See also:

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

ALLAN See also:

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

RAMSAY (1713-1784)  , Scotch portrait-painter, the eldest son of the author of The See also:

• GENTLE (through the Fr. gentil, from Lat. gentilis, belonging to the same gens, or family)

Gentle Shepherd, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• EDINBURGH

Edinburgh in 1713 . 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 manifested an aptitude for See also:

• ART

art from an See also:

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

early See also:

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

period, and at the See also:

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

age of twenty we find him in See also:

• LONDON

London studying under the See also:

• SWEDISH

Swedish painter Hans Huyssing, and at the St 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's See also:

• LANE, EDWARD WILLIAM (1801–1876)
• LANE, JAMES HENRY (1814–1866)

Lane See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy; and in 1736 he See also:

• LEFT

left for See also:

• ROME
• ROME (Roma)

Rome, where he worked for three years under Solimena and Imperiali (Fernandi) . On his return he settled in Edinburgh; and, having attracted See also:

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

attention by his See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head of See also:

• FORBES
• FORBES, ALEXANDER PENROSE (1817-1875)
• FORBES, ARCHIBALD (1838-1900)
• FORBES, DAVID (1828--1876)
• FORBES, DUNCAN
• FORBES, EDWARD (1815—1854)
• FORBES, JAMES DAVID (1809—1868)
• FORBES, SIR JOHN (1787—1861)

Forbes of See also:

• CULLODEN

Culloden and his full-length of the See also:

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

duke of See also:

• ARGYLL, EARLS AND DUKES OF

Argyll, he removed to London, where he was patronized by the duke of See also:

• BRIDGEWATER, FRANCIS EGERTON, 3RP DUKE OF (1736-1803)
• BRIDGEWATER, FRANCIS HENRY EGERTON

Bridgewater . His pleasant See also:

• MANNERS, CHARLES (1857– )

manners and varied culture, not less than his See also:

• ARTISTIC

artistic skill, contributed to render him popular . In 1767 he was appointed to succeed Shakelton as See also:

• PRINCIPAL

principal painter to the 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; and so fully employed was he on the royal portraits which the king was in the See also:

• HABIT (through the French from Lat. habitus, from habere, to have, hold, or, in a reflective sense, to be in a certain condition; in many of the English senses the French use habitude, not habit)

habit of presenting to ambassadors and colonial See also:

• GOVERNORS

governors, that he was forced to take See also:

• ADVANTAGE

advantage of the services of a See also:

• HOST

host of assistants—of whom 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 Martin and 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 Reinagle are the best known . His See also:

• LIFE

life in London was varied by frequent visits to See also:

• ITALY
• ITALY (Italia)

Italy, where he occupied himself more in See also:

• LITERARY

literary and antiquarian See also:

• RESEARCH (O. Fr. recerche, from recercher, re- and cercer, mod. chercher, to search; Late Lat. circare, to go round in a circle, to explore)

research than with art . But this prosperous career came to an end, his See also:

• HEALTH

health being shattered by an accidental dislocation of thg right See also:

• ARM (a common Teutonic word; the Indo-European root is ar, to join or fit; cf. the Lat. armus, shoulder, and the plural word arma, weapons, Gr. apphs, joint, and the reduplicated apapilKSV, to join)

arm . With unflinching pertinacity he struggled till he had completed a likeness of the king upon which he was engaged at 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, and then started for his beloved Italy, leaving behind him a See also:

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

series of fifty royal portraits to be completed by his assistant Reinagle . For several years he lingered in the See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

south, his constitution finally broken . He died at See also:

• DOVER
• DOVER, GEORGE JAMES WELBORE
• DOVER, HENRY JERMYN, EARL OF (c. 1636-1708)
• DOVER, ROBERT (1575-1641)

Dover on the loth of See also:

• AUGUST (originally Sextilis)

August 1784 . Among his most satisfactory productions are some of his earlier ones, such as the full-length of the duke of Argyll, and the numerous bust-portraits of Scottish gentlemen and their ladies which he executed before settling in London . They are full of both 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 individuality; the features show excellent draughtsmanship; and the flesh-See also:

• PAINTING

painting is See also:

• FIRM

firm and See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound in method, though frequently tending a little to hardness and opacity .

His full-length of 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 See also:

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

Mary See also:

• COKE (a northern English word, possibly connected with " colk," core)
• COKE, SIR EDWARD (1552-1634)
• COKE, SIR JOHN (1563-1644)
• COKE, THOMAS (1747-1814)

Coke is remarkable for the skill and delicacy with which the 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 satin drapery is managed; while in the portrait of his 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-eyed wife, the eldest daughter of See also:

• SIR

Sir 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 See also:

• LINDSAY

Lindsay of Evelick, in the Scottish See also:

• NATIONAL

National See also:

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

Gallery, we have a sweetness and tenderness which shows the painter at his highest . This last-named See also:

• WORK

work shows the See also:

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

influence of See also:

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

French art, an influence which helped greatly to See also:

• FORM (Lat. forma)

form the practice of Ramsay, and which is even more clearly visible in the large collection of his sketches in the See also:

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

possession of the Royal Scottish Academy and the See also:

• BOARD (O. Eng. bord)

Board of Trustees, Edinburgh .