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:

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

JOSEPH JACQUES See also:

• JAMES JOSEPH JACQUES TISSOT (1836-1902)
• TISSOT, PIERRE FRANCOIS (1768–1854)

TISSOT (1836-1902)  , See also:

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

French painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• NANTES
• NANTES, EDICT OF

Nantes on the 15th of See also:

• OCTOBER

October 1836 . He studied at the Ecole See also:

• DES

des See also:

• BEAUX, CECILIA (1863– )

Beaux Arts in 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 under See also:

• INGRES, JEAN AUGUSTE DOMINIQUE (178o-1867)

Ingres, See also:

• FLANDRIN, JEAN HIPPOLYTE (1809-1864)

Flandrin and Lamothe, and exhibited in the See also:

• SALON

Salon for the first 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 at the See also:

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

age of twenty-three . In 1861 he showed "The 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 of See also:

• FAUST, or FAUSTUS

Faust and See also:

• MARGUERITE

Marguerite, " which was See also:

• PURCHASED

purchased by the See also:

• STATE
• STATE, GREAT OFFICERS OF

state for the Luxembourg See also:

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

Gallery . His first characteristic See also:

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

period made him a painter of the charms of See also:

• WOMEN

women . Demimondaine would be more accurate as a description of the See also:

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

series of studies which he called La Remme a Paris . He fought in the Franco-See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

War, and, falling under suspicion as a Communist, See also:

• LEFT

left Paris for See also:

• LONDON

London . Here he studied See also:

• ETCHING (Dutch, etsen, to eat)

etching with See also:

• SIR

Sir See also:

• SEYMOUR
• SEYMOUR, HORATIO (1810-1886)
• SEYMOUR, or ST MAUR
• SEYMOUR, THOMAS

Seymour See also:

• HADEN, SIR FRANCIS SEYMOUR (1818-1910)

Haden, See also:

• DREW
• DREW, SAMUEL (1765-1833)

drew caricatures for Vanity See also:

• FAIR

Fair, and painted portraits as well as genre subjects . It was many years before he turned to the See also:

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

chief labour of his career—the See also:

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

production of a series of 700 See also:

• WATER

water-See also:

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

colour drawings to illustrate the See also:

• LIFE

life of See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ and the Old Testament . Some sudden See also:

• SHOCK, or COLLAPSE

shock or bereavement was said to have turned his thoughts from ideals of the cafe and the See also:

• BOULEVARD (a Fr. word, earlier boulevart, from Dutch or Ger. Bollwerk, cf. Eng. " bulwark ")

boulevard into a more serious channel . He disappeared from Paris, whither he had returned after a stay of some years in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, and went to See also:

• PALESTINE

Palestine . In 1895 the series of 350 drawings of incidents in the life of Christ was exhibited in Paris, and the following See also:

• YEAR

year found them on show in London . They were then published by the See also:

• FIRM

firm of See also:

• LEMERCIER, LOUIS JEAN NEPOMUCENE (1771–1840)

Lemercier in Paris, who had paid him 1,1oo,000 francs for them .

After this he turned to the scenes of the Old Testament, upon which he was still engaged at the See also:

• ABBEY (Lat. abbatia; from Syr. abba, father)
• ABBEY, EDWIN AUSTIN (1852– )

abbey of Buillon, in the See also:

• DEPARTMENT (Fr. departement, from departir, to separate into parts)

department of See also:

• DOUBS

Doubs, See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France, when he died on the 8th of See also:

• AUGUST (originally Sextilis)

August 1902 . The merits of See also:

• TISSOT, JAMES JOSEPH JACQUES (1836-1902)
• TISSOT, PIERRE FRANCOIS (1768–1854)

Tissot's See also:

• BIBLE
• BIBLE, ENGLISH

Bible illustrations See also:

• LAY

lay rather in the care with which he studied the details of scenery than in any quality of religious emotion . He seemed to aim, above all, at accuracy, and, in his figures, at a vivid See also:

• REALISM (from Low Lat. realis, appertaining to res, things, as opposed to ideas and imaginations)

realism, which was far removed from the conventional treatment of sacred types .