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See also:FLORIS, FRANS , or more correctly FRANS DE See also:VRIENDT, called Facials (1520-157o), Flemish painter, was one of a large See also:family trained to the study of See also:art in See also:Flanders. Son of a See also:- STONE
- STONE (0. Eng. shin; the word is common to Teutonic languages, cf. Ger. Stein, Du. steen, Dan. and Swed. sten; the root is also seen in Gr. aria, pebble)
- STONE, CHARLES POMEROY (1824-1887)
- STONE, EDWARD JAMES (1831-1897)
- STONE, FRANK (1800-1859)
- STONE, GEORGE (1708—1764)
- STONE, LUCY [BLACKWELL] (1818-1893)
- STONE, MARCUS (184o— )
- STONE, NICHOLAS (1586-1647)
stone-cutter, Cornelis de Vriendt, who died at See also:Antwerp in 1538, he began See also:life as a student of See also:sculpture, but afterwards gave up See also:carving for See also:painting. At the See also:age of twenty he went to See also:Liege and took lessons from .See also:Lambert Lombard, a See also:- PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)
pupil of See also:Mabuse, whose travels in See also:Italy had transformed a See also:style truly Flemish into that of a See also:mongrel Leonardesque. Following in the footsteps
Mabuse, Lambert Lombard had visited See also:Florence, and caught the manner of Salviati and other pupils of See also:Michelangelo and Del Sarto. It was about the 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 when Schoreel, See also:Coxcie and See also:Heemskerk, after migrating to See also:Rome and imitating the See also:master-pieces of See also:Raphael and Buonarroti, came See also:home to execute Dutch-See also:Italian See also:works beneath the level of those producedin the See also:peninsula itself by Leonardo da See also:Pistoia, Nanaccio and Rinaldo of See also:Mantua. Fired by these examples, Floris in his turn wandered across the See also:Alps, and appropriated without assimilation the various mannerisms of the See also:schools of See also:Lombardy, Florence and Rome. Bold, See also:quick and resolute, he saw how easy it would be to See also:earn a livelihood and acquire a name. by See also:drawing for engravers and painting on a large See also:scale after the See also:fashion of See also:Vasari. He came home, joined the gild of Antwerp in 1540, and quickly opened a school from which 120 disciples are stated to have issued. Floris painted strings of large pictures for the See also:country houses of See also:Spanish nobles and the villas of Antwerp See also:patricians He is known to have illustrated the See also:fable of See also:Hercules in ten compositions, and the liberal arts in seven, for Claes Jongeling, a See also:merchant of Antwerp, and adorned the See also:duke of See also:Arschot's See also:palace of See also:Beaumont with fourteen See also:colossal panels. Comparatively few of his works have descended to us, partly because they came to be contemned for their inherent defects, and so were suffered to perish, partly because they were soon judged by a different See also:standard from that of the Flemings of the 16th See also:century. The earliest extant See also:canvas by Floris is the " See also:Mars and See also:Venus ensnared by See also:Vulcan " in the See also:Berlin Museum (1547), the latest a "Last See also:Judgment" (1566) in the See also:Brussels See also:gallery. Neither these nor any of the intermediate works at See also:Alost, Antwerp, See also:Copenhagen, See also:Dresden, Florence, Leau, See also:Madrid, St See also:Petersburg and See also:Vienna display any See also:charm of originality in See also:composition or in See also:form. Whatever boldness and force they may possess, or whatever principles they may embody, they are See also:mere appropriations of Italian See also:models spoiled in See also:translation or See also:adaptation. Their technical See also:execution reveals a rapid See also:hand, but none of the lustre of See also:bright colouring; and Floris owed much of his repute to the cleverness with which his works were transferred to See also:copper by See also:Jerome See also:Cock and See also:Theodore de See also:Galle. Whilst Floris was engaged on a Crucifixion of 27 ft., and a Resurrection of equal See also:size, for the See also:grand See also:prior of See also:Spain, he was seized with illness, and died on the 1st of See also:October 1570 at Antwerp.
End of Article: FLORIS, FRANS
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