See also:

• SIR

SIR See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

HENRY See also:

• SIR HENRY RAEBURN (1756-1823)

RAEBURN (1756-1823)  , Scottish portrait-painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• STOCKBRIDGE

Stockbridge, a suburb of See also:

• EDINBURGH

Edinburgh, on the 4th of 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 1756, the son of a manufacturer of the See also:

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

city . He was See also:

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

early See also:

• LEFT

left an See also:

• ORPHAN

orphan . Being placed in See also:

• HERIOT
• HERIOT, GEORGE (1563-1623)

Heriot's See also:

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

Hospital, he received there the elements of a See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound See also:

• EDUCATION

education, and at the See also:

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

age of fifteen was apprenticed to a See also:

• GOLDSMITH
• GOLDSMITH, LEWIS (c. 1763–1846)
• GOLDSMITH, OLIVER (1728–1774)

goldsmith in Edinburgh, Here he had some little opportunity for the practice of the humbler kinds of See also:

• ART

art, and various pieces of See also:

• JEWELRY (O. Fr. jouel, Fr. joyau, perhaps from joie, joy; Lat. gaudium; retranslated into Low Lat. jocale, a toy, from jocus, by misapprehension of the origin of the word)

jewelry, See also:

• MOURNING (from the verb " to mourn," to be sorrowful, 0. Eng. murnan; cf. O.H.G. mornen, Goth. maurnan, to be anxious, O.N. morna, to pine away; by some referred to root seen in Gr. jdptpva, sorrow, by others to root mer-, to die)

mourning rings, and the like, adorned with See also:

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

minute drawings on See also:

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

ivory by his See also:

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

hand, are still extant . Soon he took to the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of carefully finished miniatures; and, See also:

• MEETING (from " to meet," to come together, assemble, 0. Eng. metals ; cf. Du. moeten, Swed. mota, Goth. gamotjan, &c., derivatives of the Teut. word for a meeting, seen in O. Eng. Wit, moot, an assembly of the people; cf. witanagemot)

meeting with success and patronage, he extended his practice to oil-See also:

• PAINTING

painting, being all the while quite self-taught . The worthy goldsmith his 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 watched the progress of his See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil with See also:

• INTEREST

interest, gave him every encouragement, and introduced him to 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:

• 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, who had been the favourite assistant of See also:

• ALLAN, DAVID (1744–1796)
• ALLAN, SIR HUGH (1810–1882)
• ALLAN, SIR WILLIAM (1782–1850)

Allan See also:

• RAMSAY, ALLAN (1686-1758)
• RAMSAY, ALLAN (1713-1784)
• RAMSAY, ANDREW MICHAEL (1686-1743)
• RAMSAY, DAVID (1749—1815)
• RAMSAY, SIR WILLIAM (1852– )
• RAMSAY, SIR WILLIAM MITCHELL (185r– )

Ramsay junior, and was now the leading portrait-painter in Edinburgh . See also:

• RAE, JOHN (1813-1893)

Rae-See also:

• BURN, RICHARD (1709-1785)

burn received considerable assistance from Martin, and was especially aided by the See also:

• LOAN (adapted from the Scandinavian form of a word common to Teutonic languages, cf. Swed. Mn, Icel. lan, Dut. leen; the O.E. laen appears in " lend," the ultimate source is seen in the root of Gr. Xeiaecv and Lat. linquere, to leave)

loan of portraits to copy . Soon 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 painter had gained sufficient skill to render it advisable that he should devote himself exclusively to painting . When he was in his twenty-second See also:

• YEAR

year he was asked to paint the portrait of a young See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

lady whom he had previously observed and admired when he was sketching from nature in the See also:

• FIELDS, JAMES THOMAS (1817-1881)

fields . She was the daughter of 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:

• EDGAR (EADGAR)
• EDGAR, or EADGAR (c. 1050-c. 1130)

Edgar of Bridgelands and widow of See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

Count See also:

• LESLIE
• LESLIE, CHARLES (1650-1722)
• LESLIE, CHARLES ROBERT (1794–1859)
• LESLIE, FRED [FREDERICK HOBSON] (1855–1892)
• LESLIE, SIR JOHN (1766-1832)
• LESLIE, THOMAS EDWARD CLIFFE (1827-1882)

Leslie . The lady was speedily fascinated by the handsome and intellectual young artist, and in a See also:

• MONTH
• MONTH (a common Teutonic word, cf. Ger. Mond, Du. maand, Dan. maaned, &c., and cognate with Lat. mensis, Gr. µi7v, &c., in other branches of the Indo-Germanic family; all ultimately from the root seen in the word for the moon in nearly all those languages

month she became his wife, bringing him an ample See also:

• FORTUNE, ROBERT (1813-188o)

fortune . This early See also:

• INSURANCE

insurance against the risks of his chosen profession, did not, however, diminish his anxiety to excel . The acquisition of See also:

• WEALTH

wealth affected neither his See also:

• ENTHUSIASM

enthusiasm nor his 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, but rather spurred him to greater efforts to acquire a thorough knowledge of his See also:

• CRAFT (a word common to Teutonic languages for strength, or power; cf. Ger. Kraft)

craft .

After the approved See also:

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

fashion of artists of 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, it was resolved that See also:

• RAEBURN, SIR HENRY (1756-1823)

Raeburn should visit See also:

• ITALY
• ITALY (Italia)

Italy, and he accordingly started with his wife . In See also:

• LONDON

London he was kindly received by See also:

• SIR

Sir See also:

• JOSHUA, BOOK OF

Joshua See also:

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

Reynolds, who gave him excellent See also:

• ADVICE (Fr. avis, from Lat. ad, to, and visum, viewed)

advice as to his study in See also:

• ROME
• ROME (Roma)

Rome, especially recommending to his See also:

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

attention the See also:

• WORKS

works of See also:

• MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo . He also offered him more substantial pecuniary aid, which was declined as unneeded; but Raeburn carried with him to Italy many valuable introductions from the 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 See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy . In Rome he made the acquaintance of Gavin See also:

• HAMILTON
• HAMILTON (GRAND or ASHUANIPI)
• HAMILTON, ALEXANDER (1757-1804)
• HAMILTON, ANTHONY, or ANTOINE (1646-1720)
• HAMILTON, ELIZABETH (1758–1816)
• HAMILTON, EMMA, LADY (c. 1765-1815)
• HAMILTON, JAMES (1769-1831)
• HAMILTON, JAMES HAMILTON, 1ST DUKE OF (1606-1649)
• HAMILTON, JOHN (c. 1511–1571)
• HAMILTON, MARQUESSES AND DUKES OF
• HAMILTON, PATRICK (1504-1528)
• HAMILTON, ROBERT (1743-1829)
• HAMILTON, SIR WILLIAM
• HAMILTON, SIR WILLIAM (1730-1803)
• HAMILTON, SIR WILLIAM ROWAN (1805-1865)
• HAMILTON, THOMAS (1789-1842)
• HAMILTON, WILLIAM (1704-1754)
• HAMILTON, WILLIAM GERARD (1729-1796)

Hamilton, of See also:

• BATONI, POMPEO GIROLAMO (1708-1787)

Batoni, and of Byers . For the advice of the last-named he used to acknowledge himself greatly indebted, particularly for the recommendation that " he should never copy an See also:

• OBJECT

object from memory, but, from the See also:

• PRINCIPAL

principal figure to the minutest See also:

• ACCESSORY

accessory, have it placed before him." After two years of study in Italy he returned to Edin: See also:

• BURGH [BOURKE, BURKE]
• BURGH, HUBERT DE (d. 1243)

burgh in 1787, where he began a most successful career as a portrait-painter . In that year he executed an admirable seated portrait of the second 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 President Dundas . Of his earlier See also:

• PORTRAITURE

portraiture we have interesting examples in the bust-likeness of Mrs See also:

• JOHNSTONE

Johnstone of Baldovie and in the three-See also:

• QUARTER (through Fr. from Lat. quartarius, fourth part)

quarter-length of Dr See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James See also:

• HUTTON, CHARLES (1737-1823)
• HUTTON, JAMES (1726-1797)
• HUTTON, RICHARD HOLT (1826-1897)

Hutton, works which, if they are somewhat timid and tentative in handling and wanting iv the trenchant 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-See also:

• WORK

work and assured mastery of subsequent productions, are full of delicacy and See also:

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

character . The portraits of See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John Clerk, Lord Eldin, and of Principal See also:

• HILL
• HILL (0. Eng. hyll; cf. Low Ger. hull, Mid. Dutch hul, allied to Lat. celsus, high, collis, hill, &c.)
• HILL, A
• HILL, AARON (1685-175o)
• HILL, AMBROSE POWELL
• HILL, DANIEL HARVEY (1821-1889)
• HILL, DAVID BENNETT (1843–1910)
• HILL, GEORGE BIRKBECK NORMAN (1835-1903)
• HILL, JAMES J
• HILL, JOHN (c. 1716-1775)
• HILL, MATTHEW DAVENPORT (1792-1872)
• HILL, OCTAVIA (1838– )
• HILL, ROWLAND (1744–1833)
• HILL, SIR ROWLAND (1795-1879)

Hill of St See also:

• ANDREWS, JAMES PETTIT (c. 1737–1797)
• ANDREWS, THOMAS (1813–1885)

Andrews belong to a somewhat later See also:

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

period . Raeburn was fortunate in the time in which he practised portraiture . Sir 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:

• BLAIR, FRANCIS PRESTON (1791–1876)
• BLAIR, HUGH (1718-1800)
• BLAIR, JAMES (1656`1743)
• BLAIR, ROBERT (1699—1746)

Blair, See also:

• MACKENZIE
• MACKENZIE, ALEXANDER (1822-1892)
• MACKENZIE, HENRY (1745-1831)
• MACKENZIE, SIR ALEXANDER (c. 1755-1820)
• MACKENZIE, SIR ALEXANDER CAMPBELL (1847— )
• MACKENZIE, SIR GEORGE (1636-1691)
• MACKENZIE, SIR MORELL (1837-1892)
• MACKENZIE, WILLIAM LYON (1795-1861)

Mackenzie, Woodhouselee, 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, See also:

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

Home, See also:

• FERGUSON, ADAM (1723-1816)
• FERGUSON, JAMES (1710-1776)
• FERGUSON, ROBERT (c. 1637-1714)
• FERGUSON, SIR SAMUEL (1810-1886)

Ferguson, and 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 were See also:

• RESIDENT

resident in Edinburgh, and they all, along with a See also:

• HOST

host of others less celebrated, honoured the painter's canvases . Of his fully matured manner we could have no finer examples than his own portrait and that of the Rev . Sir See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry Moncrieff Wellwood, the bust of Dr Wardrop of Torbane Hill, the two full-lengths of 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:

• ROLLAND, JOHN (fl. 1560)

Rolland of Gask, the remarkable paintings of Lord See also:

• NEWTON
• NEWTON, ALFRED (1829–1907)
• NEWTON, JOHN (1725-1807)
• NEWTON, JOHN (1823-1895)
• NEWTON, SIR CHARLES THOMAS (1816-1894)
• NEWTON, SIR ISAAC (1642-1727)

Newton and Dr 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 Adam in the See also:

• NATIONAL

National See also:

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

Gallery of See also:

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

Scotland, and that of See also:

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

William See also:

• MACDONALD, FLORA (1722—1790)
• MACDONALD, GEORGE (1824-1905)
• MACDONALD, JACQUES ETIENNE JOSEPH
• MACDONALD, JOHN SANDFIELD (1812-1872)
• MACDONALD, LAWRENCE (1799-1878)
• MACDONALD, SIR HECTOR ARCHIBALD (1852-1903)
• MACDONALD, SIR JOHN ALEXANDER (1815-1891)

Macdonald of St Martin's .

It was commonly believed that Raeburn was less successful in his See also:

• FEMALE

female than in his male portraits, but the exquisite full-length of his wife, the smaller likeness of Mrs R . Scott Moncrieff in the Scottish National Gallery, and that of Mrs See also:

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

Robert See also:

• BELL
• BELL, ALEXANDER MELVILLE (1819—1905)
• BELL, ANDREW (1753—1832)
• BELL, GEORGE JOSEPH (1770-1843)
• BELL, HENRY (1767-1830)
• BELL, HENRY GLASSFORD (1803-1874)
• BELL, JACOB (1810-1859)
• BELL, JOHN (1691-178o)
• BELL, JOHN (1763-1820)
• BELL, JOHN (1797-1869)
• BELL, ROBERT (1800-1867)
• BELL, SIR CHARLES (1774—1842)

Bell, and others, are sufficient to prove that he could portray all the See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace and beauty of the gentler See also:

• SEX (Lat. sexes; possibly connected with secure, to cut)

sex . Raeburn spent his See also:

• LIFE

life in Edinburgh, rarely visiting the See also:

• METROPOLIS (Gr. piir17Pi mother, srGXis, city)

metropolis, and then only for brief periods, thus preserving his own sturdy individuality, if he missed the opportunity of engrafting on it some of the 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 refinement and delicacy of the London portraitists . But though he, personally, may have lost some of the advantages which might presumably have resulted from closer association with the leaders of See also:

• ENGLISH

English art, and from contact with a wider public, Scottish art certainly gained much from his disinclination to leave his native See also:

• LAND

land . He became the acknowledged See also:

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

chief of the school which was growing up in Scotland during the earlier years of the 19th See also:

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

century, and to his example and See also:

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

influence at a See also:

• CRITICAL (in alphabetical order of authors)

critical period is undoubtedly due much of the striking virility by which the work of his followers and immediate successors is distinguished . Evidences of this influence can be perceived even in the See also:

• PRESENT

present 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 . His leisure was employed in athletic See also:

• SPORTS
• SPORTS, THE BOOK OF

sports, in his 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, and in architectural and See also:

• MECHANICAL

mechanical pursuits, and so varied were the interests that 'filled his life that his sitters used to say of him, " You would never take him for a painter till he seizes the brush and See also:

• PALETTE (the Fr. diminutive of pale, spade, blade of an oar, from Lat. Pala, spade, baker's shovel or peel; cf. pandere, to spread)

palette." Professional honours See also:

• FELL
• FELL, JOHN (1625-1686)

fell thick upon him . In 1812 he was elected president of the Society of Artists in Edinburgh, in 1814 See also:

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

associate, and in the following year full member of the Royal Academy . In 1822 he was knighted by See also:

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

George IV. and appointed His See also:

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

Majesty's limner for Scotland . He died at Edinburgh on the 8th of See also:

• JULY

July 1823 . In his own day the portraits of Raeburn were excellently and voluminously engraved, especially by the last members of the See also:

• GREAT

great school of English See also:

• MEZZOTINT

mezzotint . In 1876 a collection of over 300 of his works was brought together in the Royal Scottish Academy galleries; in the following year a See also:

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

series of twelve of his finest portraits was included in the See also:

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

winter See also:

• EXHIBITION

exhibition of the Royal Academy, London; and a See also:

• VOLUME

volume of photographs from his paintings was edited by Dr John 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 .

Raeburn possessed all the necessary requirements of a popular and successful portrait-painter . He had the See also:

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

power of producing a telling and forcible likeness; his productions are distinguished by breadth of effect, by admirable force of handling, by See also:

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

execution of the swiftest and most resolute sort . See also:

• WILKIE, SIR DAVID (1785–1841)

Wilkie has recorded that, while travelling in See also:

• SPAIN
• SPAIN (Espana)

Spain and studying the works of See also:

• VELAZQUEZ, DIEGO RODRIGUEZ DE SILVA Y (1599-166o)

Velazquez, the brush-work of that master reminded him constantly of the " square 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 " of Raeburn . But the portraits of Velazquez are unsurpassable examples of See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone as well as of handling, and it is in the former quality that Raeburn is often wanting, possibly because his inclinations led him to study effects of diffused See also:

• LIGHT

light in preference to those which were strong in contrasts of light and shade . The See also:

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

colour of his portraits is some-times crude and out of relation, inclining to the use of See also:

• POSITIVE (or PORTABLE) ORGAN

positive and definite See also:

• LOCAL

local See also:

• PIGMENTS (Lat. pigmentum, from pingere, to paint)

pigments, and too little perceptive of the changeful subtleties and modifications of atmospheric effect . His draperies frequently consist of little more than two See also:

• COLOURS, MILITARY

colours —the local See also:

• HUE

hue of the fabric and the See also:

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

black which, more or less graduated, expresses its shadows and modelling . In his flesh, too, he wants—in all but his very best productions—the delicate refinements of colouring which distinguish the works of the great English portrait-painters . His faces, with all their excellent truth of See also:

• FORM (Lat. forma)

form and splendid vigour of handling, are often hard and bricky in hue . Yet, after all allowances have been made for what deficiencies there may be in his work, his right to a See also:

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

place among, the greater See also:

• BRITISH

British masters cannot be contested . The masculine power, the vitality and the strength of characterization which are so apparent in his paintings entitle him. to the serious attention of all lovers of See also:

• FINE

fine achievement; and there is much to be learned from study of his methods . His sincerity and freedom from artificial See also:

• GRACES, THE, (Gr. X&panes, Lat. Gratiae)

graces of See also:

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

style can be specially recognized, and his See also:

• FRANK, JAKOB (1726-1791)

frank directness is always attractive . See Life of Sir Henry Raeburn, R.A., by his great-See also:

• GRANDSON (Ger. Grandsee)

grandson William Raeburn See also:

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

Andrew, M.A .

Oxon . (2nd ed., 1894), which contains some of the latest See also:

• INFORMATION (from Lat. informare, to give shape or form to, to represent, describe)

information, together with a See also:

• COMPLETE

complete See also:

• CATALOGUE (a Fr. adaptation of the Gr. KaraXoyos, a register, from Karalyety, to enrol or pick out)

catalogue of the exhibition of 1876 . There may also be consulted Works of Sir Henry Raeburn, R.A., with tributes by Dr John Brown and others, published by Andrew Elliot, Edinburgh; See also:

• TRIBUTE (Lat. tributurn, a stated payment, contribution)

Tribute to the Memory of Raeburn by Dr Andrew See also:

• DUNCAN
• DUNCAN, ADAM DUNCAN, 1ST VISCOUNT (1731-1804)
• DUNCAN, PETER MARTIN (1824-1891)
• DUNCAN, THOMAS (1807—1845)

Duncan, the Catalogues of theloan exhibitions in Edinburgh of 1884 and 19o1; and the See also:

• ESSAY, ESSAYIST (Fr. essai, Late Lat. exagium, a weighing or balance; exigere, to examine; the term in general meaning any trial or effort)

Essay by W . E . See also:

• HENLEY, JOHN (1692-1759)
• HENLEY, WILLIAM ERNEST (1849-1903)

Henley—Sir Henry Raeburn by William Ernest Henley (189o) with a finely produced series of plates, printed by T . & A . 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 for the now defunct Royal Association for Promotion of the Fine Arts in Scotland . But the leading work on the subject, and the most splendidly illustrated, is Sir Henry Raeburn by Sir Walter See also:

• ARMSTRONG, ARCHIBALD (d. 1672)
• ARMSTRONG, JOHN (1709-1779)
• ARMSTRONG, JOHN (1758—1843)
• ARMSTRONG, SAMUEL CHAPMAN (1839—1893)
• ARMSTRONG, WILLIAM GEORGE ARMSTRONG, BARON (1810—1900)

Armstrong, with an introduction by R . A . M . See also:

• STEVENSON, ADLA1 EWING (1835- )
• STEVENSON, ROBERT (1772-1850)
• STEVENSON, ROBERT LEWIS BALFOUR (1850-1894)

Stevenson and a See also:

• BIOGRAPHICAL

biographical and descriptive catalogue by J . L .

Caw (19or) .