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FRANZ STUCK (1863— )

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Originally appearing in Volume V25, Page 1050 of the 1911 Encyclopedia Britannica.
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FRANZ See also:STUCK (1863— )  , See also:German painter, was See also:born at Tettenweis, in See also:Bavaria, and received his See also:artistic training at the See also:Munich See also:Academy . He first made a name with his illustrations for Fliegende Blatter, and See also:vignette designs for programmes and See also:book decoration . He did not devote himself to See also:painting till after 1889, the See also:year in which he achieved a marked success with his first picture, " The Warder of See also:Paradise." His See also:style in painting is based on a thorough mastery of See also:design, and is sculptural rather than pictorial . His favourite subjects are of mythological and allegorical See also:character, but in his treatment of See also:time-worn motifs he is altogether unconventional . A statuette of an See also:athlete, See also:bronze casts of which are at the See also:Berlin and See also:Budapest See also:classics and a third in See also:mathematics . He was elected a See also:fellow of Trinity See also:College, and held the college living of Navestock, See also:Essex, from 1850 to 1866 . He was librarian at See also:Lambeth, and in 1862 was an unsuccessful See also:candidate for the Chichele professorship of See also:modern See also:history at See also:Oxford . In 1866 he was appointed regius See also:professor of modern history at Oxford, and held the See also:chair until 1884 . His lectures were thinly attended, and he found them grievous interruptions to his See also:historical See also:work . Some of his statutory lectures are published in his Lectures on Mediaeval and Modern History . He was See also:rector of Cholderton, See also:Wiltshire, from 1875 to 1879, when he was appointed a See also:canon of St See also:Paul's . He served on the ecclesiastical courts See also:commission of 1881—1883, and wrote the weighty appendices to the See also:report .

On the 25th of See also:

April 1884 he was consecrated See also:bishop of See also:Chester, and in 1889 was translated to the see of Oxford . Until Bishop See also:Stubbs found it necessary to devote all his time to his episcopal duties, he pursued historical study with unremitting See also:diligence . He rejected the theory of the unity and continuity of history so far as it would obliterate distinctions between See also:ancient and modern history, holding that, though work on ancient history is a useful preparation for the study of modern history, either may advantageously be studied apart . He urged that history is not to be treated as an exact See also:science, and that the effects of individual character and the operations of the human will necessarily render generalizations vague and consequently useless . While pointing out that history has a utility as a See also:mental discipline and a See also:part of a liberal See also:education, he recommended its study chiefly for its own See also:sake, for the truth's sake and for the See also:pleasure which it brings . It was in this spirit that he worked; and his intellectual character was peculiarly fitted for his work, for he was largely endowed with the See also:faculty of See also:judgment and with a See also:genius for See also:minute and See also:critical investigation . He was eminent alike in ecclesiastical history, as an editor of texts and as the historian of the See also:English constitution . His right to be held as an authority on ecclesiastical history was proved in 1858 by his Registrum sacrum anglicanum, which sets forth episcopal See also:succession in See also:England, by many other later See also:works, and particularly by his See also:share in See also:Councils and Ecclesiastical Documents, edited in co-operation with the Rev . A . W . Haddan, for the third See also:volume of which he was specially responsible . His See also:place as a See also:master in critical scholarship and historical exposition is decided beyond debate by the nineteen volumes which he edited for the Rolls See also:series of See also:Chronicles and Memorials .

It is, however, by his Constitutional History of England that he is most widely known as a historian . The See also:

appearance of this book, which traces the development of the English constitution from the See also:Teutonic invasions of See also:Britain till 1485, marks a distinct step in the advance of English historical learning . Specialists may here and there improve on a statement or a theory, but it will always remain a See also:great authority, a See also:monument of patient and exhaustive See also:research of intellectual See also:power, and of ripe and disciplined judgment . Its See also:companion volume of Select Charters and other Illustrations of English Constitutional History, admirable in itself, has a See also:special importance in that its See also:plan has been imitated with See also:good results both in England and the See also:United States . Bishop Stubbs belongs to the front See also:rank of historical scholars both as an author and a critic . Among Englishmen at least he excels all others as a master of every See also:department of the historian's work, from the See also:discovery of materials to the elaboration of well-founded theories and See also:literary See also:production . He was a good palaeographer, and excelled in textual See also:criticism, in examination of authorship, and other such matters, while his vast erudition and retentive memory made him second to none in See also:interpretation and exposition . His carefulness was exemplary, and his references are always exact . His merits as an author are often judged solely by his Constitutional History . The learning and insight which this book displays are unquestionable: it is well planned, and its contents are well arranged; but constitutional history is not a lively subject, and, in spite of the skill with which Stubbs handled it and the genius displayed in his narrative See also:national galleries and the See also:Hamburg Museum, affords convincing See also:proof of his See also:talent for plastic See also:art . Among his paintings the best known are " See also:Sin " and " See also:War," at the Munich Pinakothek, " The See also:Sphinx," " The Crucifixion," " The Rivals," Paradise Lost," " See also:Oedipus," " Temptation," and " See also:Lucifer." Though See also:Stuck was one of the leaders of the Munich Sezession, he enjoyed an See also:appointment of professor at the academy .

End of Article: FRANZ STUCK (1863— )
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