MODERN  See also:

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

FRENCH] This it is which accounts for the fact that romanticism then found so little See also:

• ACCEPTANCE (Lat. acceptare, frequentative form of accipere, to receive)

acceptance among sculptors . But in the next See also:

• GENERATION (from Lat. generare, to beget, procreate; genus, stock, race)

generation the sowers of the See also:

• SEED (from the root seen in Lat. serere, to sow)

seed might see their See also:

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

harvest: The pupils of See also:

• RUDE, FRANCOIS (1784–1855)

Rude, of See also:

• BARYE, ANTOINE LOUIS (1796-1895)

Barye and of See also:

• CARPEAUX, JEAN BAPTISTE (1827-1875)

Carpeaux, allied by school sympathies—the little See also:

• DRAWING

drawing-school conducted by Lecoq de Boisbaudran, which, in despite of the studios of the See also:

• BEAUX, CECILIA (1863– )

Beaux Arts, created a See also:

• GROUP

group of See also:

• INDEPENDENT

independent and highly See also:

• ORIGINAL

original artists—formed the centre of a distinct force which increased 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 by day . 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 men, fresh from See also:

• ROME
• ROME (Roma)

Rome, persistently kept up the spirit of the See also:

• ANTIQUE (Lat. antiquus, old)

Antique . A See also:

• GALAXY

galaxy of learned and refined artists was represented by such men as Hiolle (1833-1887) (" See also:

• ARION

Arion," " See also:

• ORPHEUS

Orpheus "), Idrac (184o-1884) (" See also:

• MERCURY
• MERCURY (MERCU1uus)
• MERCURY (symbol Hg, atomic weight = 2oo)

Mercury inventing the See also:

• CADUCEUS (the Lat. adaptation of the Doric Gr. KapvKewv, Attic /070K CAI)

Caduceus," " Salammb6 "), Marqueste (" Galatea," " See also:

• EROS

Eros," " See also:

• PERSEUS

Perseus See also:

• BEHEADING

beheading the See also:

• GORGON, GORGONS (Gr. Popyc'o, Fopyoves, the "terrible," or, according to some, the " loud-roaring ")

Gorgon," " The See also:

• RAPE
• RAPE (from Lat. rapere, to seize)
• RAPE (Lat. rapum or rapa, turnip)

Rape of See also:

• EUROPA (or rather, EUROPE)

Europa "), and Coutan (" Eros," " A Woman carrying Loaves," " A Sergeant-at-Arms," &c.), Lanson (" The See also:

• IRON [symbol Fe, atomic weight 55.85 (0=16)]

Iron See also:

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

Age "), Longepied (1849-1888) (" See also:

• IMMORTALITY (Lat. in-, not, mortalis, mortal, from mors, death)

Immortality "), Peinte (" Orpheus charming See also:

• CERBERUS

Cerberus to See also:

• SLEEP (0. Eng. slcepan; Ger. schlafen; cf. Lat. labi, to glide, and " slip ")

Sleep "), Gustave See also:

• MICHEL
• MICHEL, CLAUDE
• MICHEL, FRANCISQUE XAVIER (1809-1887)

Michel (" In a See also:

• DREAM (from a root dreug, connected with Germ. trugen, to deceive)

Dream," " Meditation "), See also:

• CARIES

Caries (" Innocence," " 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 "), A . See also:

• BOUCHER, FRANCOIS (1703-1770)
• BOUCHER, JONATHAN (1738-1804)

Boucher (" See also:

• EARTH
• EARTH (a word common to Teutonic languages, cf. Ger. Erde, Dutch aarde, Swed. and Dan. jord; outside Teutonic it appears only in the Gr. 'pq'e, on the ground; it has been connected by some etymologists with the Aryan root ar-, to plough, which is seen in
• EARTH, FIGURE OF
• EARTH, FIGURE OF THE

Earth," " Au but "), besides Carlier, Leonard and Turcan (1846-1895)—soon to be followed by another generation: Puech (" The See also:

• SIREN

Siren," " The Muse of See also:

• ANDRE, JOHN (1751-178o)

Andre See also:

• CHENIER
• CHENIER, ANDRE DE (1762-1794)

Chenier "), Verlet (" The See also:

• MONUMENT (Lat. monumentum or monumentum; from monere, to advise, bring to mind, remind; the German equivalent is Denkmal)

Monument to See also:

• MAUPASSANT, HENRI RENE ALBERT GUY DE (1850-1893)

Maupassant," " Orpheus "), Larche (" The See also:

• BROOK

Brook and the Meadow," " Violets "), See also:

• SICARD

Sicard (" Hagar and See also:

• ISHMAEL (a Hebrew name meaning " God hears ")

Ishmael "), and Daillon, Escoula, St Lami, and many more . In opposition to these there stood a group of sculptors, young and old, who sought their subjects in See also:

• MYTHOLOGY

mythology, See also:

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

legend, See also:

• HISTORY

history or See also:

• POETRY

poetry, or merely in the scenes of daily See also:

• LIFE

life, and aimed at presenting the ideal of their 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 under its See also:

• EXTERNAL

external aspects, but more especially the deepest emotions of the modern mind . It was See also:

• FREMIET, EMMANUEL (1824- )

Fremiet, with his striking and vivid conceptions, who led the advance with new and dramatic subjects: primeval See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man and the fierce beasts with which he disputed his See also:

• RULE

rule (" A She-See also:

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

Bear and a Man of the 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 Age," " An See also:

• ORAN (Arabic Wahran, i.e. ravine)

Oran-utan and a See also:

• SAVAGE
• SAVAGE, MINOT JUDSON (1841– )
• SAVAGE, RICHARD (d. 1743)

Savage," " Gorillas "), or embodiments of the heroes of the past (" See also:

• JOAN

Joan of Arc," " See also:

• SAINT (lat. sanctus, " holy ")

Saint See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis," " Saint See also:

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

George," " Louis of See also:

• ORLEANS
• ORLEANS, CHARLES, DUKE OF (1391-1465)
• ORLEANS, DUKES OF
• ORLEANS, FERDINAND PHILIP LOUIS CHARLES HENRY, DUKE OF (1810-1842)
• ORLEANS, HENRI, PRINCE
• ORLEANS, HENRIETTA, DUCHESS
• ORLEANS, JEAN BAPTISTE GASTON, DUKE
• ORLEANS, LOUIS
• ORLEANS, LOUIS PHILIPPE JOSEPH
• ORLEANS, LOUIS PHILIPPE ROBERT, DUKE
• ORLEANS, LOUIS PHILIPPE, DUKE OF (1725–1785)
• ORLEANS, LOUIS, DUKE OF (1372–1407)
• ORLEANS, PHILIP I
• ORLEANS, PHILIP II

Orleans," &c.); then followed Just Becquet (1829-1907), the excellent artist who represented the stricken figures of " Ishmael " and " Saint See also:

• SEBASTIAN
• SEBASTIAN, ST

Sebastian "; Christophe (1827-1892), with his symbolical presentments of " The Human See also:

• COMEDY

Comedy," " See also:

• FORTUNE, ROBERT (1813-188o)

Fortune " and " The Supreme See also:

• KISS

Kiss "; See also:

• AUBE

Aube (" Monument to See also:

• GAMBETTA, LEON (1838-1882)

Gambetta," " See also:

• DANTE

Dante," " See also:

• BAILLY, JEAN SYLVAIN (1736-1793)

Bailly," &c.); A . See also:

• LEGROS, ALPHONSE (1837– )

Legros the naturalized See also:

• ENGLISH

English painter and sculptor, who executed some See also:

• FINE

fine fountains for the See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke of See also:

• PORTLAND
• PORTLAND, EARL OF
• PORTLAND, ISLE OF
• PORTLAND, WILLIAM BENTINCK, EARL
• PORTLAND, WILLIAM HENRY CAVENDISH BENTINCK

Portland; Injalbert, returned from Rome (" Hippomene," " See also:

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

Christ on the See also:

• CROSS

Cross," " The See also:

• HERALD (O. Fr. heraut, herault; the origin is uncertain, but O.H.G. heren, to call, or hariwald, leader of an army, have been proposed; the Gr. equivalent is Kddpvi : Lat. praeco, caduceator, fetialis)

Herald ") ; and, younger than these, Desbois (" See also:

• LEDA

Leda "), Dampt (" A Grandmother's Kiss," " Melusine "), See also:

• ALEXANDRE, NOEL (NATALIS ALEXANDER) (1639-1724)

Alexandre See also:

• CHARPENTIER, FRANCOIS (1620-1702)

Charpentier, Carries, Baffler, See also:

• PIERRE

Pierre See also:

• ROCHE, SIR BOYLE, BART

Roche, Madame See also:

• MARIE

Marie Cazin and many more . The disruption of the Salons in 1890 showed very plainly the See also:

• BENT
• BENT (E1. BENI)
• BENT, JAMES THEODORE (1852–1897)

bent of this group, who seceded to the Champ de See also:

• MARS
• MARS (MAYORS, MARMAR, MARSPITER GA MASPITER)
• MARS, MLLE [ANNE FRANCOISE HYPPOLYTE BOUTET] (1779-1847)

Mars, where the leaders were See also:

• DALOU, JULES (1838-1902)

Dalou and See also:

• RODIN, AUGUSTE (184o— )

Rodin, and where Bartholome made an unexpected and original See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance . Foreigners added a contingent of the highest merit, such as the See also:

• AMERICAN

American St Gaudens, and, more especially, the Belgian Constantin See also:

• MEUNIER, CONSTANTIN (1831-1905)

Meunier, affiliated to See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France by their See also:

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

early training, to say nothing of descent . Meunier especially, with his statues and statuettes of labouring figures—miners, puddlers, hammerers, See also:

• GLASS
• GLASS (O.E. glees, cf. Ger. Glas, perhaps derived from an old Teutonic root gla-, a variant of glo-, having the general sense of shining, cf. " glare," " glow ")
• GLASS, STAINED

glass-blowers, and, the like—gave to his See also:

• ART

art a keynote new to France, which found a response even in See also:

• ACADEMIC

academic circles . A broad democratic current was swaying public feeling .

The questions which turn on the status of the working man had become the See also:

• PROGRAMME, or PROGRAM

programme of every party, even of the most conservative . Art being the See also:

• MIRROR (through O. Fr. mirour, mod. miroir, from a sup-posed Late Lat. miratorium, from mirari, to admire)

mirror of society, the novel, the See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama and See also:

• PAINTING

painting devoted themselves to the glorification of a new See also:

• FACTOR (from Lat. facere, to make or do)

factor in modern life, namely, Labour . See also:

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

Sculpture now, in rivalry with painting, through which See also:

• MILLET (Fr. millet; Ital. miglietto, diminutive of miglio= Lat. mille, a thousand, in allusion to its fertility)
• MILLET (or MILE), JEAN FRANCOIS (c. 1642–1679)
• MILLET, FRANCIS DAVIS (1846- )
• MILLET, JEAN FRANCOIS (1814–1875)

Millet had immortalized the See also:

• PEASANT (O. Fr. paysant, Mod. paysan; Lat. pagensis, belonging to the pagus or country; cf. " pagan ")

peasant, and See also:

• COURBET, GUSTAVE (1819-1877)

Courbet the working man, also sought See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

inspiration from such themes; and at the same time the demands of the democratic See also:

• MOVEMENT

movement called for monuments to the memory and deeds of See also:

• GREAT

great or useful men . Sculpture, under this modern tendency, assumed an unexpected aspect; its highest expression is seen in the See also:

• WORK

work of three men509 very dissimilar: Dalou, Rodin, and Bartholome . In See also:

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

Belgium, as has been said, where modern social questions are strongly See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt, Constantin Meunier had interpreted the democratic impulse in a very striking manner, under the See also:

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

influence, no doubt, of J . F . Millet . In France, Jules Dalou (1838-1902), with a broader view, aimed at creating an art which should represent the aspirations and dreams of this phase of society while adhering to the fine old traditions of the art of Louis XIV., stamped with magnificence and grandeur, but applied with graver, simpler and severer feeling to the glorification of the See also:

• PEOPLE

people . He revived the older See also:

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

style of sculpture, giving it greater See also:

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

power and truer dignity by a See also:

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

close study of life, supported by a scholarly and serious technique . In his " See also:

• TRIUMPH (triumphus)

Triumph of the See also:

• REPUBLIC (Lat. respublica, a commonweal or common-wealth)

Republic," and the monuments to " Alphand," to " See also:

• DELACROIX, FERDINAND VICTOR EUGENE (1798-1863)

Delacroix," to " See also:

• FLOQUET, CHARLES THOMAS (1828—1896)

Floquet," to " See also:

• VICTOR
• VICTOR, GAIUS JULIUS (4th cent. A.D.)
• VICTOR, SEXTUS AURELIUS

Victor See also:

• HUGO, GUSTAV VON (1764–1844)
• HUGO, VICTOR MARIE (1802-1885)

Hugo," and others, he strove to create a style apart. from life, to which he is See also:

• ALIEN (Lat. alienus)

alien and indifferent, but based on life, the outcome of the needs of society, the impersonation of its characteristics, the expression in eloquent See also:

• FORM (Lat. forma)

form of its nature, spirit, and moral See also:

• IDIOSYNCRASY (Gr. Ibwavyspavia, peculiar habit of body or temperament; 'lbws, one's own, and viryKpao , blending, tempering, from o-vyiepavvvoOat, to put together, compound, mix)

idiosyncrasy . Treading the same path, though in a different step, is Auguste Rodin . He disregards every contingent fact; even when he takes his subject from legend or history, whether " See also:

• EVE

Eve " or " St 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 the Baptist," " The Age of See also:

• BRONZE

Bronze " or" The Burgesses of See also:

• CALAIS

Calais," " Victor Hugo " or " See also:

• BALZAC, HONORS DE (1790-1850)
• BALZAC, JEAN LOUIS GUEZ DE (1594-1654)

Balzac," he avoids all the conventional details and attributes of his personages to embody the very essence of humanity as expressed in the quivering flesh .

He, like Carpeaux, has gone back, to Dante and to See also:

• MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo to force the " See also:

• GATES, HORATIO (1728-1806)

Gates of See also:

• HELL (0. Eng. hel, a Teutonic word from a root meaning " to cover," cf. Ger. Holle, Dutch hel)

Hell "—the subject chosen for the entrance to the Musee See also:

• DES

des Arts Decoratifs—and to read the deepest mysteries of the human soul . His is the art of suffering, anguish and terror, of cruel and despairing See also:

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

pleasure—a See also:

• WILD, JONATHAN (c. 1682-1725)

wild See also:

• CYCLE
• CYCLE (Gr. KUK)^os, a circle)

cycle of proud and See also:

• BITTER, KARL THEODORE FRANCIS (1867– )

bitter See also:

• MELANCHOLY (Gr. µe)tayXotia, from µEtas, black, and Xotii, bile)

melancholy . All the efforts made in the past to infuse life into Art, all that See also:

• PUGET, PIERRE (1622-1694)

Puget, See also:

• FALCONET, TIENNE MAURICE (1716-1791)

Falconet, See also:

• PIGALLE, JEAN BAPTISTE (1714-1785)

Pigalle and See also:

• HOUDON, JEAN ANTOINE (1740—1828)

Houdon tried to effect, and that Rude, Barye and Carpeaux strove for in their turn—all this was See also:

• PART

part of the endeavour of these their successors, but with a clearer purpose and more conscious aim . By See also:

• GOOD, JOHN MASON (1764-1827)

good hap or See also:

• PROVIDENCE

providence they were greeted on their way by the See also:

• VOICE (Fr. voix, from Lat. vox)

voice of the most devoted apostle who was to preach the new See also:

• DOCTRINE

doctrine, namely, Louis Courajod, the founder of the French sculpture See also:

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

gallery in the Louvre . From his See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

professor's 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 in the See also:

• SCHOOLS

schools he cursed the See also:

• ITALIAN

Italian intruders of the 16th See also:

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

century for having debased French art with " See also:

• NOBLE, SIR ANDREW (1832- )

noble attitudes," extravagant gestures and allegorical antics; and he carried his pupils and his hearers back to the great See also:

• NATIONAL

national See also:

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

period of French sculpture, which, in the dark See also:

• MEDIEVAL

medieval ages, had created the splendid stone images of the noble French cathedrals . A marked individuality now appeared in protest against academic traditions—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 Bartholome . He, after beginning as a painter, was tempted by sculpture, more particularly, in the first instance, by a wish to execute a monument to a comrade he had loved . From this first effort, carried out in his studio, without any school training, but with a See also:

• FIRM

firm determination to 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 technical difficulties and fulfil his dream, followed a broader purpose to execute a great expressive and vitally human work which should See also:

• APPEAL

appeal to the See also:

• HEART
• HEART, LUNG

heart of the populace . From this arose the See also:

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

idea of a "Monument to the Dead " in Pere Lachaise . Bartholome had started without a See also:

• GUIDE (in Mid. Eng. gyde, from the Fr. guide; the earlier French form was guie, English " guy," the d was due to the Italian form guida; the ultimate origin is probably Teutonic, the word being connected with the base seen in O. Eng. witan, to know)

guide, but he instinctively turned to the great tradition of See also:

• NORTHERN

Northern See also:

• CHRISTIANITY

Christianity, which his mind subsequently associated with that of the antique See also:

• RACE

race who had ever done most 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 to See also:

• DEATH

Death, the people of See also:

• EGYPT

Egypt . Thus two currents contended, as it were, for the guidance of French sculpture, each claiming a descent from the historic past; one inheriting the classic tradition of the See also:

• RENAISSANCE, THE

Renaissance, of Latin and Hellenic origin, to which the French school, since the time of See also:

• JEAN

Jean See also:

• GOUJON, JEAN (c. 1520-c. 1566)
• GOUJON, JEAN MARIE CLAUDE ALEXANDRE (1766-1795)

Goujon, has owed three centuries of See also:

• GLORY (through the O. Fr. glorie, modern gloire, from Lat. gloria, cognate with Gr. KXebs, abets)

glory . This is the See also:

• PAGAN
• PAGAN (Lat. paganus, of or belonging to a pagus, a canton, county district, village, commune)

pagan art of the See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

South; its marks are See also:

• BALANCE (derived through the Fr. from the Late Lat. bilantia, an apparatus for weighing, from bi, two, and lanx, a dish or scale)

balance, reasonableness and lucidity; it was the composer of apotheoses, the preserver of the ideal of beauty .

The other, reverting, after centuries of resignation or of impotent See also:

• REBELLION

rebellion, to the genuine French past which produced the noble See also:

• WORKS

works of the 11th, 12th and 13th centuries—to the tradition of See also:

• FLANDERS (Flem. Vlaanderen)

Flanders and of See also:

• BURGUNDY

Burgundy, which was smothered in the 16th century by Italian art—to the See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian and naturalistic art of the See also:

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

North, which renounced the canons of antiquity, and expressed itself by methods essentially human and mutable, living and suffering-appeals to all mankind . The immediate result of this antagonism was no doubt a period of agitation . The outcome, on the whole, is confusion . Still, however vexatious the See also:

• CHAOS

chaos of form and movement may be, it is Life, a true reflection of the tumult of modern thought in its complexity and bewilderment; it is the reawakening of sculpture . Monumental and decorative statuary found an extended See also:

• SPHERE (Gr. vclsa?pa, a ball or globe)

sphere through the See also:

• FOUNDING (from Lat. fundere, to pour)

founding or restoration of public buildings after the events of 1870 . Memorial sculpture obtained See also:

• CONSTANT, BENJAMIN (1845-1902)

constant employment on patriotic or republican monuments erected in various parts of France, and not yet See also:

• COMPLETE

complete . Illustrious masters have done themselves honour in such work . Dalou, See also:

• MERCIE, MARIUS JEAN ANTONIN (1845– )

Mercie, Barrias, See also:

• FALGUIERE, JEAN ALEXANDRE JOSEPH (1831-1900)

Falguiere, and many others less famous executed monuments to the glory of the Republic or in memory of the national See also:

• DEFENCE
• DEFENCE (Lat. defendere, to defend)

defence, and figures of Joan of Arc as a See also:

• SYMBOL (Gr. o-uµ(3oXov, a sign)

symbol of patriotism, &c., as well as numberless statues erected in the See also:

• MARKET (Lat. mercatus, trade or place of trade)

market-places of humble towns, or even of villages, in See also:

• COMMEMORATION

commemoration of national or See also:

• LOCAL

local celebrities: politicians, soldiers, savants and artists—See also:

• THIERS

Thiers, Gambetta, Jules See also:

• FERRY (from the same root as that of the verb " to fare," to journey or travel, common to Teutonic languages, cf. Ger. fahren; it is connected with the root of Gr. 7ropos, way, and Lat. portage, to carry)
• FERRY, JULES FRANCOIS CAMILLE (1832—1893)

Ferry, See also:

• CARNOT, LAZARE EIPPOLYTE (18ot-1888)
• CARNOT, MARIE FRANCOIS SADI (1837-1894)
• CARNOT, SADI NICOLAS LEONHARD (1796-1832)

Carnot, See also:

• PASTEUR, LOUIS (1822-1895)

Pasteur, See also:

• CLAUDE, JEAN (1619-1687)

Claude See also:

• BERNARD, CHARLES DE
• BERNARD, CLAUDE (1813-1878)
• BERNARD, JACQUES (1658--1718)
• BERNARD, MOUNTAGUE (1S2o—1882)
• BERNARD, SAINT
• BERNARD, SAINT (Iogo-1153)
• BERNARD, SIMON (1779—1839)
• BERNARD, SIR THOMAS, BART

Bernard, Delacroix, See also:

• INGRES, JEAN AUGUSTE DOMINIQUE (178o-1867)

Ingres, See also:

• COROT

Corot, Millet, Victor Hugo, Lamartine and many more . The See also:

• GARDEN (from O. Fr. garden, mod. Fr. jardin; this, like our words " garth," a paddock attached to a building, and " yard," comes from a Teutonic word for an enclosure which appears in Gothic as gards and O. H. Ger. gart, cf. Dutch gaarde and Ger. .garten)

garden of the Luxembourg alone has become a sort of Elysian See also:

• FIELDS, JAMES THOMAS (1817-1881)

Fields, where almost every day some fresh statue rises up in memory of contemporary French poets . The funereal style of monument, in which French art was at all times conspicuously distinguished, was also revived in sympathy with that See also:

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

general sentiment which regards reverence for the dead as a See also:

• RELIGION
• RELIGION, FOLKLORE, CUSTOM

religion, and gave rise, as we have seen, to some splendid work by See also:

• CHAPU

Chapu (the monuments to See also:

• REGNAULT, HENRI (1843-1871)
• REGNAULT, HENRI VICTOR (1810-1878)
• REGNAULT, JEAN BAPTISTE (1754-1829)

Regnault, to See also:

• DANIEL
• DANIEL (DANIL)
• DANIEL, BOOK
• DANIEL, GABRIEL (1649-1728)

Daniel Stern, of Mgr See also:

• DUPANLOUP, FELIX ANTOINE PHILIBERT (1802–1878)

Dupanloup); by See also:

• PAUL
• PAUL (PAULUS)

Paul See also:

• DUBOIS
• DUBOIS, FRANCOIS CLEMENT THEODORE (1837– )
• DUBOIS, GUILLAUME (1656–1723)
• DUBOIS, JEAN ANTOINE (1765-1848)
• DUBOIS, PAUL (1829-1905)
• DUBOIS, PIERRE (c. 1250-c. 1312)

Dubois (the monument to General See also:

• LAMORICIERE, CHRISTOPHE LEON LOUIS JUCHAULT DE (18o6–1865)

Lamoriciere); by Mercie (the tombs of See also:

• BAUDRY, or BALDERICH, OF BOURGUEIL (1046 or 1047-r Igo)
• BAUDRY, PAUL JACQUES

Baudry, of See also:

• CABANEL, ALEXANDRE (1823-1889)

Cabanel, of 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 Louis Philippe and 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 Marie Amelie) ; by Dalou (the monuments to Victor Noir, to Floquet and See also:

• BLANQUI, JEROME ADOLPHE (1798-1854)
• BLANQUI, LOUIS AUGUSTE (18o5-1881)

Blanqui) ; and by many more, with Bartholome at their 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 . The See also:

• CEMETERY (Gr. Korrsnri7pwv, from Hoiµav, to sleep)

cemetery of Pere Lachaise is indeed one of the best spots to visit for a See also:

• REVIEW (Fr. revue, from revoir, to see again, Lat. re and videre)

review of contemporary sculpture . While man has been diligently studied in every class of sculpture, more particularly in portrait sculpture, which finds a more See also:

• PRACTICAL

practical See also:

• ADAPTATION (from Lat. adaptare. to fit to)

adaptation to daily uses by a bust or small statue, such as See also:

• THEODORE
• THEODORE (602-690)
• THEODORE (Fedor) GRIGORIEVICH ORLOV, COUNT (1741–1796)
• THEODORE (Rus. Fedor, or Feodor)

Theodore See also:

• RIVIERE, BRITON (1840- )

Riviere was the first to produce, by medallions, or by medals, closely related to statuary, nature now holds a See also:

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

place in the sculpture of animals—a place created, so to say, by Barye and carried on by Fremiet, Mene, See also:

• CAIN

Cain, and, with even greater vigour and a closer study of See also:

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

character, by Gardet (" Panthers," in the Luxembourg, " Lions " and " See also:

• DOGS, ISLE OF

Dogs," at See also:

• CHANTILLY

Chantilly, &c.); See also:

• PETER
• PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
• PETER (PEDRO)
• PETER, EPISTLES OF
• PETER, ST

Peter, Valton, Le Duc, Isidore See also:

• BONHEUR [MARIE ROSALIE], ROSA (1822-1899)

Bonheur, Peyrol, Cordier, Surand, Virion, Write and others .

Finally, the class of la petite sculpture—the statuette and small group—after See also:

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

long hesitation in the hands of the two men who first cultivated it, Fremiet and the painter Ger6me, made a sudden start into life, due in no small measure to the success attending the charming and pathetic statuettes of Theodore Riviere (" Salammb6 and Malth6," " Ultimum feriens," " 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 VI. and Odette," " The See also:

• VOW (Lat. votum, vow, promise: cf. VOTE)

Vow," " Fra See also:

• ANGELICO, FRA (1387–1455)

Angelico," " The Shunammite Woman," &c.) . Riviere was wont to use—as Ger'eme did in his " See also:

• BELLONA (originally DUELLONA)

Bellona," and subsequently in his small " Tamerlane "—materials of various See also:

• COLOURS, MILITARY

colours, and even See also:

• PRECIOUS (O. Fr. precios, mod. precieux, Lat. pretiosus, of high value or price, pretium)

precious stones and metals, which he employed with great effect . A whole class of art was not, indeed, originated, but strongly viyified by this method of treatment . See also:

• CLAUDIUS
• CLAUDIUS [TIBERIUS CLAUDIUS DRUSUS NERO GERMANICUS]
• CLAUDIUS, MARCUS AURELIUS
• CLAUDIUS, MATTHIAS (174o-1815)

Claudius Marioton and Dampt, who always affected small and precious work, See also:

• AGATHON (c. 448–400 B.c.)

Agathon Leonard (e.g. a table decoration of " Dancers " in Sevres See also:

• CHINA

china), See also:

• LAPORTE, ROLAND (1675-1704)

Laporte Blairsy, Ferrary, See also:

• LEVASSEUR, PIERRE EMILE (1828– )

Levasseur, Belloc, E . See also:

• LAFONT, PIERRE CHERI (1797-1873)

Lafont, &c., utilized every See also:

• PROCESS

process and every See also:

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

kind of material—See also:

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

marble and See also:

• METAL
• METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)

metal, See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood and See also:

• IVORY (Fr. ivoire, Lat. ebur)
• IVORY, SIR JAMES (1765-1842)

ivory, enchanced by the most costly goldsmiths' work and gems . It would seem now that sculpture, thus endowed with new ideas and the most various means of expression, and adaptedto every comprehension and every situation, was fully on a level with the other graphic arts . What it had chiefly to fear was, in fact, the See also:

• WEALTH

wealth of means at its disposal, and its competition or collaboration with other arts . And this the later generations seem to have understood—the men who were the outcome of the two conflicting traditions: 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 and moderation on one See also:

• SIDE
• SIDE (mod. Eski Adalia)

side; character, life, and emotion on the other . Though very variously inspired by the facts or ideals of contemporary life, such young artists as Jean Boucher ("Evening," " The Antique and the Modern "), See also:

• ROGER (d. 1139)
• ROGER (d. 1181)

Roger Bloche (" Childhood," "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 "), Derre, Boverie, Hippolyte See also:

• LEFEBVRE, PIERRE FRANCOIS JOSEPH
• LEFEBVRE, TANNEGUY (TANAQUILLUS FABER) (1615-1672)

Lefebvre, Desruelles, Gaston Schnegg, Pierre Roche, See also:

• FIX, THEODORE (180o-1846)

Fix-Masseau, Couteilhas, and others seem to show that French sculpture is about to assume a solid position on a See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound See also:

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

foundation, while not ceasing to keep in' See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch with the tastes, aspects and needs--in See also:

• SHORT, FRANCIS JOB (1857– )

short, the ideal—of the day . Thus, while painting engaged the See also:

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

attention of the public by. its new departures, its daring, and its very extravagance, sculpture, which by the conditions of its technique is less exposed to transient influences, has, since the close of the 19th century, See also:

• DEVELOPED

developed normally but with renewed vigour . If the brilliancy of the school was not so conspicuous and its works gave rise to little discussion or See also:

• SPECULATION

speculation, it is not the less certain that at the beginning of the 20th century the younger generation offered the encouraging prospect of a compact group of sculptors who would probably leave works of permanent merit . Yet sculpture too had gone through a crisis, and been deeply stirred by the currents which so violently agitated all modern thought .

We have already spoken of its " See also:

• STATE
• STATE, GREAT OFFICERS OF

state of mind," torn between the noble traditions of a glorious past which See also:

• LINK

link it to the antique, and the craving to render in its own See also:

• MEDIUM

medium, with greater freedom and See also:

• FULLER, ANDREW (1954-1815)
• FULLER, GEORGE (1822—1884)
• FULLER, M
• FULLER, MARGARET, MARCHIONESS
• FULLER, MELVILLE WESTON (1833-1910)
• FULLER, THOMAS (16o8-1661)
• FULLER, WILLIAM (1670--c. 1717)

fuller force of expression, all those unuttered meanings of the universe. and of contemporary thought which the other arts—painting, literature, the drama, and even See also:

• MUSIC

music—have striven to identify and to See also:

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

record . But the acute See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage of tentative and incoherent effort seemed in 1910 to be past; inspiration had returned. to its normal channel and purely plastic expression . The powerful individuality which.had the most vital influence on modern sculpture in France, and, it may be added, on many See also:

• FOREIGN

foreign schools, is that of Rodin . During the ten years which followed the Great See also:

• EXHIBITION

Exhibition 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 (1900) and the See also:

• SPECIAL

special display of his works, his reputation spread throughout the countries of the See also:

• WORLD

world and his fame was fully established . The state liberally contributed to his triumph by commissions and purchases, and in the Luxembourg Gallery may be seen about five and twenty of his finest works . His productiveness was unbroken, but it was chiefly evolved in relation to his first great conception, " The See also:

• GATE

Gate of Hell "; its leading features were taken up again, modified, See also:

• EXPANDED

expanded, and added to by their creator . But besides the numberless embodiments of voluptuous, impassioned, or pathetic ideas—of which there is need to name only " See also:

• LES

Les ombres " (the Shades) and " Le penseur " (the Thinker), now placed in front of the steps of the See also:

• PANTHEON (Lat. pantheum or pantheon; Gr. srav& ov, all-holy, from re, s, all, and Oeor god)

Pantheon; several monuments, as for instance to Victor Hugo, to See also:

• WHISTLER, JAMES ABBOTT

Whistler, and to Puvis de Chavannes; besides a large number of portrait-busts . Enthusiastic See also:

• LITERARY

literary men, and the critics of the day who upheld Rodin in his struggles, more from an See also:

• INSTINCT

instinct of pugnacity and a love of See also:

• PARADOX (Gr. treat, beyond, contrary to, Sofia, opinion)

paradox than from conviction and real comprehension of his prodigious and fertile See also:

• GENIUS (from Lat. genere, gignere)

genius, have tended to give him a poetic and prophetic aspect, and make him appear as a sort of Dante in sculpture . Though his art is vehement in expression, and he has revelled in the presentment of agonized suffering and the poignant melancholy of See also:

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

passion, it is by the methods of Michelangelo and essentially plastic treatment than power of modelling . His modelling is indeed the most wonderful that modern sculpture has to show, the most purely plastic technique, and this characteristic is always evident in his work, combined with reverence for the antique . Rodin made his See also:

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

home in the midst of See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek statues, a museum of the antique which he collected at See also:

• MEUDON

Meudon; and some of his own See also:

• LATE

late work, such as the male torsos which he exhibited at .the See also:

• SALON

Salon, has a See also:

• DIRECT

direct relationship to the See also:

• MARBLES

marbles of the See also:

• PARTHENON (HapOevwv)

Parthenon—the Ilyssus and the See also:

• THESEUS

Theseus . It is the fuller understanding of these characteristics of Rodin's work, apart from some exaggeration of expression to which they have given rise, that has had the most valuable influence on the younger generation .

Nothing need be particularly noted as to the development of masters long since recognized, whatever See also:

• BRANCH (from the Fr. branche, late Lat. branca, an animal's paw)

branch of the school they belong to; such as Fremiet, Mercie, Marqueste, Injalbert, Saint-Marceaux and others already spoken of . The very distinct individuality of Bartholome, after asserting itself in his crowning effort the " Monument of the Dead," found very delicate expression in numerous works on a more modest See also:

• SCALE
• SCALE (1) A

scale, nude figures, monumental See also:

• GROUPS
• GROUPS, THEORY

groups, and portraits . His monument to Jean-Jacques See also:

• ROUSSEAU, JACQUES (1633-1693)
• ROUSSEAU, JEAN BAPTISTE (1671-1741)
• ROUSSEAU, JEAN JACQUES (1712-1778)
• ROUSSEAU, PIERRE ETIENNE THEODORE (1812–1867); French painter of the Barbizon school, was born in Paris on the 15th of April 1812, of a bourgeois family which included one or two artists. At first he received a business training, but soon displayed aptitu

Rousseau for the Pantheon (1909) is a fine example of his art . We must not omit, after the See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder generation, the name of See also:

• ALFRED

Alfred Lenoir, who particularly distinguished himself in portrait-statues by dealing successfully with the difficult problem of modern See also:

• DRESS (from the Fr. dresser, to set out, arrange, formed from Lat. directus, arranged, dirigere, to direct, arrange)

dress, as in the monuments of See also:

• BERLIOZ, HECTOR (1803-1869)

Berlioz, to Cesar See also:

• FRANCK
• FRANCK, CESAR (1822-1890)
• FRANCK, or FRANK [latinized FRANCUS], SEBASTIAN (c. 1499-c. 1543)

Franck, to See also:

• MARSHAL (med. Lat. marescalcus, from O.H.Ger. marah, horse, and scalc, servant)

Marshal See also:

• CANROBERT, FRANCOIS CERTAIN (1809–1895)

Canrobert, in the bust of M . See also:

• MOREAU, GUSTAVE (1826-1898)
• MOREAU, HEGESIPPE (18ro-1838)
• MOREAU, JEAN VICTOR MARIE (1763-1813)

Moreau, &c.; nor that of Gustave Michel, a spirit loftily inspired in his decorative compositions and figures for galleries, " Le reve " (the Dream), " La pensee " (Thought)—both in the Luxembourg Gallery,—" Au soir de la See also:

• VIE

vie " (in the Evening of Life), and " Automne." H . Greber, after some realistic works, such as " Le Grisou " (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-See also:

• DAMP

damp) and portrait-statuettes, as the tiny full-length figures of " Fremiet " and of " Gevine," distinguished himself in the Salon of 1909 by a statue of " See also:

• NARCISSUS

Narcissus " at the edge of a See also:

• FOUNTAIN (Late Lat. fontana, from ions, a spring)

fountain-See also:

• POOL

pool, very elegant and Italian in feeling . And among the younger men of the school we must name Verlet, Gasq Vermare, Ernest Dubois, and Larche, all employed on important works . It must indeed be said that in France, apart from the select committees which have, with more or less success, peopled provincial towns with monumental statues, the See also:

• GOVERNMENT
• GOVERNMENT (0. Fr. governement, mod. gouvernement, O. Fr. governer, mod. gouverner, from Lat. gubernare, to steer a ship, guide, rule; cf. Gr. xv(3epvav)

government has always taken an See also:

• INTEREST

interest in encouraging the art of sculpture . Any considerable work of that class could hardly be undertaken without its support . The former See also:

• COUNCIL (Lat. concilium, from cum, together, and the root cal, to call)

Council of Fine Arts in Paris foresaw the application of sculpture to the decoration of the 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)