See also:

• DANIEL
• DANIEL (DANIL)
• DANIEL, BOOK
• DANIEL, GABRIEL (1649-1728)

DANIEL See also:

• DANIEL VIERGE (1851-1904)

VIERGE (1851-1904)  , See also:

• SPANISH

Spanish painter and draughtsman, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• MADRID

Madrid in 1851 . He went to 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 in 1867 to seek his See also:

• FORTUNE, ROBERT (1813-188o)

fortune, fired by the vivid See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy of his See also:

• NATIONAL

national temperament . He became attached to the Monde illustre in 187o, just before the Franco-Prussian See also:

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

War See also:

• BROKE, or BROOKE, ARTHUR (d. 1563)
• BROKE, SIR PHILIP BOWES VERE, BART

broke out, and, like other artists in the See also:

• PAPER
• PAPER (Fr. papier, from Lat. papyrus)

paper, came under the powerful See also:

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

influence of Edmond See also:

• MORIN, JEAN (latinized JOANNES MORINUS) (1591-1659)

Morin, the first newspaper draughtsman in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France who sought to impart to drawings for See also:

• JOURNALS

journals the See also:

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

character of a See also:

• WORK

work of See also:

• ART

art . See also:

• VIERGE, DANIEL (1851-1904)

Vierge's earlier drawings, therefore, partake greatly of Morin's See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style; such are, " The See also:

• SHOOTING

Shooting in the See also:

• RUE (Fr. rue, Lat. ruta, from Gr. pur)

Rue de la Paix," " The See also:

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

Place d'Armes at See also:

• VERSAILLES

Versailles," " The 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," " The See also:

• GREAT

Great School-Fete of See also:

• LYONS
• LYONS (Fr. Lyon)
• LYONS, COUNCILS OF
• LYONS, EDMUND LYONS, BARON (1790-1858)
• LYONS, RICHARD BICKERTON PEMELL LYONS, 1ST EARL (1817–1887)

Lyons," " Anniversary of the Fight of Aydes " and " Souvenir of Coulmiers." Vierge lost no 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 in proving the extraordinary vigour and picturesqueness of his art . Apart from the contribution of his own See also:

• ORIGINAL

original work, he was required by his paper to redraw upon the See also:

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

wood, for the engraver, the sketches sent in by artist-correspondents, such as Luc 011ivier Merson in See also:

• ROME
• ROME (Roma)

Rome and See also:

• SAMUEL

Samuel Urrabieta (Vierge's See also:

• BROTHER

brother) in See also:

• SPAIN
• SPAIN (Espana)

Spain . From 1871 to 1878 his individuality became more and more pronounced, and he produced, among his best-known drawings, " See also:

• CHRISTMAS (i.e. the Mass of Christ)

Christmas in Spain," " The Republican 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 in See also:

• TRAFALGAR, BATTLE OF

Trafalgar Square," " Attack on a See also:

• TRAIN (M. Eng. trayn or trayne, derived through Fr. from Late Lat. trahinare, to drag, draw, Lat. trahere, cf. trail, trace, ultimately from the same source)

Train in See also:

• ANDALUSIA, or ANDALUCIA

Andalusia," " Feast of St Rosalia in See also:

• PALERMO (Greek, Havopuos; Latin, Panhormus, Panormus)

Palermo;" " In the Jardin d'Acclimatation," " The Burning of the Library of the Escurial, 1872," " Grasshoppers in See also:

• ALGIERS (Fr. Alger, Arab. Jezair, i.e. The Islands)

Algiers," " See also:

• BRIGANDAGE

Brigandage in See also:

• SICILY (Ital. Sicilia)

Sicily," " See also:

• NIGHT

Night Fete in See also:

• CONSTANTINOPLE
• CONSTANTINOPLE, COUNCILS OF

Constantinople," See also:

• VIETA (or VIETE), FRANCOIS, SEIGNEUR DE LA BIGOTIERE (1540-1603)

VIETA 57 " See also:

• EPISODE

Episode of the See also:

• CIVIL

Civil War in Spain," " See also:

• MARRIAGE

Marriage of 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 of Spain " and " The See also:

• BULL
• BULL, GEORGE (1634–1710)
• BULL, JOHN (c. 1562–1628)
• BULL, OLE BORNEMANN (18ro-188o)

Bull Fight." About this time he illustrated with remarkable dash and skill See also:

• VICTOR
• VICTOR, GAIUS JULIUS (4th cent. A.D.)
• VICTOR, SEXTUS AURELIUS

Victor See also:

• HUGO, GUSTAV VON (1764–1844)
• HUGO, VICTOR MARIE (1802-1885)

Hugo's Annee terrible (See also:

• MICHEL
• MICHEL, CLAUDE
• MICHEL, FRANCISQUE XAVIER (1809-1887)

Michel See also:

• LEVY (Fr. levee, from lever, Lat. levare, to lift, raise)
• LEVY, AMY (1861–1889)
• LEVY, AUGUSTE MICHEL (1844– )

Levy, 1874, and See also:

• HUGUES, CLOVIS (1851-1907)

Hugues, 1879), " 1813 " (Hugues, 1877) and See also:

• LES

Les Miserables (1882) . His masterpiece of See also:

• ILLUSTRATION

illustration is See also:

• MICHELET, JULES (1798-1874)

Michelet's See also:

• HISTORY

History of France (1876), consisting of 26 volumes containing r000 drawings . In 1879 he was See also:

• DRAWING

drawing for La See also:

• VIE

Vie moderne, and then proceeded to illustrate Pablo de See also:

• SEGOVIA

Segovia . While engaged upon this work he was attacked by See also:

• PARALYSIS, or PALSY (from Gr. aapal,6a , to relax; Wycliffe has palesy, and another old form of the word is parlesy)

paralysis in the 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, but with characteristic energy and courage he set himself to acquire the necessary skill in drawing with the See also:

• LEFT

left, and calmly proceeded with the illustrations to the See also:

• BOOK

book . In 1891 he illustrated L'Espagnole, by Bergerat, and in 1895 Le Cabaret See also:

• DES

des trois vertus . In 1898 he held, at the See also:

• PELLETAN, CHARLES CAMILLE (1846– )

Pelletan See also:

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

Gallery in Paris, an See also:

• EXHIBITION

exhibition of his drawings for See also:

• CHATEAUBRIAND, FRANCOIS RENE, VICOMTE DE (1768–1848)

Chateaubriand's Le Dernier Ahencerage (" The Last of the See also:

• ABENCERRAGES

Abencerrages "), and in the following See also:

• YEAR

year a comprehensive exhibition of his work (including the illustrations to See also:

• DON
• DON (anc. Tanais)

Don Quixote) at the Art Nouveau Gallery, also in Paris . In 1898 Vierge contributed to L'See also:

• IMAGE (Lat. imago, perhaps from the same root as imitari, copy, imitate)

Image, a See also:

• MAGAZINE

magazine devoted to the encouragement of See also:

• ENGRAVING

engraving upon wood; and two years later, at the See also:

• INTERNATIONAL, THE

International Exhibition at Paris, he was awarded a See also:

• GRAND

grand prix .

In 1902 he exhibited at the New See also:

• SALON

Salon a See also:

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

scene from the Franco-Prussian War . He died at See also:

• BOULOGNE, or BOULLONGNE

Boulogne-sur-See also:

• SEINE
• SEINE (Lat. Sequana)
• SEINE, or SEAN (O. Fr. seigne, mod. seine, Lat. sagena, Gr. vaytivrl, a draw-net)

Seine in May 1904 . See See also:

• ROGER (d. 1139)
• ROGER (d. 1181)

Roger See also:

• MARX, HEINRICH KARL (1818-1883)

Marx, I,'Image (1898) ; Beraldi, La Gravure au zg~ siecle .