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See also:ALMANSA, or ALMANZA , a See also:town of eastern See also:Spain, in the See also:province of See also:Albacete; 35 M. E.S.E. of Albacete, on the See also:Madrid-See also:Alicante railway. Pop. (1900) 11,180. Almansa is built at the See also:foot of a See also:- WHITE
- WHITE, ANDREW DICKSON (1832– )
- WHITE, GILBERT (1720–1793)
- WHITE, HENRY KIRKE (1785-1806)
- WHITE, HUGH LAWSON (1773-1840)
- WHITE, JOSEPH BLANCO (1775-1841)
- WHITE, RICHARD GRANT (1822-1885)
- WHITE, ROBERT (1645-1704)
- WHITE, SIR GEORGE STUART (1835– )
- WHITE, SIR THOMAS (1492-1567)
- WHITE, SIR WILLIAM ARTHUR (1824--1891)
- WHITE, SIR WILLIAM HENRY (1845– )
- WHITE, THOMAS (1628-1698)
- WHITE, THOMAS (c. 1550-1624)
white See also:limestone See also:crag, which is surmounted by a Moorish See also:castle, and rises abruptly in the midst of a fertile and irrigated See also:plain. About 1 m. S. stands an See also:obelisk commemorating the See also:battle fought here on the 25th of See also:April 1707, in which the See also:French under the See also:duke of See also:Berwick, a natural son of 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 II. of See also:Great See also:Britain, routed the allied See also:British, Portuguese and See also:Spanish troops. (See SPANISH See also:SUCCESSION, See also:WAR OF THE.)
See also:ALMA-TADEMA, See also:SIR LAURENCE (See also:LAURENS) (1836- ), British artist, was See also:born on the 8th of See also:January 1836, at Dronrijp, a Frisian See also:village near See also:Leeuwarden, the son of Pieter Tadema, a See also:notary, who died when he was four years old. Alma was the name of his godfather. His See also:mother (d. 1863) was his See also:father's second wife, and was See also:left with a large See also:family. It was designed that the boy should follow his father's profession; but he had so great a leaning towards See also:art that he was eventually sent to See also:Antwerp, where in 1852 he entered the See also:academy under Gustav See also:Wappers. Thence he passed to the atelier of See also:Henri (afterwards See also:Baron) See also:Leys. In 1859 he assisted Leys in the latter's frescoes in the See also:- HALL
- HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
- HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
- HALL, BASIL (1788-1844)
- HALL, CARL CHRISTIAN (1812–1888)
- HALL, CHARLES FRANCIS (1821-1871)
- HALL, CHRISTOPHER NEWMAN (1816—19oz)
- HALL, EDWARD (c. 1498-1547)
- HALL, FITZEDWARD (1825-1901)
- HALL, ISAAC HOLLISTER (1837-1896)
- HALL, JAMES (1793–1868)
- HALL, JAMES (1811–1898)
- HALL, JOSEPH (1574-1656)
- HALL, MARSHALL (1790-1857)
- HALL, ROBERT (1764-1831)
- HALL, SAMUEL CARTER (5800-5889)
- HALL, SIR JAMES (1761-1832)
- HALL, WILLIAM EDWARD (1835-1894)
hall of the hotel de ville at Antwerp. In the See also:exhibition of Alma-Tadema's collected See also:works at the Grosvenor See also:Gallery in See also:London in the See also:winter of 1882-1883 were two pictures which may be said to See also:mark the beginning and end of his first See also:period. These were a portrait of himself, dated 1852, and "A Bargain," painted
in 186o. His first great success was a picture of" The See also:Education of the See also:Children of See also:Clovis " (1861), which was exhibited at Antwerp. In the following See also:year he received his first See also:gold See also:medal at See also:Amsterdam. The " Education of the Children of Clovis " (three See also:young children of Clovis and Clotilde practising the art of hurling the See also:axe in the presence of their widowed mother, who is training them to avenge the See also:murder of their own See also:parent) was one of a See also:series of Merovingian pictures, of which the finest was the " Fredegonda " of 1878 (exhibited in 188o), where the dejected wife or See also:mistress is watching from behind her See also:curtain window the See also:marriage of See also:Chilperic I. with Galeswintha. It is perhaps in this series that we find the painter moved by the deepest feeling and the strongest spirit of See also:romance. One of the most passionate of all is " Fredegonda, at the See also:Death-See also:bed of Praetextatus," in which the See also:bishop, stabbed by See also:- ORDER
- ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
- ORDER, HOLY
order of the See also:queen, is cursing her from his dying bed. Another distinct series is designed to reproduce the See also:life of See also:ancient See also:Egypt. One of the first of this series, " Egyptians 3000 Years Ago," was painted in 1863. A profound See also:depth of pathos is sounded in " The Death of the Firstborn," painted in 1873. Among Alma-Tadema's other notable See also:Egyptian pictures are " An Egyptian at his See also:Door-way " (1865), " The See also:Mummy " (1867), " The See also:- CHAMBERLAIN (0. Fr. chamberlain, chamberlenc, Mod. Fr. chambellan, from O. H. Ger. Chamarling, Chamarlinc, whence also the Med. Lat. cambellanus, camerlingus, camerlengus; Ital. camerlingo; Span. camerlengo, compounded of 0. H. Ger. Chamara, Kamara [Lat.
- CHAMBERLAIN, JOSEPH (1836— )
- CHAMBERLAIN, JOSHUA LAWRENCE (1828– )
- CHAMBERLAIN, SIR NEVILLE BOWLES (1820-1902)
Chamberlain of See also:Sesostris " (1869), " A Widow " (1873), and " See also:Joseph, Overseer of See also:Pharaoh's See also:Granaries " (1874). On these scenes from Frankish and Egyptian life Alma-Tadema spent great See also:energy and See also:research; but his strongest art-impulse was towards the presentation of the life of ancient See also:Greece and See also:Rome, especially the latter. Amongst the best known of his earlier pictures of scenes from classical times are " Tarquinius Superbus " (1867), " Phidias and the See also:Elgin See also:Marbles " (1868), and " The Pyrrhic See also:Dance " and " The See also:Wine See also:Shop " (1869). " The Pyrrhic Dance," though one of the simplest of his compositions, stands out distinctly from them all by See also:reason of its striking See also:movement. " Phidias and the Elgin Marbles " is the first of those glimpses of the art-life of classical times, of which " See also:Hadrian in See also:England," " The See also:Sculpture Gallery," and " The Picture Gallery " are later examples. "The Wine Shop " is one of his many pictures of See also:historical genre, but marked with a more robust See also:humour than usual. In 1863 Alma-Tadema married a French See also:lady, and lived at See also:Brussels till 1869, when she died, leaving him a widower with two daughters, Laurence and See also:Anna, both of whom afterwards made reputations —the former in literature, the latter in art. In 1869 he sent from Brussels to the Royal Academy two pictures, " Un See also:Amateur romain " and " Une Danse pyrrhique," which were followed by three pictures, including " Un Jongleur," in 1870, when he came to London. 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, besides his Dutch and Belgian distinctions, he had been awarded medals at the See also:Paris See also:Salon of 1864 and the Exposition Universelle of 1867. In 1871 he married See also:Miss Laura See also:Epps, an See also:English lady of a talented family, who, under her married name, also won a high reputation as an artist. After his arrival in England Alma-Tadema's career was one of continued success. Amongst the most important of his pictures during this period were " The Vintage Festival " (187o), The Picture Gallery " and " The Sculpture Gallery " (1875), " An See also:Audience at See also:Agrippa's " (1876), " The Seasons " (1877), " See also:Sappho " (1881), " The Way to the See also:Temple " (1883), his diploma See also:work, " Hadrian in Britain" (1884), " The Apodyterium (r886), " The Woman of Amphissa " (1887), " The See also:Roses of See also:Heliogabalus " (1888), " An Earthly See also:Paradise " (1891), and " See also:Spring " (1895). Most of his other pictures have been small canvasses of exquisite finish, like the " Gold-See also:fish " of 1900. These, as well as all his works, are remarkable for the way in which See also:flowers, textures and hard reflecting substances, like metals, pottery, and especially See also:marble, are painted. His work shows much of the See also:fine See also:execution and brilliant See also:colour of the old Dutch masters. By the human See also:interest with which he imbues all his scenes from ancient life he brings them within the See also:- SCOPE (through Ital. scopo, aim, purpose, intent, from Gr. o'KOaos, mark to shoot at, aim, o ic07reiv, to see, whence the termination in telescope, microscope, &c.)
scope of See also:modern feeling, and charms us with See also:gentle sentiment and playful humour. He also painted some fine portraits. Alma-Tadema became'h naturalized British subject in 1873, and was knighted on the occasion of Queen See also:Victoria's eighty-first birthday, 1899. He was made an See also:associate of the Royal Academy in 1876,
and a Royal Academician in 1879. In 1907 he was included in the Order of Merit. He became a See also:knight of the order Pour le Write of See also:Germany (Arts and See also:Science See also:Division): of See also:Leopold, See also:Belgium; of the Dutch See also:Lion; of St See also:Michael of See also:Bavaria; of the See also:Golden Lion of See also:Nassau; and of the See also:Crown of See also:Prussia; an officer of the See also:Legion of See also:Honour, See also:France; a member of the Royal See also:Academies of See also:Munich, See also:Berlin, Madrid and See also:Vienna. He received a goid medal at Berlin in 1872 and a See also:grand medal at Berlin in 1874; a first class medal at the Paris See also:International Exhibitions of 1889 and 1900. He also became a member of the Royal Society of See also:Water-See also:colours.
See also Georg See also:Ebers, " Lorenz Alma-Tadema," Westermann's Monatshe te, See also:November and See also:December 1885, since republished in See also:volume See also:form; See also:Helen Zimmern, " L. Alma-Tadema, his Life and Work," Art See also:Annual, 1886; C. MVIonkhouse, British Contemporary Artists (London, 1899).
End of Article: ALMANSA, or ALMANZA
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