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left to right and from right to left alternately, after each shot of weft, thereby keeping the weft threads at equal distances apart, and retaining them in their parallel position. The textures are woven either plain, striped or figured; and the material receives lnany designations, according to its See also:

APPEARANCE (from Lat. apparere, to appear)

appearance and the purposes to which it is devoted. A thin cotton fabric, woven in the same way, is known as See also:

LENO, DAN

leno, to distinguish it from See also:

MUSLIN (through Fr. mousseline from It. mussolino, diminutive of Mussolo, i.e. the town Mosul in Kurdistan)

muslin made by plain weaving. Silk gauze was a prominent and extensive See also:

INDUSTRY (Lat. industria, from indu-, a form of the pre, position in, and either stare, to stand, or struere, to pile up)

industry in the See also:

west of See also:

Scotland during the second See also:

HALF

half of the 18th See also:

CENTURY (from Lat. centuria, a division of a hundred men)

century, but on the introduction of cotton-weaving it greatly declined. In addition to its use for See also:

DRESS (from the Fr. dresser, to set out, arrange, formed from Lat. directus, arranged, dirigere, to direct, arrange)

dress purposes silk gauze is much employed for bolting or sifting See also:

FLOUR

flour and other finely ground substances. The See also:

TERM

term gauze is applied generally cannot be surpassed. See also:

Gautier's poetical See also:

WORK

work contains in little an expression of his See also:

LITERARY

literary peculiarities. There are, in addition to the peculiarities of See also:

style and diction already noticed, an extra-See also:

ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary feeling and See also:

AFFECTION (Lat. ad, and facere, to do something to, sc. a person)

affection for beauty in See also:

art and nature, and a See also:

STRANGE, SIR ROBERT (1721-1792)

strange indifference to anything beyond this range, which has doubtless injured the popularity of his work. But it was not, after all, as a poet that Gautier was to achieve either profit or fame.

For the See also:

THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre, he had but little See also:

GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift, and his dramatic efforts (if we except certain masques or ballets in which his exuberant and graceful See also:

FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy came into See also:

PLAY

play) are by far his weakest. It was otherwise with his See also:

PROSE

prose fiction. His first novel of any See also:

SIZE

size, and in many respects his most remarkable work, was Mademoiselle de Maupin (1835). Unfortunately this See also:

BOOK

book, while it establishes his literary reputation on an imperishable basis, was unfitted by its subject, and in parts by its treatment, for See also:

general perusal, and created, even in See also:

France, a See also:

PREJUDICE (Lat. praejudicium)

prejudice against its author which he was very far from really deserving. During the years from 1833 onwards, his fertility in novels and tales was very See also:

GREAT

great. See also:

Les Jeunes-France (1833), which may See also:

RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank as a sort of prose Albertus in some ways, displays the follies of the youthful Romantics in a vein of humorous and at the same See also:

time half-pathetic See also:

SATIRE (Lat. satira, satura; see below)

satire. Fortunio (1838) perhaps belongs to the same class. Jettatura, written somewhat later, is less extravagant and more pathetic. A See also:

CROWD, CROUTH, CROWTH

crowd of See also:

minor tales display the highest literary qualities, and rank with See also:

MERIMEE, PROSPER (1803-1870)

Merimee's at the See also:

head of all contemporary See also:

WORKS

works of the class. First of all must be mentioned the See also:

GHOST (a word common to the W. Teutonic languages; O.E. vest, Dutch, 'geest, Ger. Geist)

ghost-See also:

story of La Morte amoureuse, a See also:

gem of the most perfect workmanship. For many years Gautier continued to write novels. La Belle Jenny (18'64) is a not very successful See also:

ATTEMPT (Lat. adtemptare, attentare, to try)

attempt to draw on his See also:

ENGLISH

English experience, but the earlier Mililona (1847) is a most charming picture of See also:

SPANISH

Spanish See also:

LIFE

life.

In Spirite (1866) he endeavoured to enlist the fancy of the See also:

day for supernatural manifestations, and a See also:

ROMAN

Roman de la momie (1856) is a learned study. of See also:

ancient See also:

EGYPTIAN

Egyptian ways. His most remarkable effort in this See also:

KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind, towards the end of his life,vvas Le Capitaine Fracasse (1863), a novel, partly of the See also:

PICARESQUE

picaresque school, partly of that which See also:

Dumas was to make popular, projected nearly See also:

THIRTY

thirty years earlier, and before Dumas himself had taken to the style. This book contains some of the finest instances of his literary See also:

POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power. Yet neither in po}}ms nor in novels did the See also:

main occupation of Gautier as a litrrary See also:

man consist. He was See also:

early See also:

DRAWN

drawn to the more lucrative task of See also:

FEUILLETON (a diminutive of the Fr. feuillet, the leaf of a book)

feuilleton-See also:

writing, and for more than thirty years he was among the most See also:

EXPERT (Lat. expertus, from experiri, to try)

expert and successful practitioners of this art. Soon after the publication of Mademoiselle de Maupin, in which he had not been too polite to journalism, he became irrevocably a journalist. He was actually the editor of L'Artiste for a time: but his See also:

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

chief newspaper connexions were with La Presse from 1836 to 1854 and with the Moniteur later. His work was mainly theatrical and art See also:

criticism. The See also:

REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest of his life was spent either at See also:

Paris or in travels of considerable extent to See also:

Spain, the See also:

NETHERLANDS

Netherlands, See also:

Italy, See also:

TURKEY

Turkey, See also:

England, See also:

Algeria and See also:

Russia, all undertaken with a more or less definite purpose of book-making. Having absolutely no See also:

POLITICAL

political opinions, he had no difficulty in accepting the Second See also:

EMPIRE

Empire, and received from it considerable favours, in return for which, however, he in no way prostituted his See also:

PEN (Lat. penna, a feather, pen)

pen, but remained a literary man pure and See also:

SIMPLE

simple. He died on the 23rd of See also:

DECEMBER (Lat. decent, ten)

December 1872. Accounts of his travels, criticisms of the theatrical and literary works of the day, obituary notices of his contemporaries and, above all, art criticism occupied him in turn.

It has sometimes been deplored that this engagement in journalism should have diverted Gautier from the performance of more See also:

capital work in literature. Perhaps, however, this regret springs from a certain misconception. Gautier's power was literary power pure and simple, and it is as evident in his slightest sketches and criticisms as in Emaux et camees or La Morte amoureuse. On the other See also:

hand, his weakness, if he had a weakness, See also:

lay in his almost See also:

TOTAL

total in-difference to the matters which usually See also:

SUPPLY (through Fr. from Lat. supplere, to fill up)

supply subjects for art and therefore for literature. He has thus been accused of " lack of ideas " by those who have not cleared their own minds of cant; and in the See also:

RECENT

recent set-back of the See also:

CRITICAL (in alphabetical order of authors)

critical current against See also:

FORM (Lat. forma)

form and to transparent fabrics of whatever fibre made, and to the fine-woven See also:

WIRE (A.S. wir, a wire; cf. Swed. vire, to twist, M.H.G. wiere, a gold ornament, Lat. viriae, armlets, ultimately from the root wi, to twist, bind)

wire-See also:

CLOTH

cloth used in safety-lamps, See also:

SIEVES

sieves, windgw-blinds, &c.

End of Article: GAUZE

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