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See also:LEBRIJA, or LEBRIXA , a See also:town of See also:southern See also:Spain, in the See also:province of See also:Seville, near the See also:left See also:bank of the See also:Guadalquivir, and on the eastern edge of the marshes known as See also:Las Marismas. Pop. (1900) 10,997. Lebrija is 44 M. S. by W. of Seville, on the Seville-See also:Cadiz railway. Its See also:chief buildings are a ruined Moorish See also:castle and the See also:parish 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, an imposing structure in a variety of styles—Moorish, See also:Gothic, Romanesque—dating from the 14th See also:century to the 16th, and containing some See also:early specimens of the See also:carving of Alonso Carlo (1601-1667). There are manufactures of bricks, tiles and earthenware, for which See also:clay is found in the neighbourhood; and some See also:trade in See also:grain, See also:wine and oil.
Lebrija is the Nabrissa or Nebrissa, surnamed Veneria, of the See also:Romans; by Silius Italicus (iii. 393), who connects it with the See also:worship of See also:Dionysus, the name is derived from the See also:Greek ve,6pts (a " fawn-skin," associated with Dionysiac See also:ritual). Nebrishah was a strong and populous See also:place during the See also:period of Moorish domination (from 711); it was taken by St See also:Ferdinand in 1249, but again lost, and became finally subject to the Castilian See also:crown only under See also:Alphonso the See also:Wise in 1264. It was the birthplace of Elio See also:Antonio de Lebrija or Nebrija (1444-1522), better known as Nebrissensis, one of the most important leaders in the revival of learning in Spain, the See also:tutor of See also:Queen See also:Isabella, and a collaborator with See also:Cardinal See also:Jimenes in the preparation of the Cornplutensian Polyglot (see See also:ALCALA DE HENARES).
LE BRUN, See also:CHARLES (1619-169o), See also:French painter, was See also:born at See also:Paris on the 24th of See also:February 1619, and attracted the See also:notice of See also:Chancellor Seguier, who placed him at the See also:age of eleven in the studio of See also:Vouet. At fifteen he received commissions from Cardinal See also:Richelieu, in the See also:execution of which he displayed an ability which obtained the generous commendations of Poussin, in whose See also:company Le Brun started for See also:Rome in 1642. In Rome he remained four years in the See also:receipt of a See also:pension due to the liberality of the chancellor. On his return to Paris Le Brun found numerous patrons, of whom See also:Superintendent See also:Fouquet was the most important. Employed at See also:Vaux le Vicomte, Le Brun ingratiated himself with See also:Mazarin, then secretly pitting See also:Colbert against Fouquet. Colbert also promptly recognized Le Brun's See also:powers of organization, and attached him to his interests. Together they founded the See also:Academy of See also:Painting and See also:Sculpture (1648), and the Academy of See also:France at Rome (1666), and gave a new development to the See also:industrial arts. In 166o they established the Gobelins, which at first was a See also:great school for the manufacture, not of tapestries only, but of every class of See also:furniture required in the royal palaces. Commanding the industrial arts through the Gobelins—of which he was director—and the whole artist See also:world through the Academy—in which he successively held every See also:post—Le Brun imprinted his own See also:character on all that was produced in France during his lifetime, and gave a direction to the See also:national tendencies which endured after his See also:death. The nature of his emphatic and pompous See also:- TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental
talent was in See also:harmony with the See also:taste 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, who, full of admiration at the decorations designed by Le Brun for his triumphal entry into Paris (166o), commissioned him to execute
a See also:series of subjects from the See also:history of See also:Alexander. The first of these, " Alexander and the See also:Family of See also:Darius," so delighted See also:- LOUIS
- LOUIS (804–876)
- LOUIS (893–911)
- LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
- LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian
Louis XIV. that he at once ennobled Le Brun (See also:December, 1662), who was also created first painter to his See also:majesty with a pension of 12,000 livres, the same amount as he had yearly received in the service of the magnificent Fouquet. From this date all that was done in the royal palaces was directed by Le Brun. The See also:works of the See also:gallery of See also:Apollo in the Louvre were interrupted in 1677 when he accompanied the king to See also:Flanders (on his return from See also:Lille he painted several compositions in the See also:Chateau of St Germains), and finally—for they remained unfinished at his death—by the vast labours of See also:Versailles, where he reserved for himself the Halls of See also:War and See also:Peace, the Ambassadors' See also:Staircase, and the Great Gallery, other artists being forced to accept the position of his assistants. At the death of Colbert, See also:Louvois, who succeeded him in the See also:department of public works, showed no favour to Le Brun, and in spite of the king's continued support he See also:felt a See also:bitter See also:change in his position. This contributed to the illness which on the 22nd of February 1690 ended in his death in the Gobelins. Besides his gigantic labours at Versailles and the Louvre, the number of his works for religious corporations and private patrons is enormous. He modelled and engraved with much facility, and, in spite of the heaviness and poverty of See also:drawing and See also:colour, his extraordinary activity and the vigour of his conceptions justify his claim to fame. Nearly all his compositions have been reproduced by celebrated engravers.
End of Article: LEBRIJA, or LEBRIXA
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