PORTRAITURE  . The earliest attempts at individual portraiture (see also See also:

• PAINTING

PAINTING) are found in the eidolon and See also:

• MUMMY (from the Persian mumiai, pitch or asphalt)

mummy-cases of the See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient Egyptians; but their painting never went beyond conventional See also:

• REPRESENTATION

representation—See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere outlines filled in with a See also:

• FLAT (a modification of O. Eng. flet, an obsolete word of Teutonic origin, meaning the ground beneath the feet)

flat tint of See also:

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

colour . In See also:

• GREECE

Greece portraiture probably had its origin in skiagraphy or See also:

• SHADOW (0. Eng. Schadewe, sceadu; a form of " shade "; connected with Gr. 6-Ore's, darkness)

shadow-painting . The See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story of the See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek See also:

• MAIDEN, or MAID

maiden tracing the shadow of her departing See also:

• LOVER, SAMUEL (1797-1868)

lover on the See also:

• WALL (O. Eng. weal, weall, Mid. Eng. wal, wane, adapted from Lat. vallum, rampart; the original O. Eng. word for a wall was wag or tenth)
• WALL, RICHARD (1694-1778)

wall points to this . The See also:

• ART

art See also:

• DEVELOPED

developed rapidly . In 46.3 B.C., See also:

• POLYGNOTUS

Polygnotus, one of the first Greek painters of distinction, introduced individual portraiture in the decoration of public buildings, and See also:

• APELLES

Apelles nearly a See also:

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

century later showed so much See also:

• GENIUS (from Lat. genere, gignere)

genius in rendering See also:

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

character and expression, that See also:

• ALEXANDER
• ALEXANDER (1461-1506)
• ALEXANDER (ALEXANDER OF BATTENBERG) (1857-1893)
• ALEXANDER (ALEXANDER OsxENOVici) (1876-1903)
• ALEXANDER, ARCHIBALD (1772—1851)
• ALEXANDER, FRANCIS (1800—1881)
• ALEXANDER, GEORGE (1858— )
• ALEXANDER, JOHN WHITE (1856- )
• ALEXANDER, JOSEPH ADDISON (18o9—186o)
• ALEXANDER, SIR JAMES EDWARD (1803—1885)
• ALEXANDER, WILLIAM (1824— )
• ALEXANDER, WILLIAM LINDSAY (1808—1884)

Alexander the See also:

• GREAT

Great appointed him "portrait painter in See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary," and issued an See also:

• EDICT (Lat. edictum, from e, out, and dicere, to say, speak)

edict forbidding any one else to produce pictorial representations of his See also:

• MAJESTY (Fr. majeste; Lat. majestas, grandeur, greatness, from the base mag-, as in magnus, great, major, greater, &c.)

majesty . Similar edicts were issued in favour of the sculptor See also:

• LYSIPPUS

Lysippus and Pyrgoteles the See also:

• GEM (Lat. gemma, a bud,—from the root gen, meaning " to produce,"—or precious stone; in the latter sense the Greek term is > d>os)
• GEM, ARTIFICIAL

gem en-graver . No See also:

• WORKS

works of the Greek painters survive, but the See also:

• FATE

fate of two portraits by Apelles, which were in the See also:

• POSSESSION
• POSSESSION (Lat. possessio, possidere, to possess)

possession of the See also:

• EMPEROR (Fr. empereur, from the Lat. imperator)

emperor See also:

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

Claudius (A.D . 41-54), is known, the heads having been painted out to make See also:

• ROOM

room for the features of the divine See also:

• AUGUSTUS (a name 1 derived from Lat. augeo, increase, i.e. venerable, majestic, Gr. Ee0avr6s)

Augustus ! After 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 of Alexander (300 B.c.) Greek art rapidly deteriorated . There is, perhaps, nothing in the See also:

• HISTORY

history of human intelligence to compare with the dazzling swiftness of its development or the rapidity of its decline . See also:

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

War was followed by pillage and devastation, and victorious See also:

• ROMAN

Roman generals, mere depredators and plunderers, crowded See also:

• ROME
• ROME (Roma)

Rome with the stolen treasures of Greece, with the result that Greek art and Greek See also:

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

influence soon made themselves 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 in•the imperial See also:

• CITY (through Fr. cite, from Lat. civitas)

city, and for generations its artists were almost exclusively Greeks, chiefly portrait painters and decorators .

The See also:

• ROMANS
• ROMANS, EPISTLE TO THE

Romans possessed no innate aptitude for art, and rather despised it as a pursuit little becoming the dignity of a See also:

• CITIZEN (a form corrupted in Eng., apparently by analogy with " denizen," from O. Fr. citeain, mod. Fr. citoyen)

citizen . Although lacking in appreciation of the higher conditions of art, they had from See also:

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

early times decorated their atria with See also:

• EFFIGIES, MONUMENTAL

effigies—originally See also:

• WAX

wax moulds—of the countenances of their ancestors . These See also:

• PRIMITIVE

primitive " wax-works " ultimately developed into portrait busts, often vivid and faithful, the only See also:

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

branch of art in which Rome achieved excellence . With the invasion of the See also:

• NORTHERN

Northern barbarians and the fall of the See also:

• EMPIRE

empire Graeco-Roman art ended . In the following centuries See also:

• CHRISTIANITY

Christianity gradually became the dominant See also:

• RELIGION
• RELIGION, FOLKLORE, CUSTOM

religion, but its ascetic See also:

• TEMPER (from Lat. temperare, to mingle or compound in due proportion, to qualify, rule, regulate, to be moderate, formed from tempos, time, fit or due season)

temper could not find expression in the old See also:

• ARTISTIC

artistic forms . Instead of joy in the ideals of bodily perfection, came a loathing of the See also:

• BODY

body and its beauty, and artists were classed among " persons of iniquitous occupations . " Before the 5th century these prejudices had relaxed, and images and pictures again came into See also:

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

general favour for religious uses . In the 8th and nth centuries, the See also:

• ICONOCLASTS

iconoclasts commenced their systematic destruction, and it was not till the See also:

• RENAISSANCE, THE

Renaissance in the 13th century that art began again to live . The great revival brought with it a closer observation of the facts of nature and a growing sense of beauty, and the works of See also:

• CIMABUE, GIOVANNI (1240 to about 1302)

Cimabue and See also:

• GIOTTO

Giotto prepared the way for those of Benozzo See also:

• GOZZOLI, BENOZZO

Gozzoli, Ghirlandaio and the See also:

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

long See also:

• LINE

line of masters who raised See also:

• ITALIAN

Italian art to such a height in the 15th and 16th centuries . Although the works of the early painters of the Renaissance were mostly devoted to the expression of the dogmas of the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

Church, the growing love and study of nature led them, as opportunity afforded, to introduce portraits of living contemporaries into their sacred pictures . Gozzoli (1420–1498) and Ghirlandaio (1449-1494) began the practice, followed by nearly all the old and great painters, of introducing portraiture into their works; Ghirlandaio especially filling some of his great See also:

• FRESCO (Ital. for cool, " fresh ")

fresco compositions with the forms and features of the living men and See also:

• WOMEN

women of See also:

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

Florence, members of the Tornabuoni, See also:

• MEDICI
• MEDICI, GIACOMO (1817-1882)

Medici and other great families . Acuteness of observation was innate in the See also:

• RACE

race .

By degrees it manifested itself in a marvellous subtlety in the rendering of individual character, in the portrayal of individual men and women, and a school ofportraiture was developed of which See also:

• TITIAN
• TITIAN (c. 1477-1576)

Titian became the crowning See also:

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

glory . This great Venetian painter, by universal consent reckoned one of the masters of portraiture, has handed down to us the features of many of the greatest See also:

• HISTORICAL

historical and See also:

• LITERARY

literary personages of his time—emperor, See also:

• POPE (Gr. irarraas, post-classical Lat. papa, father)
• POPE, ALEXANDER (1688–1744)
• POPE, ALEXANDER (1763-1835)
• POPE, JANE (1742-1818)
• POPE, JOHN (1822-1892)
• POPE, SIR THOMAS (c. 1507-1559)

pope, 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:

• DOGE

doge—all sat by turn to him and loaded him with honours . The names of See also:

• BELLINI
• BELLINI, LORENZO (1643-1704)
• BELLINI, VINCENZO (1801--18J5)

Bellini, Raffaelle, Tintoret, Verdhese and See also:

• MORONI, C
• MORONI, GIAMBATTISTA (c. 1510-1578)

Moroni of See also:

• BERGAMO
• BERGAMO (anc. Bergomum)

Bergamo occur among those of the great Italian portrait painters of the 15th and 16th centuries . The last-named, some of whose finest works are now in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, was highly praised by Titian . A love of ugliness characterizes the artists of the early See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German and Flemish See also:

• SCHOOLS

schools, and most of the portraits produced by them previous to See also:

• HOLBEIN, HANS

Holbein's time suffer from this cause . See also:

• SCHONGAUER (or Suon), MARTIN (c. 1445-c. 1488)

Schongauer, Diirer and See also:

• LUCAS, CHARLES (1713–1771)
• LUCAS, JOHN SEYMOUR (1849– )
• LUCAS, SIR CHARLES (d. 1648)

Lucas See also:

• CRANACH, LUCAS (1472-1553)

Cranach are never agreeable or pleasant, however interesting in other respects . Diirer, the typical German artist, the dreamer of dreams, the theorist, the thinker, the writer, was less fitted by nature for a portrait painter than Holbein, who, with a keen sense of nature's subtle beauty, was a far greater painter although a less powerful See also:

• PERSONALITY (from Lat. persona, originally an actor's mask, from personare,1 to sound through)

personality . He produced many See also:

• FINE

fine works in other branches, but it is as a portrait painter that Holbein is chiefly known, and his highest claims to fame will 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 on his marvellous achievements in that branch of art . He first came to England in 1526, bringing with him letters of introduction from See also:

• ERASMUS, DESIDERIUS (1466–1536)

Erasmus . See also:

• SIR

Sir 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 More received him as 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, and during his stay he painted More's and See also:

• ARCHBISHOP (Lat. archiepiscopus, from Gr. apxceatorcoros)

Archbishop See also:

• WARHAM, WILLIAM (c. 1450-1532)

Warham's portraits . In 1532 he was again in See also:

• LONDON

London, where till his See also:

• DEATH

death in 1543 he spent much of his time . He was largely employed by the German merchants of the See also:

• STEELYARD, MERCHANTS OF THE

Steelyard and many Englishmen of See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note, and afterwards by 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 VIII., by whom he was taken into permanent service with a See also:

• PENSION (Lat. pensio, a payment, from pendere, to weigh, to pay)

pension .

As a portrait painter Holbein is remarkable not only for his keen insight into the character of his sitters, but for the beauty and delicacy of his See also:

• DRAWING

drawing . As colourist he may be judged by an admirable example of his See also:

• WORK

work, " The Ambassadors," in the See also:

• NATIONAL

National See also:

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

Gallery in London . Many of his drawings appear to have been made as preliminary studies for his portraits . In See also:

• FLANDERS (Flem. Vlaanderen)

Flanders See also:

• JAN

Jan See also:

• VAN

van See also:

• EYCK, VAN

Eyck (1390-1440), his See also:

• BROTHER

brother See also:

• HUBERT (HUCBERTUS, HUGBERTUS), ST (d. 727)

Hubert, Quintin See also:

• MATSYS (MASSYS or METZYS), QUINTIN (1466-1530)

Matsys, See also:

• MEMLINC, HANS (c. 1430-1494)

Memlinc and other artists of the 15th century occasionally practised portraiture . The picture of See also:

• JEAN

Jean Arnolfini and his wife, in the National Gallery, London, is a remarkable See also:

• SAMPLE (through the O. Fr. essemple, from Lat. exemplum; a doublet of " example ")

sample of the first-named artist, and the small See also:

• HALF

half-length of 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:

• 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 van Nieumenhoven, in the See also:

• HOSPITAL (Lat. haspitalis, the adjective of hospes, host or guest)

hospital of 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 at See also:

• BRUGES (Flemish Brugge, a name signifying the bridge or place of bridges)

Bruges, of the last-named . Nearly a century later the names of Antony Mor (or See also:

• MORO, ANTONIO (c. 1512-1575)

Moro), See also:

• RUBENS, PETER PAUL (1577-164o)

Rubens and Van Dyck appear . Rubens, although not primarily a painter of portraits, achieved no small distinction in that way, being much employed by See also:

• ROYALTY (0. Fr. realte, reialte, royaulte, from Med. Lat. regalitas, the substantive of regalis, of or belonging to a king, rex)

royalty (Maria de Medici, See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip IV. and the See also:

• ENGLISH

English 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 I. among the number) . His services were also in See also:

• REQUEST, LETTERS OF

request as See also:

• AMBASSADOR (also EMBASSADOR, the form sometimes still used in America; from the Fr. ambassadeur, with which compare Ital. ambasciatore and Span. embajador, all variants of the Med. Lat. ambassiator, ambassiator, ambasator, &c., derived from Med. Lat. amba

ambassador or diplomatist, and thrice at least he was sent on See also:

• MISSIONS (Lat. missio, a sending)

missions of that nature . His See also:

• PERSONAL

personal See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy and See also:

• INDUSTRY (Lat. industria, from indu-, a form of the pre, position in, and either stare, to stand, or struere, to pile up)

industry were enormous, but a large proportion of the work attributed to him was painted by pupils, of whom Van Dyck was one of the most celebrated . Van Dyck (1599-1641) early acquired a high reputation as a portrait painter . In 1632 he was invited to England by Charles I., and settled there for the See also:

• REMAINDER, REVERSION

remainder of his See also:

• LIFE

life . He was knighted by Charles, and granted a pension of £too a See also:

• YEAR

year, with the See also:

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

title of painter to his majesty .

Many of Van Dyck's portraits, especially those of the early and See also:

• MIDDLE

middle periods, are unsurpassed in their freshness, force and vigour of handling . He is a 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 among masters . England possesses many of his works, especially of his later See also:

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

period . To Van Dyck we owe much of our knowledge of what Charles I. and those about him were like . A routine practice, luxurious living, failing See also:

• HEALTH

health, and the employment of assistants told upon his work, which latterly lost much of its early See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm . 'In 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 in the 17th century portraiture reached a high See also:

• STANDARD
• STANDARD, BATTLE OF THE

standard . A reaction had set in against Italian influence, and extreme faithfulness and literal resemblance became the prevailing See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion . The large portrait pictures of the members of See also:

• GILDS, or GUILDS

gilds and corporations, so frequently met with in Holland, are characteristically Dutch . The earliest works of the See also:

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

kind are generally rows of portraits ranged in See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double or single lines, without much See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt at grouping or See also:

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

composition . Later, in the hands of painters like See also:

• REMBRANDT (1606-1669)

Rembrandt, Frans See also:

• HALS, FRANS (158o?–1666)

Hals and Van der Heist, these pictures of civic See also:

• GUARDS, AND HOUSEHOLD TROOPS

guards, hospital regents and masters of gilds assumed a very different character, and are among the very finest works produced by the Dutch portrait painters of the 17th century . They may be termed " subscription portraits "—each member of the gild who desired a See also:

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

place on the See also:

• CANVAS

canvas agreeing, before the See also:

• COMMISSION (from Lat. commissio, committere)

commission was given, to pay, according to a graduated See also:

• SCALE
• SCALE (1) A

scale, his See also:

• SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

share of the cost . Among the most famous examples of this class of portraits are " The See also:

• ANATOMY
• ANATOMY (Gr. avaroyil, from ava-silo c', to cut up)

Anatomy See also:

• LESSON (through Fr. lecon from Lat. lectio, reading; legere, to read)

Lesson, " " The See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March-out of See also:

• CAPTAIN (derived from Lat. ca put, head, through the Low Lat. capitanus)

Captain Banning See also:

• KOCK, CHARLES PAUL DE (1793-1871)

Kock and his See also:

• COMPANY

Company " (erroneously called " The See also:

• NIGHT

Night See also:

• WATCH (in O. Eng. wcecce, a keeping guard or watching, from wacian, to guard, watch, wacan, to wake)

Watch "), and " The Five Syndics of the See also:

• CLOTH

Cloth-Workers' Guild, " by Rembrandt .

The magnificent portrait See also:

• GROUPS
• GROUPS, THEORY

groups at See also:

• HAARLEM

Haarlem by Hals—the next greatest portrait painter of Holland after Rembrandt—and the " Schuttersmaaltyd " by Van der Heist in the See also:

• AMSTERDAM
• AMSTERDAM (NEw AMSTERDAM)

Amsterdam Museum, which See also:

• REYNOLDS, JOHN FULTON (182o-1863)
• REYNOLDS, SIR JOSHUA (1723-1792)
• REYNOLDS, WALTER (d. 1327)

Reynolds considered " perhaps the first picture of portraits in the See also:

• WORLD

world, " must also be mentioned . Of the pictorial art of See also:

• SPAIN
• SPAIN (Espana)

Spain previous to the 15th century, little, if any, survives . Flemish example was long See also:

• PARAMOUNT (Anglo-Fr. paramont, up above, par el mont, up or on top of the mountain)

paramount and Flemish painters were patronized in high places . In the 16th century the names of native See also:

• SPANISH

Spanish artists began to appear—Morales, See also:

• RIBERA, GIUSEPPE (1588-1656)

Ribera, See also:

• ZURBARAN, FRANCISCO (1598–1662)

Zurbaran, a great though not a professed portrait painter; and in the last year of the century Velasquez was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born, the greatest of Spain's artists, and one of the great portrait painters of the world . None, perhaps, has ever equalled him in keen insight into character, or in the See also:

• SWIFT
• SWIFT, JONATHAN (1667—1745)

swift magic of his See also:

• BRUSH (from Fr. brosse, which, like the English word, means both the undergrowth of a wood and the instrument; if the word in both these meanings is ultimately the same, then the origin is from a bundle of brushwood used as a brush or broom, but this is h
• BRUSH, GEORGE DE FOREST (1855– )

brush . Philip IV., Olivarez and See also:

• INNOCENT (INNOCENTIUS)
• INNOCENT (POPES)

Innocent X. live for us on his canvases . His constantly varying, though generally extremely See also:

• SIMPLE

simple, methods, explain to some extent the See also:

• INTEREST

interest and charm his works possess for artists . See also:

• DEPTH

Depth of feeling and poetic See also:

• IMAGINATION

imagination were, however, lacking, as may be seen in his prosaic treatment of such subjects as the " See also:

• CORONATION (Lat. corona, crown)

Coronation of the Virgin," the " See also:

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

Mars " and other kindred works in the See also:

• MADRID

Madrid Gallery . Velasquez must be classed with those whose career has been prematurely cut See also:

• SHORT, FRANCIS JOB (1857– )

short . His works often show signs of haste and of the scanty leisure which the duties of his See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office of " Aposentador See also:

• MAYOR (Lat. major, greater)
• MAYOR, JOHN EYTON BICKERSTETH (1825– )

Mayor " See also:

• LEFT

left him—duties which ended in the fatal See also:

• JOURNEY (through O. Fr. jornee or journee, mod. Fr. journee, from med. Lat. diurnata, Lat. diurnus, of or belonging to dies, day)

journey to the Isle of Rile . In See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France the most distinguished portrait painters of the x6th and 17th centuries were the Clouets, See also:

• COUSIN (Fr. cousin, Ital. cugino, Late Lat. cosinus, perhaps a popular and familiar abbreviation of consobrinus, which has the same sense in classical Latin)
• COUSIN, JEAN (1500-1590)
• COUSIN, VICTOR (1792–1867)

Cousin, See also:

• VOUET, SIMON (1590-1649)

Vouet, Philippe de See also:

• CHAMPAIGNE, PHILIPPE DE (1602-1674)

Champaigne, See also:

• RIGAUD, HYACINTHE (1659-1743)

Rigaud and See also:

• VANLOO, JOHN BAPTIST (1684-1745)

Vanloo . See also:

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

French portraiture, long inflated and artificial, reached the height of pomposity in the reigns of 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 XIV. and XV., the See also:

• EPOCH (Gr. E7roxij, holding in suspense, a pause, from E1rxav, to hold up, to stop)

epoch of which the towering See also:

• WIG (short for " periwig," an alternative form of " peruke," Fr. perruque; cf. Span. peluca; conjecturally derived from Lat. pilus)

wig is the See also:

• SYMBOL (Gr. o-uµ(3oXov, a sign)

symbol .

In the 18th and early See also:

• PART

part of the 19th centuries occur the names of See also:

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

Boucher, See also:

• GREUZE, JEAN BAPTISTE (1725-1805)

Greuze, See also:

• DAVID
• DAVID (a Hebrew name meaning probably beloved 1)
• DAVID, FELICIEN (1810—1876)
• DAVID, GERARD [GHEERAERT DAVIT], (?=1523)
• DAVID, PIERRE JEAN (1789–1856)
• DAVID, ST (Dewi, Sant)

David, See also:

• GERARD (c. 1040-1120)
• GERARD (d. I1o8)
• GERARD, ETIENNE MAURICE, COUNT (1773–1852)
• GERARD, FRANCOIS, BARON (1770-1837)
• GERARD, JEAN IGNACE ISIDORE (1803-1847)
• GERARD, JOHN (1545-1612)
• GERARD, or GIRARD, AUDRAN

Gerard and See also:

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

Ingres; but somehow the portraits of the French masters seldom attract and captivate in the same way as those of the Dutch and Italian painters . See also:

• FOREIGN

Foreign artists were engaged for almost every important work in painting in England down to the days of Sir See also:

• JOSHUA, BOOK OF

Joshua Reynolds and See also:

• GAINSBOROUGH
• GAINSBOROUGH, THOMAS (1727-1788)

Gainsborough . Henry VIII. employed Holbein; 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 See also:

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

Mary, Sir See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

Antonio Moro; 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, Zucchero and Lucas de Heere; 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 I. van Somer, See also:

• CORNELIUS
• CORNELIUS, CARL AUGUST PETER (1824-1874)
• CORNELIUS, PETER VON (1784–1867)

Cornelius See also:

• JANSSENS (or JANSENS) VAN NUYSSEN, ABRAHAM (1567–1632)
• JANSSENS (or JANSENS), VICTOR HONORIUS (1664–1739)

Janssens and See also:

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

Daniel Mytens; Charles I . Rubens, Van Dyck, Mytens, See also:

• PETITOT, JEAN (1608–1691)
• PETITOT, JEAN LOUIS (1652–c. 1730)

Petitot, See also:

• HONTHORST, GERARD VAN (159o-1656)

Honthorst and others; and Charles II., See also:

• LELY, SIR PETER (1617—168o)

Lely and See also:

• KNELLER, SIR GODFREY (1648-1723)

Kneller, although there were native artists of merit, among them See also:

• DOBSON, HENRY AUSTIN (184o- )
• DOBSON, WILLIAM (16ro-1646)

Dobson, 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 and Jamesone, a Scottish painter . Puritan England and Presbyterian See also:

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

Scotland did little to encourage the portrait painter . The attitude of the latter towards it may be inferred from an entry in the See also:

• DIARY

diary of Sir Thomas See also:

• HOPE, ANTHONY
• HOPE, THOMAS (c. 1770-1831)

Hope, the Scottish See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord See also:

• ADVOCATE (Lat. advocatus, from advocare, to summon, especially in law to call in the aid of a counsel or witness, and so generally to summon to one's assistance)

Advocate in 1638 . " This 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, See also:

• FRIDAY (A.S. frige-dreg, fr. frige, gen. of frigu, love, or the goddess of love—the Norse Frigg,—the dreg, day; cf. Icelandic frjddagr, O.H. Ger. friatag, frigatag, mod. Ger. Freitag)

Friday, 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 Jamesone, painter (at the See also:

• EARNEST (probably a corruption of the obsolete arles or erles, adapted from Lat. equivalent arrha, due to a confusion with the adjective " earnest," serious, O. Eng. eornust, cognate with Ger. ernst)

earnest desyr of my See also:

• SONE

sone Mr Alexander) was sufferit to draw my pictur." He does not even give the painter's name correctly, although Jamesone at the time was a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of some note in Scotland . At the commencement of the reign of See also:

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

George I. art in England had sunk to about the lowest ebb . With the See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance of William See also:

• HOGARTH, WILLIAM (1697–1764)

Hogarth (1697-1764) the English school of painting may be said to have commenced, and in Reynolds and Gainsborough it produced two portrait painters xxss . 5129 whose works hold their own with those of the masters of the 16th and 17th centuries . Both Sir Joshua and Gainsborough are seen at their best in portraits of women and See also:

• CHILDREN, LAW RELATING TO

children . George See also:

• ROMNEY (NEw ROMNEY)
• ROMNEY, GEORGE (1734-1802)
• ROMNEY, HENRY SIDNEY, EARL OF (1641-1704)

Romney (1734-1802) shared with Reynolds and Gainsborough the patronage of the wealthy and fashionable of his day .

Many of his See also:

• FEMALE

female portraits are of great beauty . For some unknown See also:

• REASON (Lat. ratio, through French raison)

reason he never exhibited his works in the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy . Sir Henry See also:

• RAEBURN, SIR HENRY (1756-1823)

Raeburn (1756-1823) was a native of See also:

• EDINBURGH

Edinburgh, and spent most of his life there . His portraits are broad and effective in treatment, masterly and swift in See also:

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

execution and often fine in colour . He painted nearly all the distinguished Scotsmen of his time—See also:

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

Walter 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:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam See also:

• SMITH
• SMITH, ADAM (1723–1790)
• SMITH, ALEXANDER (183o-1867)
• SMITH, ANDREW JACKSON (1815-1897)
• SMITH, CHARLES EMORY (1842–1908)
• SMITH, CHARLES FERGUSON (1807–1862)
• SMITH, CHARLOTTE (1749-1806)
• SMITH, COLVIN (1795—1875)
• SMITH, EDMUND KIRBY (1824-1893)
• SMITH, G
• SMITH, GEORGE (1789-1846)
• SMITH, GEORGE (184o-1876)
• SMITH, GEORGE ADAM (1856- )
• SMITH, GERRIT (1797–1874)
• SMITH, GOLDWIN (1823-191o)
• SMITH, HENRY BOYNTON (1815-1877)
• SMITH, HENRY JOHN STEPHEN (1826-1883)
• SMITH, HENRY PRESERVED (1847– )
• SMITH, JAMES (1775–1839)
• SMITH, JOHN (1579-1631)
• SMITH, JOHN RAPHAEL (1752–1812)
• SMITH, JOSEPH, JR
• SMITH, MORGAN LEWIS (1822–1874)
• SMITH, RICHARD BAIRD (1818-1861)
• SMITH, ROBERT (1689-1768)
• SMITH, SIR HENRY GEORGE WAKELYN
• SMITH, SIR THOMAS (1513-1577)
• SMITH, SIR WILLIAM (1813-1893)
• SMITH, SIR WILLIAM SIDNEY (1764-1840)
• SMITH, SYDNEY (1771-1845)
• SMITH, THOMAS SOUTHWOOD (1788-1861)
• SMITH, WILLIAM (1769-1839)
• SMITH, WILLIAM (c. 1730-1819)
• SMITH, WILLIAM (fl. 1596)
• SMITH, WILLIAM FARRAR (1824—1903)
• SMITH, WILLIAM HENRY (1808—1872)
• SMITH, WILLIAM HENRY (1825—1891)
• SMITH, WILLIAM ROBERTSON (1846-'894)

Smith, Braxfield, See also:

• ROBERTSON, FREDERICK WILLIAM (1816-1853)
• ROBERTSON, GEORGE CROOM (1842-1892)
• ROBERTSON, JOSEPH (1810-1866)
• ROBERTSON, THOMAS WILLIAM (1829-1871)
• ROBERTSON, WILLIAM BRUCE (182o-1886)

Robertson the historian, Dugald See also:

• STEWART, ALEXANDER TURNEY (1803-1876)
• STEWART, BALFOUR (1828-1887)
• STEWART, CHARLES (1778–1869)
• STEWART, DUGALD (1753-1828)
• STEWART, J
• STEWART, JOHN (1749—1822)
• STEWART, JULIUS L
• STEWART, SIR DONALD MARTIN (1824–19o0)
• STEWART, SIR HERBERT (1843—1885)
• STEWART, SIR WILLIAM (c. 1540—c. 1605)
• STEWART, STUART
• STEWART, WILLIAM (c. 1480-c. 1550)

Stewart, See also:

• BOSWELL, JAMES (1740-1795)

Boswell, See also:

• JEFFREY, FRANCIS JEFFREY

Jeffrey, See also:

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

Professor See also:

• WILSON, ALEXANDER (1766-1813)
• WILSON, HENRY (1812–1875)
• WILSON, HORACE HAYMAN (1786–1860)
• WILSON, JAMES (1742—1798)
• WILSON, JAMES (1835— )
• WILSON, JAMES HARRISON (1837– )
• WILSON, JOHN (1627-1696)
• WILSON, JOHN (178 1854)
• WILSON, ROBERT (d. 1600)
• WILSON, SIR DANIEL (1816–1892)
• WILSON, SIR ROBERT THOMAS (1777—1849)
• WILSON, SIR WILLIAM JAMES ERASMUS
• WILSON, THOMAS (1663-1755)
• WILSON, THOMAS (c. 1525-1581)
• WILSON, WOODROW (1856— )

Wilson and many of the leading noblemen, lairds, See also:

• CLERGY (M.E. clergie, O. Fr. clergie, from Low Lat. form clericia [Skean, by assimilation with O. Fr. clergie, Fr. clerge,from Low Lat. clericatus)
• CLERGY, BENEFIT OF

clergy and their wives and daughters . For a considerable period his portraits were little known out of Scotland, but they are now much sought after, and fine examples appearing in London See also:

• SALE
• SALE, GEORGE (c. 1697-1736)
• SALE, SIR ROBERT HENRY (1782—1845)

sale-rooms bring remarkable prices . Raeburn's immediate successor in Scotland, J . See also:

• WATSON, RICHARD (1737-1816)
• WATSON, THOMAS (c. 1557–1592)
• WATSON, WILLIAM (1858- )
• WATSON, WILLIAM (c. 1559-1603)

Watson See also:

• GORDON
• GORDON, ADAM LINDSAY (1833—1870)
• GORDON, ALEXANDER (c. 1692—c. 1754)
• GORDON, CHARLES GEORGE (1833-'885)
• GORDON, LEON
• GORDON, LORD GEORGE (1751-1793)
• GORDON, PATRICK (1635–1699)
• GORDON, SIR JOHN WATSON (1788—1864)

Gordon (1788-1864), also painted many excellent portraits, chiefly of men . A very characteristic example of his art at its best may be seen in his " See also:

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

Provost of See also:

• PETERHEAD

Peterhead " in the Scottish National Gallery . Sir Thomas See also:

• LAWRENCE
• LAWRENCE (LAURENTIUS, LORENZO), ST
• LAWRENCE, AMOS (1786—1852)
• LAWRENCE, AMOS ADAMS (1814–1886)
• LAWRENCE, GEORGE ALFRED (1827–1876)
• LAWRENCE, JOHN LAIRD MAIR LAWRENCE, 1ST BARON (1811-1879)
• LAWRENCE, SIR HENRY MONTGOMERY (1806–1857)
• LAWRENCE, SIR THOMAS (1769–1830)
• LAWRENCE, STRINGER (1697–1775)

Lawrence (1769-1830) was the favourite English portrait painter of his time, and had an almost unrivalled career . He had an immense practice, and between the years 1787 and 183o exhibited upwards of three See also:

• HUNDRED

hundred portraits in the Royal Academy alone . The See also:

• WATERLOO

Waterloo Gallery at See also:

• WINDSOR
• WINDSOR (properly NEw WINDSOR)

Windsor contains some of his best work, chiefly painted in 1818-1819, including his portraits of the emperor See also:

• FRANCIS
• FRANCIS (FRarrcols) OF SALES, ST (1567-1622)
• FRANCIS (Lat. Franciscus, Ital. Francesco, Span. Francisco, Fr. Francois, Ger. Franz)
• FRANCIS, SIR PHILIP (174o-1818)

Francis, Pope See also:

• PIUS

Pius VII. and See also:

• CARDINAL (Lat. cardinalis)

Cardinal Gonsalvi .

He was loaded with honours, and died See also:

• PRESIDENT (Fr. president, from Lat. praesidens, post-Augustan Lat. for praeses, director, ruler, from praesidere, to sit in front of, preside)

President of the Royal Academy . Sir J . E . See also:

• MILLAIS, SIR JOHN EVERETT (1829-1896)

Millais (1829-1896), although most widely known as a painter of figure subjects, achieved some of his greatest successes in portraiture, and no artist in See also:

• RECENT

recent years has approached him as a painter of children . His portraits of See also:

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

Gladstone, Sir James See also:

• PAGET, SIR JAMES, BART

Paget, Sir See also:

• GILBERT
• GILBERT (KINGSMILL) ISLANDS
• GILBERT (or GYLBERDE), WILLIAM (1544-1603)
• GILBERT, ALFRED (1854– )
• GILBERT, ANN (1821-1904)
• GILBERT, GROVE KARL (1843– )
• GILBERT, J
• GILBERT, JOHN (1810-1889)
• GILBERT, MARIE DOLORES ELIZA ROSANNA [" LOLA MONTEZ "] (1818-1861)
• GILBERT, NICOLAS JOSEPH LAURENT (1751–1780)
• GILBERT, SIR HUMPHREY (c. 1539-1583)
• GILBERT, SIR JOSEPH HENRY (1817-1901)
• GILBERT, SIR WILLIAM SCHWENK (1836– )

Gilbert Greenall, See also:

• SIMON, ABRAHAM (1622-1692)
• SIMON, JULES FRANCOIS (1814–1896)
• SIMON, RICHARD (1638–1712)
• SIMON, SIR JOHN (1816–1904)
• SIMON, THOMAS (c. 1623-1665)

Simon See also:

• FRASER
• FRASER, ALEXANDER CAMPBELL (1819– )
• FRASER, JAMES (1818-1885)
• FRASER, JAMES BAILLIE (1783--1856)
• FRASER, SIR WILLIAM AUGUSTUS

Fraser, J . C . See also:

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

Hook and Mrs . Bischoffsheirn, to name only a few, are alone sufficient to give him a high place among See also:

• BRITISH

British portrait painters . See also:

• FRANK, JAKOB (1726-1791)

Frank See also:

• HOLL, FRANK (1845–1888)

Holl (1845-1888) first came into note as a portrait painter in x878, and during the subsequent nine years of his life he painted upwards of one hundred and ninety-eight portraits, an See also:

• AVERAGE

average of over twenty-two a year . The See also:

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

strain, however, proved too great for a naturally delicate constitution, and he died at the See also:

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

age of See also:

• FORTY

forty-three—another instance of a brilliant career prematurely cut short . To G . F .

See also:

• WATTS, ALARIC ALEXANDER (1797-1864)
• WATTS, GEORGE FREDERICK (1817-1904)
• WATTS, ISAAC (1674-1748)

Watts (1820-1904) we are indebted for admirable portraits of many of the leading men of the Victorian era in politics, See also:

• SCIENCE (Lat. scientia, from scire; to learn, know)

science, literature, See also:

• THEOLOGY

theology and art . Among more recent artists, Sir W . Q . See also:

• ORCHARDSON, SIR WILLIAM QUILLER (1835-1910)

Orchardson (1835-1910), like Millais more widely known as a painter of figure subjects, but also admirable as a portrait painter; John See also:

• SARGENT, JOHN SINGER (1856– )

Sargent (1856- ), whose brilliant and vigorous characterization of his sitters leaves him without a See also:

• RIVAL

rival; as well as Ouless, See also:

• SHANNON
• SHANNON, CHARLES HAZELWOOD (1865- )
• SHANNON, JAMES JEBUSA (1862- )

Shannon, See also:

• FILDES, SIR LUKE (1844— )

Fildes, Herkomer and others, have worthily carried on the best traditions of the art . In France contemporary portraiture is ably represented in the works of Carolus-See also:

• DURAN
• DURAN, AGUSTIN (1789-1862)

Duran, See also:

• BONNAT

Bonnat and See also:

• BENJAMIN
• BENJAMIN, JUDAHPHILIP (1811-1884)

Benjamin See also:

• CONSTANT, BENJAMIN (1845-1902)

Constant, and in See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany by See also:

• LENBACH, FRANZ VON (1836-1904)

Lenbach, who has handed down to posterity with uncompromising faithfulness the See also:

• FORM (Lat. forma)

form and features of See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

Prince See also:

• BISMARCK
• BISMARCK, OTTO EDUARD LEOPOLD VON, PRINCE

Bismarck . Of portraiture in its other developments little need be said . See also:

• MINIATURE

Miniature painting, which See also:

• GREW, NEHEMIAH (1641-1712)

grew out of the work of the illuminator, appears to have been always successfully practised in England . The works of See also:

• HILLIARD, LAWRENCE (d. 1640)
• HILLIARD, NICHOLAS (c. 1537–1619)

Hilliard, See also:

• ISAAC (Hebrew for " he laughs," on explanatory references to the name, see ABRAHAM)

Isaac and 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:

• OLIVER, ISAAC (c. 1566--1617)
• OLIVER, PETER (1594-1648)

Oliver, See also:

• SAMUEL

Samuel See also:

• COOPER
• COOPER (or COUPER), THOMAS (c. 1517-1594)
• COOPER, ABRAHAM (1787—1868)
• COOPER, ALEXANDER (d. i66o)
• COOPER, CHARLES HENRY (18o8-1866)
• COOPER, JAMES FENIMORE (1789-1851)
• COOPER, PETER (1791-1883)
• COOPER, SAMUEL (1609-1672)
• COOPER, SIR ASTLEY PASTON (1768-1841)
• COOPER, THOMAS (1759–1840)
• COOPER, THOMAS (1805–1892)
• COOPER, THOMAS SIDNEY (1803–1902)

Cooper, See also:

• HOSKINS, JOHN (d. 1664)

Hoskins, See also:

• ENGLEHEART, GEORGE (1752-1829)

Engleheart, See also:

• PLIMER, ANDREW (c. 1763-1837)
• PLIMER, NATHANIEL (1757-c. 1822)

Plimer and See also:

• COSWAY, RICHARD (c. 1742-1821)

Cosway hold their own with the best of the kind; but this beautiful art, like that of the engraver, has been largely superseded by See also:

• PHOTOGRAPHY (Gr. bias, light, and ypa w, to write)
• PHOTOGRAPHY, CELESTIAL

photography and the " processes " now in use . It is unnecessary to refer to the many uses of portraiture, but one of its chiefest has been to transmit to posterity the form and features of those who have played a part, worthy or otherwise, in the past history of our race . Of its value to the II biographer and historian, See also:

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

Carlyle, in a See also:

• LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

letter written in 1854, says, " In all my poor historical investigations it is one of the most See also:

• PRIMARY

primary wants to procure a bodily likeness of the personage inquired after; a See also:

• GOOD, JOHN MASON (1764-1827)

good portrait, if such exists; failing that, even an indifferent, if sincere one; in short, any representation, made by a faithful human creature, of that See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face and figure which he saw with his eyes and which I can never see with mine . Often I have found the portrait See also:

• SUPERIOR

superior in real instruction to half-a-dozen written See also:

• BIOGRAPHIES

biographies, or rather, I have found the portrait was as a small lighted See also:

• CANDLE (Lat. candela, from candere, to glow)

candle, by which the biographies could for the first time be read, and some human See also:

• INTERPRETATION (from Lat. interpretari, to expound, explain, inter pres, an agent, go-between, interpreter; inter, between, and the root pret-, possibly connected with that seen either in Greek 4 p4'ew, to speak, or irpa-rrecv, to do)

interpretation be made of them." (G .