAN DE (1536-1624)

Mariana " of 1851, " The Huguenot " and " Ophelia " of 1852, " The Proscribed Royalist " and " 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:

• RELEASE (O.Fr. reles, variant of relais, from relaisser, to release, let go, Lat. relaxare)

Release " of 1853—met with less opposition, and established his reputation with the public . Indeed, this may be said to have been accomplished by the " Huguenot " and " Ophelia," the refined sentiment and exquisite See also:

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

execution of which appealed to nearly all who were unprejudiced . The public were also greatly influenced by the splendid See also:

• CHAMPION (Fr. champion, Late Lat. campio from campus; a field or open space, i.e. one " who takes the field " or fights; cf. Ger. Kampf, battle, and Kampfer, fighter)

champion-See also:

• SHIP

ship of See also:

• RUSKIN, JOHN (1819-1goo)

Ruskin, who, in letters to The Times, and in a pamphlet called " Pre-Raphaelitism," enthusiastically espoused the cause of the Brotherhood . In 1851 Millais, who had refused to read See also:

• MODERN

Modern Painters, where the supposed principles of the See also:

• BROTHER

Brother-See also:

• HOOD,
• HOOD, JOHN BELL (1831–1879)
• HOOD, SAMUEL HOOD, VISCOUNT (1724–1816)
• HOOD, SIR SAMUEL (1762-1814)
• HOOD, THOMAS (1799-1845)
• HOOD, TOM (1835–1874)

hood were first recommended, became acquainted with Ruskin, and in 1853 went to See also:

• SCOTLAND
• SCOTLAND, CHURCH OF
• SCOTLAND, EPISCOPAL CHURCH OF

Scotland with him and Mrs Ruskin, the latter of whom sat for the woman in " The Order of Release." He made several designs for Ruskin, and painted his portrait . In 1855 Millais exhibited " 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," a scene from a 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, which drew great See also:

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

attention, from the frantic expression of the mother and the brilliant painting of the glare . In the 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 Exhibition of this year he was represented by " The Order of Release," " Ophelia " and " The Return of the Dove." This was also the year of his See also:

• MARRIAGE

marriage with Mrs Ruskin (Euphemia See also:

• CHALMERS, ALEXANDER (1759-1834)
• CHALMERS, GEORGE (1742-1825)
• CHALMERS, GEORGE PAUL (1836-1878)
• CHALMERS, JAMES (1841-1901)
• CHALMERS, THOMAS (1780-1847)

Chalmers, daughter of Mr See also:

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

George See also:

• GRAY
• GRAY (or GREY), WALTER DE (d. 1255)
• GRAY, ASA (1810-1888)
• GRAY, DAVID (1838-1861)
• GRAY, ELISHA (1835-1901)
• GRAY, HENRY PETERS (1819-18/7)
• GRAY, HORACE (1828–1902)
• GRAY, JOHN DE (d. 1214)
• GRAY, JOHN EDWARD (1800–1875)
• GRAY, PATRICK GRAY, 6TH BARON (d. 1612)
• GRAY, ROBERT (1809-1872)
• GRAY, SIR THOMAS (d. c. 1369)
• GRAY, THOMAS (1716-1771)

Gray of Bowerswell, See also:

• PERTH
• PERTH, EARLS AND DUKES OF

Perth), who had obtained a See also:

• DECREE (from the past participle, decretus, of Lat. decernere)

decree of the nullity of her previous marriage .

The newly-wedded couple went to live at Annat See also:

• LODGE
• LODGE, EDMUND (1756-1839)
• LODGE, H
• LODGE, HENRY CABOT (1850– )
• LODGE, SIR OLIVER JOSEPH (1851– )
• LODGE, THOMAS (c. 1558–1625)

Lodge, near Bowers-well, where " Autumn Leaves," described by Ruskin as " the first instance of a perfect See also:

• TWILIGHT

twilight," was painted . This and " See also:

• PEACE
• PEACE, BREACH OF THE

Peace Concluded " were singled out for See also:

• SPECIAL

special praise by Ruskin in his notes on the Academy Exhibition of 1856, which contained, with other See also:

• WORKS

works by Millais, the picture of " A See also:

• BLIND, MATHILDE (1841—1896)

Blind Girl," with a beautiful background of Icklesham and its See also:

• COMMON

common . The See also:

• PRINCIPAL

principal pictures of 1857 were " Sir Isumbras at the See also:

• FORD, EDWARD ONSLOW
• FORD, JOHN (r586–c.1640)
• FORD, RICHARD (1796-1858)
• FORD, THOMAS (b. c. 158o)

Ford," and " The See also:

• ESCAPE (in mid. Eng. eschape or escape, from the O. Fr. eschapper, modern echapper, and escaper, low Lat. escapium, from ex, out of, and cappa, cape, cloak; cf. for the sense development the Gr. iichueoOat, literally to put off one's clothes, hence to sli

Escape of a Heretic," both of which were violently attacked by Ruskin, who was kinder to the " See also:

• APPLE (a common Teut. word, A.S. aepl, aeppel, O.H.G. aphul, aphal, apfal, mod. Ger. Apfel)

Apple-blossoms " and Vale of Rest " of 1859, extolling the See also:

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

power of their painting, but still insisting on the degeneracy of the artist . The " See also:

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

Black Brunswicker " of 186o was in See also:

• MOTIVE (from Lat. movere, to move)

motive very like the " Huguenot," but it was less refined in expression, and a great See also:

• DEAL

deal broader in execution, and may be said to See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark the end of the See also:

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

period of transition from his minute Pre-Raphaeiite manner to the masterly freedom of his mature See also:

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

style . From 186o to 1869 the invention of Millais was much employed in See also:

• ILLUSTRATION

illustration, especially of See also:

• TROLLOPE, ANTHONY (181 1882)

Trollope's novels, beginning with Framley Parsonage in the Cornhill See also:

• MAGAZINE

Magazine . He made altogether eighty-seven drawings for Trollope, and was the cleverest and one of the most prolific of the See also:

• BOOK

book illustrators of the 'sixties . He contributed to See also:

• MOXON, EDWARD (18o1-1858)

Moxon's illustrated edition of See also:

• TENNYSON, ALFRED TENNYSON

Tennyson's Poems, and made occasional drawings for Once a See also:

• WEEK (from A.S. wicu, Germanic *wikon, probably=change, turn)

Week, the Illustrated London See also:

• NEWS

News, See also:

• GOOD, JOHN MASON (1764-1827)

Good Words, and other See also:

• PERIODICALS

periodicals and books . In 1863 he was elected a Royal Academician . The most important pictures of this and the next few years were " The See also:

• EVE

Eve of St See also:

• AGNES, SAINT

Agnes," remarkable for the painting of moonlight, " See also:

• ROMANS
• ROMANS, EPISTLE TO THE

Romans leaving See also:

• BRITAIN (Gr. Hperavuml vi7vot, Bperravia; Lat. Britannia, rarely Britannia)

Britain " (1865), " See also:

• JEPHTHAH

Jephthah " (1867), " Rosalind and Celia " (1868), " A See also:

• FLOOD (in O. Eng. flod, a word common to Teutonic languages, cf. Ger. Flut, Dutch vloed, from the same root as is seen in " flow," " float ")
• FLOOD, HENRY (1732-1791)

Flood," and " The Boyhood of See also:

• RALEIGH
• RALEIGH, SIR WALTER (c. 1552-1618)

Raleigh " (1870) . All these were executed in a very broad and masterly manner . In many of his pictures of this period, such as " The Boyhood of Raleigh," his See also:

• CHILDREN, LAW RELATING TO

children were his See also:

• MODELS

models, and formed the subject of many more, like " My First See also:

• SERMON (Lat. sermo, a discourse)

Sermon," " My Second Sermon," " Sleeping," " Awake," " Sisters," " The First See also:

• MINUET (adapted, under the influence of the Italian minuetto, from Fr. menuet, small, pretty, delicate, a diminutive of menu, from Lat. minutus; the word refers probably to the short steps, pas menus, taken in the dance)

Minuet," and " The See also:

• WOLF
• WOLF (Canis lupus)
• WOLF, FRIEDRICH AUGUST (1759-1824)
• WOLF, HUGO (1860-1903)
• WOLF, JOSEPH (1820-1899)

Wolf's Den." He now painted many single figures with more or less sentiment, like " Stella," " Vanessa," and " The Gambler's Wife," with occasionally a more important See also:

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

composition, like " Pilgrims to St See also:

• PAUL
• PAUL (PAULUS)

Paul's," and " Victory, 0 Lord " (exhibited 1871), representing See also:

• AARON

Aaron and Hur holding up See also:

• MOSES (Gr. Mwvo c, Mcoo-i3s)
• MOSES, ASSUMPTION OF

Moses' hands (Exod. xvii . 12) .

With it was exhibited the first and most popular of his pure landscapes, called " Chill See also:

• OCTOBER

October," which was followed at intervals by several others remarkable for literal • truth to nature and See also:

• FINE

fine execution . They were all from Perth-See also:

• SHIRE

shire, where he generally spent the autumn, and included " Scotch Firs " and " See also:

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

Winter See also:

• FUEL (O. Fr. feuaile, popular Lat. focalia, from focus, hearth, fire)

Fuel " (painted in 1874), " Over the Hills and Far away," and " The Fringe of the See also:

• MOOR

Moor " (1875) and " The See also:

• SOUND
• SOUND, THE (Danish Oresund)

Sound of Many See also:

• WATERS, TERRITORIAL

Waters " (1876) . A later See also:

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

series was painted in the neighbourhood of Murthly, a See also:

• VILLAGE

village in 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 of Little See also:

• DUNKELD

Dunkeld, See also:

• PERTHSHIRE

Perthshire, where he rented a house and See also:

• SHOOTING

shooting from 1881 to 1891 . It was to painting nature and the world around him that he principally devoted himself for the last twenty-five years of his See also:

• LIFE

life, abandoning imaginative or didactic themes . To this period belong a number of pictures of children, with See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy titles, like " See also:

• CHERRY

Cherry Ripe," " Little See also:

• MISS

Miss Muffet," " Bubbles," and others well known by reproductions in 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 and in See also:

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

colour for the illustrated papers; and also some charming studies of girlhood, like " Sweetest eyes were ever seen," and " See also:

• CINDERELLA (i.e. little cinder girl)

Cinderella." Amongst his more serious pictures were " The Princes in the See also:

• TOWER (Lat. turris; Fr. tour, clocker; Ital. torre; Ger. Thurm)

Tower " (1878), " The Princess See also:

• ELIZABETH
• ELIZABETH (1533-1603)
• ELIZABETH (1596-1662)
• ELIZABETH (1635–1650)
• ELIZABETH [ AMELIE EUGENIE ] (1837—1898)
• ELIZABETH [1lisabeth Philippine Marie Helene of France] (1764—1794)
• ELIZABETH [PAULINE ELIZABETH OTTILIE LOUISE] (1843– )
• ELIZABETH [PETROVNA] (1709-1762), EMPRESS
• ELIZABETH, SAINT (1207-1231)

Elizabeth " (1879), two pictures from See also:

• SCOTT, ALEXANDER (fl. 1550)
• SCOTT, DAVID (18o6-1849)
• SCOTT, MICHAEL (1789-1835)
• SCOTT, ROBERT (1811-1887)
• SCOTT, SIR GEORGE GILBERT (1811-1878)
• SCOTT, SIR WALTER, BART
• SCOTT, WILLIAM BELL (1811-1890)
• SCOTT, WINFIELD (1786-1866)

Scott—" Effie Deans " and " The 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 Ravenswood "—painted for Messrs See also:

• AGNEW, DAVID HAYES (1818–1892)

Agnew in 1877 and 1878, and " The See also:

• NORTH
• NORTH, BARONS
• NORTH, MARIANNE (1830—1890)
• NORTH, ROGER (1653-1734)
• NORTH, SIR THOMAS (1535?-16o1?)

North-See also:

• WEST
• WEST, BENJAMIN (1738-1820)
• WEST, NICHOLAS (1461-1533)

West Passage," sometimes regarded as his masterpiece, representing an old mariner (painted from See also:

• EDWARD

Edward John Trelawney, the friend of See also:

• BYRON, GEORGE GORDON BYRON, 6TH BARON (1788-1824)
• BYRON, HENRY JAMES (1834-1884)
• BYRON, HON
• BYRON, JOHN BYRON

Byron) listening to some tale of See also:

• ARCTIC (Gr. "ApKroc, the Bear, the northern constellation of Ursa Major)

Arctic exploration in a See also:

• ROOM

room overlooking 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 and strewn with charts . " A See also:

• YEOMAN

Yeoman of the Guard " (1877) was perhaps his most splendid piece of colour, and was greatly admired at the Paris Exhibition See also:

• MILLAU

MILLAU of 1878, where it was sent with " Chill October " and three others of his pictures . But perhaps the works of his later years by which he will be most remembered are his portraits—especially his three portraits of See also:

• GLADSTONE
• GLADSTONE, JOHN HALL (1827-1902)
• GLADSTONE, WILLIAM EWART (1809–1898)

Gladstone (1879, 1885 and 1890), and those of John See also:

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

Bright, of Lord Tennyson, and of Lord See also:

• BEACONSFIELD
• BEACONSFIELD, BENJAMIN DISRAELI, EARL OF

Beaconsfield, which was See also:

• LEFT

left unfinished at his See also:

• DEATH

death . He also painted the See also:

• MARQUESS (1760-1842)
• MARQUESS, or MARQUIS (Fr. marquis, Ital. marchese; from med. Lat. marchio, marchisus, i.e. comes marchiae, " count of the March ")

marquess of See also:

• SALISBURY
• SALISBURY, EARLS OF
• SALISBURY, ROBERT ARTHUR TALBOT GASCOYNECECIL, 3RD MARQUESS OF (1830-1903)
• SALISBURY, ROBERT CECIL, 1ST EARL OF (c. 1565-1612)
• SALISBURY, THOMAS DE MONTACUTE, 4TH EARL OF (1388-1428)
• SALISBURY, WILLIAM LONGSWORD (or LONGESPEE), EARL OF (d. 1226)

Salisbury, Lord See also:

• ROSEBERY, ARCHIBALD PHILIP PRIMROSE, 5TH

Rosebery, the See also:

• DUKES
• DUKES, LEOPOLD (1810-1891)

dukes of See also:

• DEVONSHIRE (DEvoN)
• DEVONSHIRE, EARLS AND DUKES OF

Devonshire and See also:

• ARGYLL, EARLS AND DUKES OF

Argyll, See also:

• CARDINAL (Lat. cardinalis)

Cardinal See also:

• NEWMAN, FRANCIS WILLIAM (1805-1897)
• NEWMAN, JOHN HENRY (1801-1890)

Newman, Thomas See also:

• CARLYLE, ALEXANDER (1722-1805)
• CARLYLE, JOSEPH DACRE (1759-18o4)
• CARLYLE, THOMAS (1795-1881)

Carlyle, 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:

• PAGET, SIR JAMES, BART

Paget, Sir 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 See also:

• IRVING, EDWARD (1792-1834)
• IRVING, SIR HENRY (1838-1905)
• IRVING, WASHINGTON (1783-18J9)

Irving, George See also:

• GROTE, GEORGE (1794–1871)

Grote, Lord See also:

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

Chief See also:

• JUSTICE (Lat. justitia)

Justice See also:

• RUSSELL (FAMILY)
• RUSSELL, ISRAEL COOK (1852- )
• RUSSELL, JOHN (1745-1806)
• RUSSELL, JOHN (d. 1494)
• RUSSELL, JOHN RUSSELL, 1ST EARL (1792-1878)
• RUSSELL, JOHN SCOTT (1808–1882)
• RUSSELL, LORD WILLIAM (1639–1683)
• RUSSELL, SIR WILLIAM HOWARD
• RUSSELL, THOMAS (1762-1788)
• RUSSELL, WILLIAM CLARK (1844– )

Russell, J . C . See also:

• HOOK, JAMES CLARKE (1819-1907)
• HOOK, THEODORE EDWARD (1788-1841)
• HOOK, WALTER FARQUHAR (1798-1875)

Hook, R.A., and himself (Uffizi See also:

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

Gallery, See also:

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

Florence) . He drew 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 See also:

• DICKENS, CHARLES JOHN HUFFAM (1812-187o)

Dickens after his death . Amongst his finer portraits of See also:

• WOMEN

women were those of Mrs Bischoffsheim, the duchess of See also:

• WESTMINSTER
• WESTMINSTER, MARQUESSES AND DUKES OF
• WESTMINSTER, STATUTES OF
• WESTMINSTER, SYNODS OF

Westminster, 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:

• CAMPBELL, ALEXANDER (1788–1866)
• CAMPBELL, BEATRICE STELLA (Mrs PATRICK CAMPBELL) (1865– )
• CAMPBELL, GEORGE (1719–1796)
• CAMPBELL, JOHN
• CAMPBELL, JOHN (1708-1775)
• CAMPBELL, JOHN CAMPBELL, BARON (1779-1861)
• CAMPBELL, JOHN FRANCIS
• CAMPBELL, LEWIS (1830-1908)
• CAMPBELL, REGINALD JOHN (1867— )
• CAMPBELL, THOMAS (1777—1844)

Campbell and Mrs Jopling .

No very serious interruption of his usual life as a prosperous English See also:

• GENTLEMAN (from Lat. gentilis, " belonging to a race or gens," and " man "; Fr. gentilhomme, Span. gentil hombre, Ital. gentil huomo, in its original and strict signification, a term denoting a man of good family, the Lat. generosus (its invariable transl

gentleman occurred in these years, except the death of his second son, George, in 1878 . In 1875 he went to 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, one of his few visits to the See also:

• CONTINENT (from Lat. continere, "to hold together "; hence " connected," " continuous ")

Continent . In 1879 he left See also:

• CROMWELL, HENRY (1628-1674)
• CROMWELL, OLIVER (1599-1658)
• CROMWELL, RICHARD (1626–1712)
• CROMWELL, THOMAS, EARL OF

Cromwell See also:

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

Place for a house at See also:

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

Palace See also:

• GATE

Gate, See also:

• KENSINGTON

Kensington, which he built, and where he died . In 1885 he was created a See also:

• BARONET

baronet, on the See also:

• SUGGESTION

suggestion of Mr Gladstone . In 1892 his See also:

• HEALTH

health began to break down . After a See also:

• BAD, BCD

bad attack of See also:

• INFLUENZA (syn. " grip," la grippe)

influenza he was troubled with a swelling in his See also:

• THROAT (O. Eng. protu, prote or }Prota, possibly from preotan, to press, whence threat, or, with loss of initial s, connected with strut, to swell)

throat, which proved to be due to See also:

• CANCER (" THE CRAB ")
• CANCER, LUIS (d. 1549)
• CANCER, or CARCINOMA (from Lat. cancer, Gr. KapKivwga, an eating ulcer)

cancer . He suffered much from depression, but worked when he could, and derived much See also:

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

pleasure in painting several pictures, including " St 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," " A See also:

• DISCIPLE

Disciple," " Speak I Speak 1" (which was bought out of 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), and " The Forerunner "—his last exhibited subject-picture . His finely-characterized portraits of Mr John See also:

• HARE
• HARE, SIR JOHN (1844– )

Hare, the actor, and Sir See also:

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

Richard See also:

• QUAIN, SIR RICHARD, BART

Quain belong also to his last years . In 1895, in consequence of the illness of Lord (then Sir 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:

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

Leighton, he was called upon to preside at the See also:

• ANNUAL

annual banquet of the Royal Academy, and on the death of Lord Leighton he was elected to the presidential See also:

• CHAIR (in. Mid. Eng. chcere, through O. Fr. chaire or chaiere, from Lat. cathedra, later caledra, Gr. xaOi3pa, seat, cf. "cathedral"; the modern Fr. form chaise, a chair, has been adopted in English with a particular meaning as a form of carriage; chaire

chair . He died on the 13th of See also:

• AUGUST (originally Sextilis)

August 1896, and was buried in St Paul's See also:

• CATHEDRAL

Cathedral . The Winter Exhibition of the Royal Academy in 1898 was devoted to his works . The See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list of his honours at See also:

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

home and abroad is a long one .

Millais was one of the greatest painters of his time, and did more than any other to infuse a new and healthy life into British art . He had not the See also:

• IMAGINATION

imagination of an idealist, but he could paint what he saw with a force which has seldom been excelled . As a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man he was manly, See also:

• FRANK, JAKOB (1726-1791)

frank and genial, devoted to his art and his family, and very fond of See also:

• SPORT (a contracted or shortened form of "disport," to amuse, divert oneself, O. Fr. se dis porter or deporter, to leave off work, hence to play, Lat. dis-, away, and portare, to carry; the origin of the meaning lies in the notion of turning away from ser

sport, especially See also:

• HUNTING (the verbal substantive from " hunt "; O. Eng. huntian, hunta; apparently connected with O. Eng. hentan, Gothic hinpan, to capture, O.H.G. hunda,booty)

hunting, fishing and shooting . He was greatly loved by a very large circle of See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends . He was singularly handsome, and had a fine presence . The See also:

• NATIONAL

National Gallery of British Art possesses many of his finest works . He is also represented in the National Gallery, in the National Portrait Gallery, 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, and in the public galleries at See also:

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

Manchester, See also:

• LIVERPOOL
• LIVERPOOL, EARLS
• LIVERPOOL, EARLS OF

Liverpool and See also:

• BIRMINGHAM

Birmingham .