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See also:HOLLAR, See also:WENZEL or See also:WENCESLAUS [VACLAF HoLAR] (1607–1677), Bohemian etcher, was See also:born at See also:Prague on the 13th of See also:July 1607, and died in See also:London, being buried at St See also:Margaret's See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church, See also:Westminster, on the 28th of See also:March 1677. His See also:family was ruined by the See also:capture of Prague in the See also:Thirty Years' See also:War, and See also:young Hollar, who had been destined for the See also:law, determined to become an artist. The earliest of his See also:works that have come down to us are dated 1625 and 1626; they are small plates, and one of them is a copy of a Virgin and See also:Child by See also:Durer, whose See also:influence upon Hollar's See also:work was always See also:great. In 1627 he was at See also:Frankfort, working under See also:Matthew See also:Merian, an etcher and engraver; thence he passed to See also:Strassburg, and thence, in 1633, to See also:Cologne. It was there that he attracted the See also:notice of the famous See also:amateur See also:- THOMAS
- THOMAS (c. 1654-1720)
- THOMAS (d. 110o)
- THOMAS, ARTHUR GORING (1850-1892)
- THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
- THOMAS, GEORGE (c. 1756-1802)
- THOMAS, GEORGE HENRY (1816-187o)
- THOMAS, ISAIAH (1749-1831)
- THOMAS, PIERRE (1634-1698)
- THOMAS, SIDNEY GILCHRIST (1850-1885)
- THOMAS, ST
- THOMAS, THEODORE (1835-1905)
- THOMAS, WILLIAM (d. 1554)
Thomas, See also:earl of See also:Arundel, then on an See also:embassy to the imperial See also:court; and with him Hollar travelled to See also:Vienna and Prague, and finally came in 1637 to See also:England, destined to be his See also:home for many years. Though he lived in the See also:household of See also:Lord Arundel, he seems to have worked not exclusively for him, but to have begun that See also:slavery to the publishers which was afterwards the normal See also:condition of his See also:life. In his first See also:year in England he made for Stent, the printseller, the magnificent View of See also:Greenwich, nearly a yard See also:long, and received thirty shillings for the See also:plate,—perhaps a twentieth See also:part of what would now be paid for a single See also:good impression. Afterwards we hear of his fixing the See also:price of his work at fourpence an See also:hour, and measuring his 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 by a sandglass. The See also:Civil War had its effect on his fortunes, but none on his See also:industry. Lord Arundel See also:left England in 1642, and Hollar passed into the service of the See also:duke of See also:York, taking with him a wife and two See also:children. With other royalist artists, notably Inigo See also:- JONES
- JONES, ALFRED GILPIN (1824-1906)
- JONES, EBENEZER (182o-186o)
- JONES, ERNEST CHARLES (1819-1869)
- JONES, HENRY (1831-1899)
- JONES, HENRY ARTHUR (1851- )
- JONES, INIGO (1573-1651)
- JONES, JOHN (c. 1800-1882)
- JONES, MICHAEL (d. 1649)
- JONES, OWEN (1741-1814)
- JONES, OWEN (1809-1874)
- JONES, RICHARD (179o-1855)
- JONES, SIR ALFRED LEWIS (1845-1909)
- JONES, SIR WILLIAM (1746-1794)
- JONES, THOMAS RUPERT (1819– )
- JONES, WILLIAM (1726-1800)
Jones and See also:Faithorne, he stood the long and eventful See also:siege of Basing See also:House; and as we have some See also:hundred plates from his See also:hand dated during the years1643 and 1644 he must have turned his enforced leisure to good purpose. Taken prisoner, he escaped or was released, and joined Lord Arundel at See also:Antwerp, and there he remained eight years, the See also:prime of his working life, when he produced his finest plates of every See also:kind, his noblest views, his miraculous " muffs " and " shells," and the superb portrait of the duke of York. In 1652 he returned to London, and lived for a time with Faithorne the engraver near See also:Temple See also:Bar. During the following years were published many books which he illustrated:—See also:Ogilby's See also:Virgil and See also:Homer, Stapylton's See also:Juvenal, and See also:Dugdale's See also:Warwickshire, St See also:Paul's and Monasticon (part i.). The booksellers continued to impose on the See also:simple-minded foreigner, pretending to decline his work that he might still further reduce the wretched price he charged them. Nor did the Restoration improve his position. The court did nothing for him, and in the great See also:plague he lost his young son, who, we are told, might have rivalled his See also:father as an artist. After the great See also:fire he produced some of his famous " Views of London "; and it may have been the success of these plates which induced 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 to send him, in 1668, to See also:Tangier, to draw the See also:town and forts. During his return to England occurred the desperate and successful engagement fought by his See also:ship the " See also:Mary See also:Rose," under See also:Captain Kempthorne, against seven Algerine men-of-war,--a brilliant affair which Hollar etched for Ogilby's See also:Africa. He lived eight years after his return, still working for the booksellers, and retaining to the end his wonderful See also:powers; See also:witness the large plate of See also:Edinburgh (dated 167o), one of the greatest of his works. He died in extreme poverty, his last recorded words being a See also:request to the bailiffs that they would not carry away the See also:bed on which he was dying.
Hollar's variety was boundless; his plates number some 2740, and include views, portraits, See also:ships, religious subjects, heraldic subjects, landscapes, and still life in a hundred different forms. No one that ever lived has been able to represent See also:fur, or shells, or a butterfly's wing as he has done. His architectural drawings, such as those of Antwerp and Strassburg cathedrals, and his views of towns, are mathematically exact, but they are pictures as well. He could reproduce the decorative works of other artists quite faultlessly, as in the famous See also:chalice after See also:Mantegna's See also:drawing. His Theatrum mulierum and similar collections reproduce for us with literal truth the outward aspects of the See also:people of his See also:day; and his portraits, a See also:branch of See also:art in which he has been unfairly disparaged, are of extraordinary refinement and See also:power.
Almost See also:complete collections of Hollar's works exist in the See also:British Museum and in the library at See also:Windsor See also:Castle. Two admirable catalogues of his plates have been made, one in 1745 (2nd ed. 1759) by See also:George See also:Vertue, and one in 1853 by Parthey. The latter, published at See also:Berlin, is a See also:model of See also:German thoroughness and accuracy.
End of Article: HOLLAR, WENZEL
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