See also:

• SIR

SIR 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 QUILLER See also:

• SIR WILLIAM QUILLER ORCHARDSON (1835-1910)

ORCHARDSON (1835-1910)  , See also:

• BRITISH

British painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• EDINBURGH

Edinburgh, where his See also:

• FATHER

father was engaged in business, in 1835 . " See also:

• ORCHARDSON, SIR WILLIAM QUILLER (1835-1910)

Orchardson " is a variation of " Urquhartson," the name of a Highland See also:

• SEPT

sept settled on See also:

• LOCH, HENRY BROUGHAM LOCH, 1ST BARON (1827-1900)

Loch Ness, from which the painter is descended . At the See also:

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

age of fifteen he was sent to the Trustees' See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy, then under the mastership of See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert 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 See also:

• LAUDER
• LAUDER, SIR THOMAS DICK
• LAUDER, WILLIAM (d. 1771)

Lauder, where he had as See also:

• FELLOW

fellow-students most of those who afterwards See also:

• SHED

shed lustre on the Scottish school of the second See also:

• HALF

half of the 19th See also:

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

century . As a student he was not especially precocious or industrious, but his See also:

• WORK

work was distinguished by a See also:

• PECULIAR

peculiar reserve, by an unusual determination that his See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand should be subdued to his See also:

• EYE
• EYE (O. Eng. edge, Ger. Auge; derived from an Indo-European root also seen in Lat. oc-ulus, the organ of vision (q.v.)

eye, with the result that his See also:

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

early things reach their own ideal as surely as those of his maturity . By the 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 he was twenty, Orchardson had mastered the essentials of his See also:

• ART

art, and had produced at least one picture which might be accepted as representative, a portrait of Mr 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 Hutchison, the sculptor . For seven years after this he worked in Edinburgh, some of his See also:

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

attention being given to " See also:

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

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," his practice in which had been partly acquired at a 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 See also:

• CLUB (connected with " clump ")

club, which included among its members Mr See also:

• HUGH
• HUGH, ST

Hugh See also:

• CAMERON, JOHN (1579–1623)
• CAMERON, RICHARD (1648?–168o)
• CAMERON, SIMON (1799-1889)
• CAMERON, VERNEY LOVETT (1844–1894)

Cameron, Mr 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 See also:

• GRAHAM, SIR GERALD (1831–1899)
• GRAHAM, SIR JAMES ROBERT GEORGE
• GRAHAM, SYLVESTER (1794-1851)
• GRAHAM, THOMAS (1805-1869)

Graham, Mr See also:

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

George See also:

• HAY
• HAY (a word common in various forms to Teutonic languages; cf. Ger. Heu, Dutch hooi; the root from which it is derived, meaning " to cut," is also seen in " to hew "; cf. " hoe ")
• HAY, GEORGE (1729—1811)
• HAY, GILBERT
• HAY, JOHN (1838–1905)

Hay, Mr M'Taggart, Mr John Hutchison and others . In 1862 he came to See also:

• LONDON

London, and established himself in 37 See also:

• FITZROY
• FITZROY, ROBERT (1805-1865)

Fitzroy Square, where he was joined twelve months later by his friend John See also:

• PETTIE, JOHN (1839-1893)

Pettie . The same 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 was afterwards inhabited by See also:

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

Ford Madox See also:

• BROWN
• BROWN, CHARLES BROCKDEN (1771-181o)
• BROWN, FORD MADOX (1821-1893)
• BROWN, FRANCIS (1849- )
• BROWN, GEORGE (1818-188o)
• BROWN, HENRY KIRKE (1814-1886)
• BROWN, JACOB (1775–1828)
• BROWN, JOHN (1715–1766)
• BROWN, JOHN (1722-1787)
• BROWN, JOHN (1735–1788)
• BROWN, JOHN (1784–1858)
• BROWN, JOHN (1800-1859)
• BROWN, JOHN (1810—1882)
• BROWN, JOHN GEORGE (1831— )
• BROWN, ROBERT (1773-1858)
• BROWN, SAMUEL MORISON (1817—1856)
• BROWN, SIR GEORGE (1790-1865)
• BROWN, SIR JOHN (1816-1896)
• BROWN, SIR WILLIAM, BART
• BROWN, THOMAS (1663-1704)
• BROWN, THOMAS (1778-1820)
• BROWN, THOMAS EDWARD (1830-1897)
• BROWN, WILLIAM LAURENCE (1755–1830)

Brown . ' The See also:

• ENGLISH

English public was not immediately attracted by See also:

• ORCHARD (O. Eng. ort-geard, later orceard; a combination apparently of Lat. hortus, garden, and " yard " or " Barth ")

Orchard-son's work . It was too quiet to compel attention at the Royal Academy, and Pettie, Orchardson's junior by four years, stepped before him for a time, and became the most readily accepted member of the school . Orchardson confined himself to the simplest themes and designs, to the most reticent schemes of See also:

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

colour . Among his best pictures during the first eighteen years after his See also:

• MIGRATION

migration to London were " The See also:

• CHALLENGE (O. Fr. chalonge, calenge, &c., from Lat. calumnia, originally meaning trickery, from calvi, to deceive, hence a false accusation, a " calumny ")

Challenge," " See also:

• CHRISTOPHER, SAINT (Christophorus, Christoferus)

Christopher Sly," " 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 of the Swords," " Conditional See also:

• NEUTRALITY

Neutrality," " Hard See also:

• HIT

Hit "—perhaps the best of all—and protraits of Mr 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:

• MOXON, EDWARD (18o1-1858)

Moxon, his father-in-See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law, and of his own wife .

In all these See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• JUDGMENT

judgment and a refined See also:

• IMAGINATION

imagination were See also:

• UNITED

united to a restrained but consummate technical dexterity . During these same years he made a few drawings on See also:

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

wood, turning to See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account his early facility in this mode . The See also:

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

period between 1862 and 188o was one of quiet ambitions, of a See also:

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

character istic insouciance, of See also:

• LIFE

life accepted as a thing of many-balanced interests rather than as a See also:

• MATTER

matter of See also:

• STURM
• STURM, JULIUS (1816-1896)

sturm and drang . In 1865 Pettie married, and the Fitzroy Square See also:

• MENAGE, GILLES (1613-1692)

menage was broken up . In 1868 Orchardson was elected A.R.A . In 1870 he spent the summer in See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice, travelling See also:

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

home in the early autumn through a See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France overrun by the See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German armies . In 1873 he married See also:

• MISS

Miss See also:

• HELEN

Helen Moxon; and in 1877 he was elected to the full member-See also:

• SHIP

ship of the Royal Academy . In this same See also:

• YEAR

year he finished See also:

• BUILDING

building a house at Westgate-on-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, with an open See also:

• TENNIS (sometimes called royal tennis, and, in America, court tennis)

tennis-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 and a studio in 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 . He was knighted in See also:

• JUNE

June 1907, and died in London on the 13th of See also:

• APRIL

April 1910 . Orchardson's wider popularity See also:

• DATES

dates from 1881 . To that year's Academy he sent the large " On See also:

• BOARD (O. Eng. bord)

Board the See also:

• BELLEROPHON, or BELLEROPHONTES

Bellerophon," which now hangs in the See also:

• TATE, JAMES (1771-1843)
• TATE, NAHUM (1652-1715)
• TATE, RALPH (1840-1901)
• TATE, SIR HENRY, BART

Tate See also:

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

Gallery . Its success with the public was See also:

• GREAT

great and instantaneous, and for ten or twelve years Orchard-son's work was more eagerly looked for at the Academy than that of any one else .

He followed up the " Bellerophon " with the still finer " See also:

• VOLTAIRE, FRANCOIS MARIE AROUET DE (1694–1778)

Voltaire," now in the Kunsthalle at See also:

• HAMBURG

Hamburg . Technically, the " Voltaire " is, perhaps, his high-See also:

• WATER

water See also:

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

mark . See also:

• FINE

Fine both in See also:

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

design and colour, it is carried out with a supple dexterity of hand which has scarcely been equalled in the British school since the See also:

• DEATH

death of See also:

• GAINSBOROUGH
• GAINSBOROUGH, THOMAS (1727-1788)

Gainsborough . The subject is not entirely happy, for it does not explain itself, but requires a previous knowledge on the See also:

• PART

part of the spectator of how Voltaire was beaten by the servants of the See also:

• CHEVALIER, ALBERT (1861– )
• CHEVALIER, MICHEL (1806-1879)
• CHEVALIER, ULYSSE (1841– )

Chevalier de See also:

• ROHAN
• ROHAN, HENRI
• ROHAN, LOUIS RENE EDOUARD, CARDINAL DE (1734-1803)

Rohan-See also:

• CABOT, GEORGE (1751–1823)
• CABOT, JOHN [GIOVANNI CABOTO] (1450-1498)

Cabot, and how the duc de See also:

• SULLY, JAMES (1842– )
• SULLY, MAXIMILIEN DE BETHUNE
• SULLY, THOMAS (1783—1872)

Sully failed to avenge his See also:

• GUEST (a word common to Teutonic languages; cf. Ger. Gast, and Swed. gust; cognate with Lat. hostis, originally a stranger, hence enemy; cf. " host " )
• GUEST, EDWIN (1800–188o)

guest . The painter was attracted by the opportunity it gave for effective opposition of character, See also:

• LINE

line, colour and See also:

• MOVEMENT

movement . The " Voltaire " was at the Academy of 1883; it was followed, in 1884, by the " Mariage de convenance," perhaps the most popular of all Orchardson's pictures; in 1885, by " The See also:

• SALON

Salon of Madame See also:

• RECAMIER, JEANNE FRANCOISE JULIE ADELAIDE (1777-1849)

Recamier "; in 1886, by " After," the sequel to the " Mariage de convenance," and " A See also:

• TENDER

Tender Chord," one of his most exquisite productions; in 1887, by " The First See also:

• CLOUD (from the same root, if not the same word, as " clod," a word common in various forms to Teutonic languages for a mass or lump; it is first applied in the usual sense in the late 13th century; the Anglo-Saxon chid is only used in the sense of " a ma

Cloud "; in 1888, by " Her See also:

• MOTHER

Mother's See also:

• VOICE (Fr. voix, from Lat. vox)

Voice "; and in 1889, by " The 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 See also:

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

Duke," a See also:

• CANVAS

canvas on which he returned to much the same pictorial 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 as that of the " Voltaire." Subsequently he exhibited, a See also:

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

series of pictures in which fine pictorial use was made of the See also:

• FURNITURE (from " furnish," Fr. fournir)

furniture and costumes of the early years of the 19th century, the subjects, as a See also:

• RULE

rule, being only just enough to suggest a See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title: " An See also:

• ENIGMA (Gr. aTvcyµa)

Enigma," " A Social Eddy," " Reflections," " If See also:

• MUSIC

music be the See also:

• FOOD
• FOOD (like the verb " to feed," from a Teutonic root, whence O. Eng. foda; cf. " fodder "; connected with Gr. lrareicOae, to feed)

food of love, See also:

• PLAY

play on!" " Music, when sweet voices See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

die, vibrates on the memory," " Her First See also:

• DANCE
• DANCE (Fr. danse; of obscure origin, connected with Old High Ger. danson, to stretch)

Dance,"—in these, opportunities are made to introduce old harpsichords, spinets, early pianofortes, See also:

• EMPIRE

Empire chairs, sofas and tables, See also:

• AUBUSSON
• AUBUSSON, PIERRE

Aubusson carpets, See also:

• SHORT, FRANCIS JOB (1857– )

short-waisted gowns, delicate in material and See also:

• PRIMITIVE

primitive in See also:

• ORNAMENT (Lat. ornare, to adorn)

ornament . Between such things and Orchardson's methods as .a painter the sympathy is See also:

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

close, so that the best among them, " A Tender Chord," for instance, or " Music, when sweet voices die," have a rare distinction . As a portrait-painter Orchardson must be placed in the first class . His portraits are not numerous, but among them are a few which rise to the highest level reached by See also:

• MODERN

modern art . " 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 Baby," a picture, connecting subject-See also:

• PAINTING

painting with See also:

• PORTRAITURE

portraiture, is a masterpiece of design, colour and broad See also:

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

execution . " Mrs See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph," " Mrs Ralli," " See also:

• SIR

Sir See also:

• ANDREW (Gr. 'AvBp4as, manly)
• ANDREW, JOHN ALBION (1818-1867)

Andrew See also:

• WALKER, FRANCIS AMASA (1840-1897)
• WALKER, FREDERICK (184o--1875)
• WALKER, GEORGE (c. 1618-169o)
• WALKER, HENRY OLIVER (1843— )
• WALKER, HORATIO (1858– )
• WALKER, JOHN (1732—1807)
• WALKER, OBADIAH (1616-1699)
• WALKER, ROBERT (d. c. 1658)
• WALKER, ROBERT JAMES (1801-1869)
• WALKER, SEARS COOK (1805—1853)
• WALKER, THOMAS (1784—1836)
• WALKER, WILLIAM (1824-1860)

Walker, See also:

• BART, JEAN (1651-1702)

Bart.," " Charles Moxon, Esq.," " Mrs Orchardson," " Conditional Neutrality " (a portrait of Orchardson's eldest son as a boy of six), " 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 Rookwood," " The See also:

• PROVOST (through O. Fr. prevost, mod. prevot, Lat. praepositus, set over, from praeponere, to place in front)

Provost of See also:

• ABERDEEN
• ABERDEEN, GEORGE GORDON, 1ST EARL O (1637-1720)
• ABERDEEN, GEORGE HAMILTON GORDON, 4TH EARL

Aberdeen," and, above all, " Sir See also:

• WALTER, HUBERT (d. 1205)
• WALTER, JOHN (1738/9-1812)

Walter See also:

• GILBEY, SIR WALTER, 1ST BART

Gilbey, Bart.," would all deserve a See also:

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

place in any 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 the best portraits of the 19th century . In this See also:

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

branch of art the " Sir Walter Gilbey " may fairly be called the painter's masterpiece, although the sumptuous full-length of the Scottish provost, in his See also:

• ROBES (Fr. robe, Late Lat. roba, raupa, meaning (1)

robes, runs it closely .

The scheme of colour is reticent; had the picture been exhibited at the time of the See also:

• BOER

Boer See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

War of 'goo the colour would have been called See also:

• KHAKI (from Urdu khak, dust)

khaki; the design is See also:

• SIMPLE

simple, uniting nature to art with a rare felicity; and the likeness has been found satisfactory by the sitter's See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends . The most important See also:

• COMMISSION (from Lat. commissio, committere)

commission ever received by Orchardson as a portrait-painter was that for a See also:

• GROUP

group of Queen See also:

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

Victoria, with her son (afterwards 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 See also:

• EDWARD

Edward VII.), See also:

• GRANDSON (Ger. Grandsee)

grandson, and great-grandson, to be painted on one canvas for the Royal Agricultural Society . The painter hit upon a happy notion for the bringing of the four figures together, and as time goes on and the picture slowly turns into See also:

• HISTORY

history, its merit is likely to be better appreciated . He continued painting to the end of his life, and had three portraits ready for the Royal Academy in 191o . Orchardson's method was that of one who worked under a creative, decorative and subjective impulse, rather than under one derived from a wish to observe and See also:

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

record . His See also:

• AFFILIATION (from Lat. ad filiare, to adopt as a son)

affiliation is with See also:

• WATTEAU, ANTOINE (1684-1721)

Watteau and Gainsborough, rather than with those who would See also:

• BASE

base all pictorial art on a keen eye for actuality and " value." Among See also:

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

French painters his pictures have excited particular admiration . (W .