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 See also:

• LEOPOLD (M.H. Ger. Liupolt; O.H. Ger. Liupald, from hut, Mod. Ger. Leute, " people," and paid, " bold," i.e. " bold for the people ")

LEOPOLD See also:

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

ROBERT (1794-1835)  , See also:

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

French painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Chaux de Fonds (See also:

• NEUCHATEL
• NEUCHATEL (Ger. Neuenburg)
• NEUCHATEL, LAKE OF

Neuchatel) in See also:

• SWITZERLAND

Switzerland on the 13th of May 1794, but See also:

• LEFT

left his native See also:

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

place with the engraver Girardet at the See also:

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

age of sixteen for See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris . He was on the See also:

• EVE

eve of obtaining the See also:

• GRAND

grand prix for See also:

• ENGRAVING

engraving when the events of 1815 blasted his hopes, for Neuchatel was restored to See also:

• PRUSSIA
• PRUSSIA (Ger. Preussen; Lat. Borussia)

Prussia, and See also:

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

Robert was struck off the See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list of competitors as a foreigner . Whilst continuing his studies under Girardet he had never ceased to frequent the studio of 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, and he now determined to become a painter, and only returned to his native See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country when 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 himself was exiled . At Neuchatel he attracted the See also:

• NOTICE

notice of Roullet de Mezerac, who enabled him by a timely 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 to proceed to See also:

• ROME
• ROME (Roma)

Rome . In depicting the customs and See also:

• LIFE

life of the See also:

• PEOPLE

people, of See also:

• SOUTHERN

southern See also:

• ITALY
• ITALY (Italia)

Italy especially, he showed See also:

• PECULIAR

peculiar feeling for the See also:

• HISTORICAL

historical characteristics of their See also:

• RACE

race . After executing many detached studies of See also:

• ITALIAN

Italian life Robert conceived the See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea of See also:

• PAINTING

painting four See also:

• GREAT

great See also:

• WORKS

works which' should represent at one and the same 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 the four seasons in Italy and the four leading races of its people . In the " Return from the Fete of the Madonna dell' Arco " (Louvre) he depicted the Neapolitans and the See also:

• SPRING (from " to spring," " to leap or jump up," " burst out," O. Eng., springau, a common Teut. word, cf. Ger. springer, possibly allied to Gr. QnrFpxecOac, to move rapidly)

spring . This picture, exhibited at the See also:

• SALON

Salon of 1827, achieved undoubted success and was bought for the Luxembourg by 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 X.; but the See also:

• WORK

work which appeared in 1831—the" Summer Reapers arriving in the Pontine Marshes " (Louvre), which became the See also:

• PROPERTY

property 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 Philippe—established the artist's reputation . See also:

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

Florence and her autumn vineyards should now have furnished him with his third subject . He attempted to begin it, but, unable to conquer his See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion for Princess See also:

• CHARLOTTE

Charlotte See also:

• NAPOLEON

Napoleon (then 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 the violent See also:

• DEATH

death of her See also:

• HUSBAND

husband, Robert's devoted friend), he threw up his work and went to See also:

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

Venice, where he began and carried through the See also:

• FOURTH

fourth of the See also:

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

series, the " Fishers of the Adriatic." This work was not equal to the " Reapers." Worn by the vicissitudes of painful feeling, and bitterly discouraged, Robert committed See also:

• SUICIDE (from Lat. sui, of oneself, and cidium, from cued ere, to kill)

suicide before his easel on the loth 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 1835, on the tenth anniversary of the See also:

• MELANCHOLY (Gr. µe)tayXotia, from µEtas, black, and Xotii, bile)

melancholy suicide of a See also:

• BROTHER

brother to whom he had been much attached . See Villot, Notice See also:

• DES

des tableaux du Louvre; C . See also:

• BLANC, (JEAN JOSEPH CHARLES) LOUIS (1811-1882)
• BLANC, MONT

Blanc, Hist. des peintres; See also:

• FEUILLET, OCTAVE (1821-1890)

Feuillet de Conches, Correspondance de L .

L . Robert; See also:

• JULIUS

Julius See also:

• MEYER, CHRISTIAN ERICH HERMANN VON (18or-1869)
• MEYER, HEINRICH AUGUST WILHELM (1800-1873)
• MEYER, JULIUS LOTHAR (183o-1895)
• MEYER, KONRAD FERDINAND (1825-1898)
• MEYER, VICTOR (1848-1897)
• MEYER, [MARIE] PAUL HYACINTHE (184o- )

Meyer, Gesch. mod. fr . Malerei . ROBERT-See also:

• FLEURY [ABRAHAM JOSEPH BENARD] (1750-.1822)
• FLEURY, ANDRE HERCULE DE (1653-1743)
• FLEURY, CLAUDE (1640-1723)

FLEURY, See also:

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

JOSEPH See also:

• NICOLAS
• NICOLAS, SIR NICHOLAS HARRIS (1799–1848)

NICOLAS (1797-1890), French painter, was born at See also:

• COLOGNE (Ger. Koln, or officially, since 1900, Coln)

Cologne . He was sent by his See also:

• FAMILY

family to Paris, and after travelling in Italy returned to See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France and made his first See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance at the Salon in 1824; his reputation, however, was not established until three years later, when he exhibited " See also:

• TASSO, TORQUATO (1544-1595)

Tasso at the See also:

• CONVENT (Lat. conventus, from convenire, to come together)

Convent of St Onophrius." Endowed with a vigorous See also:

• ORIGINAL

original See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent, and with a vivid See also:

• IMAGINATION

imagination, especially for the tragic incidents of See also:

• HISTORY

history, he soon See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

rose to fame, and in 185o succeeded See also:

• GRANET, FRANCOIS MARIUS (1777-1849)

Granet as member of the Academie des See also:

• BEAUX, CECILIA (1863– )

Beaux-Arts . In 1855 he was appointed See also:

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

professor and in 1863 director of the Ecole des Beaux-Arts, and in the following See also:

• YEAR

year he went to Rome as director of the French See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy in that See also:

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

city . Among his See also:

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

chief works are: " A See also:

• READING

Reading at Mme. de See also:

• SEVIGNE, MARIE DE

Sevigne's," " See also:

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

Scene of St See also:

• BARTHOLOMEW, JOHN (1831-1893)
• BARTHOLOMEW, SAINT

Bartholomew," " 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 IV. taken to the Louvre after his Assassination " (1836); " Triumphal Entry of See also:

• CLOVIS [Chlodovech] (c. 466-511)

Clovis at See also:

• TOURS

Tours " (1838), at the See also:

• VERSAILLES

Versailles Museum; " Le Colloque de See also:

• POISSY
• POISSY, COLLOQUY OF

Poissy " (184o), at the Luxembourg Museum in Paris; " The See also:

• CHILDREN, LAW RELATING TO

Children of Louis XVI. in the See also:

• TEMPLE
• TEMPLE, FREDERICK (1821-1902)
• TEMPLE, RICHARD
• TEMPLE, SIR RICHARD, BART
• TEMPLE, SIR WILLIAM, BART

Temple " (184o); " See also:

• MARINO

Marino See also:

• FALIERO (or FALTER), MARINO (1279-1355)

Faliero "; " An Auto-da-fe," " Galileo before the See also:

• HOLY

Holy 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," at the Luxembourg Museum; " See also:

• CHRISTOPHER, SAINT (Christophorus, Christoferus)

Christopher See also:

• COLUMBUS
• COLUMBUS, CHRISTOPHER [in Spanish CRISTOBAL COLON] (c. 1446, or perhaps rather 1451, -15o6)

Columbus received by the See also:

• SPANISH

Spanish See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

Court " (1847), at the same See also:

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

gallery; " The Last Moments of See also:

• MONTAIGNE, MICHEL DE (1533-1592)

Montaigne " (1853);' and " Charles V. in the Monastery of Yuste " (1857) . He died in Paris in 189o . His son, TONY ROBERT-FLEURY (1837- ), French painter, was born in Paris, and studied under his See also:

• FATHER

father and under See also:

• DELAROCHE, HIPPOLYTE

Delaroche and See also:

• LEON
• LEON, LUIS PONCE DE (1527-1591)
• LEON, MOSES BEN SI
• LEON, or LEON DE LAS ALDAMAS

Leon Coignet . His first picture at the Salon, in 1866, was a large historical See also:

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

composition of the " See also:

• WARSAW
• WARSAW (Polish Warszawa, Ger. Warschau, Fr. Varsovie)

Warsaw Massacres on See also:

• APRIL

April 8, 1861." In the following year his " Old See also:

• WOMEN

Women in the Place Navone, Rome " was bought for the Luxembourg Museum, as was also the " Last 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 of See also:

• CORINTH
• CORINTH, ISTHMUS OF

Corinth " in 1870 . In 188o he painted a See also:

• CEILING (from a verb " to ceil," i.e. to line or cover; of disputed etymology, but apparently connected with Fr. ciel, Lat. caelum, sky)

ceiling for the Luxembourg, representing " The Glorification of French See also:

• SCULPTURE
• SCULPTURE (Lat. sculptura, from sculpere, to carve, cognate with Gr. yXb4ew)

Sculpture." Tony Robert-Fleury became 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 Societe des Artistes frangais in See also:

• SUCCESSION (Lat. successio, from succedere, to follow after)

succession to See also:

• BOUGUEREAU, ADOLPHE WILLIAM (1825-1905)

Bouguereau . He acquired a great reputation for his historical compositions and portraits; and from his atelier have issued a great number of the best-known painters of our day .