See also:

• FREDERICK
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

FREDERICK See also:

• FREDERICK SANDYS (1832-1904)
• SANDYS, GEORGE (1578-1644)
• SANDYS, SIR EDWIN (1561-1629)

SANDYS (1832-1904)  , See also:

• ENGLISH

English painter and draughtsman, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• NORWICH
• NORWICH, GEORGE GORING, EARL OF (1583?-1663)

Norwich on the 1st of May 1832, and received his earliest lessons in See also:

• ART

art from his See also:

• FATHER

father, who was himself a painter . His See also:

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

early studies show that he had a natural See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift for careful and beautiful See also:

• DRAWING

drawing, and that he sought after See also:

• ABSOLUTE (Lat. absolvere, to loose, set free)

absolute sincerity of presentment . See also:

• SANDYS, FREDERICK (1832-1904)
• SANDYS, GEORGE (1578-1644)
• SANDYS, SIR EDWIN (1561-1629)

Sandys worked along the same lines as See also:

• MILLAIS, SIR JOHN EVERETT (1829-1896)

Millais, Madox 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, See also:

• HOLMAN, JAMES (1786–1857)

Holman See also:

• HUNT, ALFRED WILLIAM (183o-1896)
• HUNT, HENRY (1i73-1835)
• HUNT, HENRY JACKSON (1819-1889)
• HUNT, JAMES HENRY LEIGH (1784-1859)
• HUNT, ROBERT (1807-1887)
• HUNT, THOMAS STERRY (1826-1892)
• HUNT, WILLIAM HENRY (1790—1864)
• HUNT, WILLIAM HOLMAN (1827-1910)
• HUNT, WILLIAM MORRIS (1824-1879)

Hunt and See also:

• ROSSETTI, CHRISTINA GEORGINA (1830-1894)
• ROSSETTI, DANTE GABRIEL (1828-1882)

Rossetti . He first met Rossetti in 1857, and carried away with him the impression of the painter-poet's features, which he reproduced so cleverly in " A Nightmare," a See also:

• CARICATURE (Ital. caricatura, i.e. "ritratto ridicolo," from caricare, to load, to charge; Fr. charge)

caricature of " See also:

• SIR

Sir Isumbras at the See also:

• FORD, EDWARD ONSLOW
• FORD, JOHN (r586–c.1640)
• FORD, RICHARD (1796-1858)
• FORD, THOMAS (b. c. 158o)

Ford," by Millais . Both the picture and the skit upon it by Sandys attracted much See also:

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

attention in 1857 . The caricaturist turned the See also:

• HORSE (a word common to Teutonic languages in such forms as hors, hros, ros; cf. the Ger. ross)

horse of Sir Isumbras into a donkey labelled " J . R., Oxon." (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 See also:

• RUSKIN, JOHN (1819-1goo)

Ruskin) . Upon it were seated Millais himself, in the See also:

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

character of the See also:

• KNIGHT, CHARLES (1791-1873)
• KNIGHT, DANIEL RIDGWAY (1845– )
• KNIGHT, JOHN BUXTON (1843–1908)

knight, with Rossetti and Holman Hunt as the two See also:

• CHILDREN, LAW RELATING TO

children, one before and one behind . Rossetti and Sandys became intimate See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends, and for about a See also:

• YEAR

year and a See also:

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

quarter, ending in the summer of 1867, Sandys lived with Rossetti at Tudor See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

House (now called 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's House) in See also:

• CHEYNE, THOMAS KELLY (1841— )

Cheyne Walk, See also:

• CHELSEA

Chelsea . By this 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 Sandys was known as a painter of remark-able gifts . He had begun by drawing for Once a See also:

• WEEK (from A.S. wicu, Germanic *wikon, probably=change, turn)

Week, the Cornlzill See also:

• MAGAZINE

Magazine, See also:

• GOOD, JOHN MASON (1764-1827)

Good Words and other See also:

• PERIODICALS

periodicals . He See also:

• DREW
• DREW, SAMUEL (1765-1833)

drew only in the magazines .

No books illustrated by him can be traced . So his exquisite draughtsmanship has to be sought for in the old See also:

• BOUND, or BOUNDARY (from O. Fr. bonde, Med. Lat. bodena or butina, a frontier line)

bound-up periodical volumes which are now hunted by collectors, or in publications such as Dalziel's See also:

• BIBLE
• BIBLE, ENGLISH

Bible See also:

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

Gallery and the Cornhill Gallery and books of drawings, with verses attached to them, made to See also:

• LIE, JONAS LAURITZ EDEMIL (1833—1908)
• LIE, MARIUS SOPHUS (1842–1899)

lie upon the drawing-See also:

• ROOM

room tables of those who had for the most See also:

• PART

part no See also:

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

idea of their merits . Every drawing Sandys made was a See also:

• WORK

work of art, and many of them were so faithfully engraved that they are worthy of the See also:

• COLLECTOR

collector's See also:

• PORTFOLIO (shortened form of Porto folio, adapted from the Ital. portafogli, portare, to carry, and fogli, sheets or leaves of paper, Lat. folium, leaf)

portfolio . Early in the 'sixties he began to exhibit the paintings which set the See also:

• SEAL
• SEAL, FUR
• SEAL, HAIR

seal upon his fame . The best known of these are " Vivien " (1863), " See also:

• MORGAN
• MORGAN, DANIEL (1736-1802)
• MORGAN, EDWIN DENNISON (1811-1883)
• MORGAN, JOHN HUNT (1825-1864)
• MORGAN, JOHN PIERPONT (1837–1913)
• MORGAN, LEWIS HENRY (1818-1881)
• MORGAN, SYDNEY, LADY (c. 1783-1859)
• MORGAN, THOMAS (d. 1743)

Morgan le See also:

• FAY, ANDRAS (1786–1864)

Fay " (1864), " See also:

• CASSANDRA

Cassandra " and " See also:

• MEDEA (Gr. Mi/Seta)

Medea." Sandys never became a popular painter . He painted little, and the dominant See also:

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

influence upon his art was the influence exercised by lofty conceptions of tragic See also:

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

power . There was in it a sombre intensity and an almost stern beauty which lifted it far above the ideals of the See also:

• CROWD, CROUTH, CROWTH

crowd . The Scandinavian Sagas and the Morte d'See also:

• ARTHUR (Fr. Arius)
• ARTHUR, CHESTER ALAN (1830 – 1886)

Arthur gave him subjects after his own See also:

• HEART
• HEART, LUNG

heart . " The Valkyrie " and " Morgan le Fay " represent his work at its very best . He made a number of See also:

• CHALK

chalk drawings of famous men of letters, including See also:

• TENNYSON, ALFRED TENNYSON

Tennyson, See also:

• BROWNING, ELIZABETH BARRETT (z8o6-r861)
• BROWNING, OSCAR (1837- )
• BROWNING, ROBERT (1812-1889)

Browning, See also:

• MATTHEW, GOSPEL OF ST
• MATTHEW, ST (MaOOaior or MarOaIos, probably a shortened form of the Hebrew equivalent to Theodorus)
• MATTHEW, TOBIAS

Matthew See also:

• ARNOLD
• ARNOLD, BENEDICT (1741-1801)
• ARNOLD, GOTTFRIED (1666-1714)
• ARNOLD, MATTHEW (1822-1888)
• ARNOLD, SAMUEL (1740--18o2)
• ARNOLD, SIR EDWIN (1832-1904)
• ARNOLD, THOMAS (1745-1842)

Arnold, and 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:

• RUSSELL (FAMILY)
• RUSSELL, ISRAEL COOK (1852- )
• RUSSELL, JOHN (1745-1806)
• RUSSELL, JOHN (d. 1494)
• RUSSELL, JOHN RUSSELL, 1ST EARL (1792-1878)
• RUSSELL, JOHN SCOTT (1808–1882)
• RUSSELL, LORD WILLIAM (1639–1683)
• RUSSELL, SIR WILLIAM HOWARD
• RUSSELL, THOMAS (1762-1788)
• RUSSELL, WILLIAM CLARK (1844– )

Russell See also:

• LOWELL
• LOWELL, ABBOTT LAWRENCE (1856— )
• LOWELL, CHARLES RUSSELL (1835-1864)
• LOWELL, JAMES RUSSELL (1819-1891)
• LOWELL, JOHN (1743-1802)

Lowell . Sandys died in See also:

• KENSINGTON

Kensington on the loth of See also:

• JUNE

June 1904 .

See also See also:

• ESTHER

Esther See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

Wood, The Artist (See also:

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

Winter number, 1896) .