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See also:MAROT, See also:DANIEL (seventeenth See also:century) , See also:French architect, See also:furniture designer and engraver, and 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:Jean le Pautre (q.v.), was the son of Jean Marot (1620-1679), who was also an architect and engraver. He was a Huguenot, and was compelled by the Revocation of the See also:Edict of See also:Nantes in 1685 to See also:settle in See also:- HOLLAND
- HOLLAND, CHARLES (1733–1769)
- HOLLAND, COUNTY AND PROVINCE OF
- HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
- HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
- HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
- HOLLAND, JOSIAH GILBERT (1819-1881)
- HOLLAND, PHILEMON (1552-1637)
- HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
- HOLLAND, SIR HENRY, BART
Holland. His earlier See also:work is characteristic of the second See also:period of 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., but eventually it became tinged with Dutch See also:influence, and in the end the See also:English See also:style which is loosely called " See also:Queen See also:Anne " owed much to his manner. In Holland he was taken almost immediately into the service of the See also:Stadtholder, who, when he shortly afterwards became See also:- WILLIAM
- WILLIAM (1143-1214)
- WILLIAM (1227-1256)
- WILLIAM (1J33-1584)
- WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
- WILLIAM (c. 1130-C. 1190)
- WILLIAM, 13TH
William III. of See also:England, appointed him one of his architects and See also:master of the See also:works. Comparatively little is known of his architectural achievements, and his name cannot be attached to any English See also:building, although we know from his own See also:engraving that he designed the See also:great 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 See also:audience for the States-See also:General at the See also:Hague. He also decorated many Dutch See also:country-houses. In England his activities appear to have been concentrated upon the adornment of See also:Hampton See also:Court See also:Palace. Among his plans for gardens is one inscribed: " See also:Parterre d'Amton-court invente See also:par D. Marot." Much of the furniture—especially the mirrors, gueridons and beds—at Hampton Court bears unmistakable traces of his authorship; the tall and monumental beds, with their plumes of See also:ostrich feathers, their elaborate valances and chantournes in See also:crimson See also:velvet or other See also:rich stuffs agree very closely with his published designs. As befits an artist of 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 of Louis XIV. splendour and elaboration are the out-See also:standing characteristics of Marot's style, and he appears even to have been responsible for some of the curious and rather barbaric See also:silver furniture which was introduced into England from See also:France in the latter See also:part of the 17th century. At See also:Windsor See also:Castle there is a silver table, attributed to him, supported by caryatid legs and gadrooned feet, with a See also:foot-See also:rail supporting the See also:pine-See also:apple which is so See also:familiar a See also:motive in work of this type. The slab is engraved with the arms of William III. and with the See also:British See also:national emblems with crowns and cherubs. Unquestionably it is an exceedingly See also:fine example of its type. During his See also:life in France Marot made many designs for See also:Andre See also:Charles See also:Boulle (q.v.), more especially for See also:long See also:case and See also:bracket clocks. The bracket clocks were intended to be mounted in chased and gilded See also:bronze, and with their garlands and masquerons and elegant dials are far See also:superior artistically to those of the " grandfather " variety. It is impossible to examine the designs for Marot's long clocks without suspecting that See also:Chippendale derived from them some at least of the See also:inspiration which made him a master of that See also:kind of furniture. Marot's range was extraordinarily wide. He designed practically every detail in the See also:internal ornamentation of the See also:house—carved See also:chimney-pieces, ceilings, panels for walls, girandoles and See also:wall brackets, and even See also:tea urns and cream jugs—he was indeed a prolific
at See also:Turin in the autumn of 1544.
In See also:character Marot seems to have been a typical Frenchman of the old See also:stamp, cheerful, See also:good-humoured and amiable enough, but probably not very much disposed to elaborately moral life and conversation or to serious reflection. He has sometimes been charged with a want of See also:independence of character; but it is See also:fair to remember that in the See also:middle ages men of letters naturally attached them-selves as dependants to the great. Such scanty knowledge as we have of his relations with his equals is favourable to him. He certainly at one time quarrelled with See also:Dolet, or at least wrote a violent See also:epigram against him, for which there is no known cause. But, as Dolet quarrelled with almost every friend he ever had, and in two or three cases played them the shabbiest of tricks, the presumption is not against Marot in this See also:matter. With other poets like Mellin de See also:Saint Gelais and Brodeau, with See also:prose writers like See also:Rabelais and Bonaventure Desperiers, he was always on excellent terms. And whatever may have been his See also:personal weaknesses, his importance in the See also:history of French literature is very great, and was long rather under than over-valued. Coming immediately before a great See also:literary reform—that of the Pleiade—Marot suffered the drawbacks of his position; he was both eclipsed and decried by the partakers in that reform. In the reaction against the Pleiade he recovered See also:honour; but its restoration to virtual favour, a perfectly just restoration, again unjustly depressed him. Yet Marot is in no sense one of those writers of transition who are rightly obscured by those who come after them. He himself was a reformer, and a reformer on perfectly See also:independent lines, and he carried his own reform as far as it would go. His See also:early work was couched in the rhetoriqueur style, the distinguishing characteristics of which are elaborate See also:metre and See also:rhyme, allegoric matter and pedantic See also:language. In his second See also:stage he entirely emancipated himself from this, and became one of the easiest, least affected and most See also:vernacular poets of France. In these points indeed he has, with the exception of La See also:Fontaine, no See also:rival, and the lighter See also:verse-writers ever since have taken one or the other or both as See also:model. In his third period he lost a little of this flowing See also:- GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
- GRACE, WILLIAM GILBERT (1848– )
grace and ease, but acquired something in stateliness, while he certainly lost nothing in wit. Marot is the first poet who strikes readers of French as being distinctively See also:modern. He is not so great a poet as See also:Villon nor as some of his successors of the Pleiade, but he is much less antiquated than the first (whose works, as well as the See also:Roman de la See also:rose, it may be well to mention that he edited) and not so elaborately artificial as the second. Indeed if there be a See also:fault to find with Marot, it is
designer of See also:gold and silver See also:plate. Many of his interiors are very rich and harmonious although commonly over-elaborated. The craze for See also:collecting See also:china which was at its height in his time is illustrated in his lavish designs for receptacles for See also:porcelain—in one of his plates there are more than 300 pieces of china on the chimney-piece alone. Marot was still living in 1718, and the date of his See also:death in unknown.
We owe much of our knowledge of his work to the See also:volume of his designs published at See also:Amsterdam in 1712: CEuvres du Sieur D. Marot, architecte de See also:Guillaume III. Roi de la Grande Bretagne, and to Receuil See also:des planches des sieurs Marot, pere et fils. In addition to decorative work these books contain prints of scenes in Dutch history, and engravings of the statues and vases, produced by Marot, at the Palace of See also:Loo.
End of Article: MAROT, DANIEL (seventeenth century)
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