See also:

• PAUL
• PAUL (PAULUS)

PAUL See also:

• FALCONER, HUGH (18o8–1865)
• FALCONER, WILLIAM (1732–1769)

FALCONER See also:

• POOLE
• POOLE, MATTHEW (1624-1699)
• PAUL FALCONER POOLE (1806-1879)
• POOLE, REGINALD STUART (1832-1895)

POOLE (1806-1879)  , See also:

• ENGLISH

English painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• BRISTOL
• BRISTOL, EARLS AND MARQUESSES OF
• BRISTOL, GEORGE DIGBY, 2ND EARL OF1 (1612-1677)
• BRISTOL, JOHN DIGBY, 1ST EARL OF 6 (1580-1653)

Bristol in 18o6 . Though self-taught his See also:

• FINE

fine feeling for See also:

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

colour, poetic sympathy and dramatic See also:

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

power gained for him a high position among See also:

• BRITISH

British artists . He exhibited his first See also:

• WORK

work in the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy at the See also:

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

age of twenty-five, the subject being " The Well," a See also:

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

scene in See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples . There was an See also:

• INTERVAL

interval of seven years before he next exhibited his " Farewell, Farewell " in 1837, which was followed by the " Emigrant's Departure," " See also:

• HERMANN, JOHANN GOTTFRIED JAKOB (1772–1848)
• HERMANN, KARL FRIEDRICH (1804–1855)

Hermann and Dorothea " and " By the See also:

• WATERS, TERRITORIAL

Waters of See also:

• BABYLON (mod. Hillah)

Babylon." In 1843 his position was made secure by his " See also:

• SOLOMON, ODES OF
• SOLOMON, PSALMS OF

Solomon See also:

• EAGLE (Fr. aigle, from the Lat. aquila)

Eagle," and by his success in the See also:

• CARTOON (Ital. cartone, pasteboard)

Cartoon See also:

• EXHIBITION

Exhibition, in which he received from the Fine See also:

• ART

Art Commissioners a See also:

• PRIZE, or PRIZE OF WAR (Fr. prise, from prendre, to take)

prize of £300 See also:

• STERLING
• STERLING, ANTOINETTE (d. 1904)
• STERLING, JOHN (1806-1844)

sterling . After his exhibition of the " Surrender of Syon 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 " he was elected an See also:

• ASSOCIATE (Lat. associates, from ad, to, and sociare to join)

associate of the Royal Academy in 1846, and was made an academician in 1861 . He died in 1879 . See also:

• POOLE
• POOLE, MATTHEW (1624-1699)
• POOLE, PAUL FALCONER (1806-1879)
• POOLE, REGINALD STUART (1832-1895)

Poole's subjects See also:

• DIVIDE

divide themselves into two orders—one idyllic, the other dramatic . Of the former his " May 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 " (1852) is a typical example . Of both styles there were excellent examples to be seen in the small collection of his See also:

• WORKS

works shown at See also:

• BURLINGTON

Burlington House in the See also:

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

Winter Exhibition of 1883-1884 . Among his See also:

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

early dramatic pictures was " Solomon Eagle exhorting the See also:

• PEOPLE

People to Repentance during the See also:

• PLAGUE (in Gr. Xotµos; in Lat. pestis, pestilentia)

Plague of 1665," painted in 1843 . To this class belongs also the " Messenger announcing to See also:

• JOB

Job the Irruption of the Sabeans and the Slaughter of the Servants " (exhibited in 1850), and " See also:

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

Robert, See also:

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

Duke of See also:

• NORMANDY

Normandy.and Arletta " (1848) . Finer examples of his more mature power in this direction are to be found in his " Prodigal Son," painted in 1869; 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 See also:

• GLAUCUS (" bright ")

Glaucus and Ione with the See also:

• BLIND, MATHILDE (1841—1896)

blind girl Nydia from See also:

• POMPEII

Pompeii" (186o); and " Cunstaunce sent adrift by the See also:

• CONSTABLE (0. Fr. connestable, Fr. connetable, Med. Lat. comestabilis, conestabilis, constabularius, from the Lat. comes stabuli, count of the stable)
• CONSTABLE, ARCHIBALD (1774-1827)
• CONSTABLE, HENRY (1562-1613)
• CONSTABLE, JOHN (1776-1837)
• CONSTABLE, SIR MARMADUKE (c. 1455-1518)

Constable of Alla, See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King of See also:

• NORTHUMBERLAND
• NORTHUMBERLAND, EARLS AND DUKES OF
• NORTHUMBERLAND, JOHN DUDLEY, VISCOUNT LISLE, EARL OF WARWICK
• NORTHUMBERLAND, JOHN NEVILLE, EARL OF (c. 1430-1471)

Northumberland," painted in 1868 .

More peaceful than these are the " See also:

• SONG

Song of Troubadours " (painted in 1854) and the " Goths in See also:

• ITALY
• ITALY (Italia)

Italy" (1851), the latter an important See also:

• HISTORICAL

historical work of See also:

• GREAT

great. power and beauty . Of a less lofty See also:

• STRAIN (through O. Fr. straindre, estraindre, mod. i treindre, from Lat. stringere, to draw tight, related to stress, stretch, string, &c.)

strain, but still more beautiful in its workmanship, is the " Seventh Day of the Decameron," painted in 1857 . In this picture Poole rises to his full height as a colourist . In. his pastorals he is soft and See also:

• TENDER

tender, as in the" See also:

• MOUNTAIN (0. Fr. montaigne; popular Lat. montanea, an adjectival form from the classical mons, montis, whence Eng. " mount," a form usually used along with the name of an individual mountain, e.g. Mt Everest)
• MOUNTAIN, THE (La Montagne)

Mountain Path " (1853), the " See also:

• WATER

Water-See also:

• CRESS

cress Gatherers " (187o), the " Shepston See also:

• MAIDEN, or MAID

Maiden " (1872) . But when he turns to the grander and more See also:

• SUBLIME (Lat. sublimis, exalted)

sublime views of nature his work is bold and vigorous . Fine examples of this See also:

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

style may be seen in the " See also:

• VISION (from Lat. videre, to see), or SIGHT

Vision of See also:

• EZEKIEL (SKpm', " God strengthens" or " God is strong "; Sept. 'IE'EKL?)X; Vulg. Ezechiel)

Ezekiel " of the See also:

• NATIONAL

National See also:

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

Gallery, " Solitude " (1876), the " Entrance to the See also:

• CAVE (Lat. cavea, from caves, hollow)
• CAVE, EDWARD (1691–1754)
• CAVE, WILLIAM (1637–1713)

Cave of See also:

• MAMMON

Mammon " (1895), the "See also:

• DRAGON (Fr. dragon, through Lat. draco, from the Greek; connected with SEpeoµay " see," and interpreted as " sharp-sighted "; O.H. Ger. tracho, dracho, M.H.G. trache, Mod. Ger. Drachen; A.S. draca, hence the equivalent English form " drake," " fire-drake,

Dragon's Cavern" (1877), and perhaps best of all in the "See also:

• LION
• LION (Lat, leo, leonis; Gr. Mew)

Lion in the Path " (1873), a great See also:

• REPRESENTATION

representation of mountain and 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 See also:

• FORM (Lat. forma)

form .