Page:Encyclopædia Britannica, Ninth Edition, v. 8.djvu/672

Rh 64G E T T E T T Voluspa, Leipsic, 1831, a translation of the Lieder der Edda, von den Nibelungen, Zur. 1837, and an old Norse reading book and vocabulary. He is also the author of a Handbuch der Deutschen Literaturgeschichte, 1847, which includes the treatment of the Anglo-Saxon, the Old Scandi navian, and the Low German branches; and he popularized a great deal of literary information in his Ilerbstabcnde und Winternachte : Gesprdcke uber Dichtungen und Dichter, 3 vols., Stuttgart, 1865-1867. The alliterative versification which he admired in the old German poems he himself employed in his Deutsche Stammkonige, Zur. 1844, and Das verluingnissvolle Zahnweh, oder Karl der Grosse und der Heiliger Goar, Zur. 1852. ETTMULLER, MICHAEL (1644-1683), a German physician, bora at Leipsic, May 26, 1644. After having studied languages, mathematics, and philosophy at his native town, he went to Wittenberg, and, returning to Leipsic, obtained a medical diploma there in 1666. He travelled in Italy, France, and England, and then retired to Leyden, where he had intended to spend some time in study; but he was suddenly recalled to Leipsic in 1668, and received the degree of doctor immediately after his arrival. He was admitted a member of the faculty of medicine in 1676. About the same time the university of Leipsic confided to him the chair of botany, and appointed him extraordinary professor of surgery, the duties of which he discharged with distinction. He died on the 9th March 1683. Although Ettmiiller only wrote short dissertations and mere opuscula, he enjoyed an immense reputation. He had the art of interesting and fixing the attention by a ready elocution, and by arguments sometimes much more specious than solid. The following is a list of his works : DC Singnlaribus, a thesis defended by Ettmiiller in 1663 ; Medicinn Hippocratis Chimica, Leipsic, 1670; Vis Opii diaphorctica, Leipsic, 1679; Chimia Rationalis ac Experimentalis curiosa, Leyden, 1684 ; Medicus Thcoria et Praxi generali instructus, Frankfort and Leipsic, 1685. Various editions of his collected works have been published, but the best is that of his son, who was also a physician of some emin ence, entitled Opera Medico, theoretica-practica per filmm Michac- lem Erncstum, etc., Frankfort, 1708, 3 vols. fol. There is no com plete translation of the works of Ettmiiller, but there are numerous German, English, and French translations of the different treatises. ETTY, WILLIAM, R.A. (1787-1849), one of the most eminent of British painters, was born at York, 10th March 1787. His father had been in early life a miller, but had finally established himself in the city of York as a baker of spice-bread. He showed from his earliest years a talent for drawing, and used to make sketches whenever he could find opportunity. After some scanty instruction of the most elementary kind, the future painter, at the age of eleven and a half, left the paternal roof, and was bound apprentice in the printing office of the Hull Packet. Amid many trials and discouragements he completed his term of seven years servitude, and having in that period come by practice, at first surreptitious, though afterwards allowed by his master &quot;in lawful hours,&quot; to know his own powers, he removed at the close of it to London. The kindness of an elder brother and a wealthy uncle, William Etty, himself an artist, stood him in good stead during his long and noble struggle against the trials and difficulties that bsset the career of nearly every person who adopts the profession of art for its own sake. He commenced his training by copying without instruction from nature, models, prints, &c., his first academy, as he himself says, being a plaster-cast shop in Cock Lane, Smithfield. Here he made a copy from an ancient cast of Cupid and Psyche, which was shown to Opie, and led to his being enrolled in 1807 as student of the Academy, whose schools were at that time conducted in Somerset House. Among his fellow scholars at this period of his career were some who in after years rose to eminence in their art, such as Wilkie, Haydon, Collins, Constable. His uncle generously paid the necessary fee of one hundred guineas, and in the summer of 1807 he was admitted to be a private pupil of Sir Thomas Lawrence, who was now at the very acme of his fame. Etty himself always looked on this privilege as one of incalculable value, and till his latest day regarded Lawrence as one of the chief ornaments of British art. For some years after he quitted Sir Thomas s studio, even as late as 1816, the influence of his preceptor was traceable in the mannerism of his works ; but his later pictures prove that he had completely outlived it. Though he had by this time made great progress in his art, his career was still one of almost continual failure, hardly cheered by even a passing ray of success. In 1811, after repeated rejections, he had the satisfaction of seeing his Telemachus rescuing Antiope on the walls of the Academy s exhibition-room. It was badly hung, however, and attracted little notice. For the next five years he persevered with quiet and constant energy in overcoming the clisad vantages of his early training with yearty growing success, and he was even beginning to establish something like a name when in 1816 he resolved to improve his knowledge of art by a journey to Italy. After an absence of three months, however, he was compelled to return home without having penetrated farther south than Florence. Struggles and vexations still continued to harass him, but he bore up against them with a patient endurance and force of will which ultimately enabled him to rise superior to them all. In 1820 his Coral-finders, exhibited at the Royal Academy, attracted much attention, and its success was more than equalled by that of Cleopatra s arrival in Cilicia, shown in the following year. In 1822 he again set out on a tour to Italy, taking Paris on his way, and astonishing his fellow-students at the Louvre by the rapidity and fidelity with which he copied from the old masters in that gallery. On arriving at Rome he immediately resumed his studies of the old masters, and elicited many expressions of wonder from his Italian fellow-artists for the samo qualities which had gained the admiration of the French. Though Etty was duly impressed by the grand chefs d oeuvres of Raphael and Michelangelo at Rome, he was not sorry to exchange that city for Venice, which he always regarded as the true home of art in Italy. His own style as that of the most distinguished English colourist of any period held much more of the Venetian than of any other Italian school, and he admired his prototypes with a /eal and exclusiveness that sometimes bordered on extravagance. Early in 1824 he returned home to find that honours long unjustly withheld were awaiting him. In that year he was made an associate of the Royal Academy, and in 1828 he was promoted to the full dignity of an Academician. In the interval beteen these dates he had produced the Combat (Woman interceding for the Vanquished), and the first of the series of three pictures on the subject of Judith, both of which ultimately came into the possession of the Scottish Academy, which body, to their credit be it told, were the first to discern and publicly appreciate the genius of Etty, and the value of his contributions to art. Etty s career was from this time one of slow but uninterrupted success. His works were not now as formerly allowed to remain upon h*is hands unsold ; and though the prices which they fetched were almost incredibly small in comparison with the value now attached to them, yet they satisfied the artist s requirements, and even tempted him to persevere in the dangerous career of high art. In 1830 Etty again crossed the Channel with the view to another art tour through the Continent ; but he was overtaken in Paris by the insurrec tion of the Three Days, and was so much shocked by the sights he vas compelled to witness in that time that he