Chapter Page to Paladore of P by Brewer's Readers Handbook

Page to Paladore

Page (Mr.), a gentleman living at Windsor. When sir John Falstaff made love to Mrs. Page, Page himself assumed the name of Brook, to outwit the knight. Sir John told the supposed Brook his whole “course of wooing,” and how nicely he was bamboozling the husband. On one occasion, he says, “I was carried out in a buck-basket of dirty linen before the very eyes of Page, and the deluded husband did not know it.” Of course, sir John is thoroughly outwitted and played upon, being made the butt of the whole village.

Mrs. Page, wife of Mr. Page, of Windsor. When sir John Falstaff made lov e to her, she joined with Mrs. Ford to dupe him and punish him.

Anne Page, daughter of the above, in love with Fenton. Slender calls her “the sweet Anne Page.”

William Page, Anne’s brother, a schoolboy.—Shakespeare: Merry Wives of Windsor (1596).

Page (Sir Francis), called “The Hanging Judge” (1661–1741).

Slander and poison dread from Delia’s rage;
Hard words or hanging if your judge be Page.
   —Pope.

Paget (The Lady), one of the ladies of the bedchamber in queen Elizabeth’s court.—Sir W. Scott: Kenilworth (time, Elizabeth).

Painted Chamber (The, an apartment in the old Royal Palace of Westminster, the walls of which were painted chiefly with battle-scenes, in six bands, somewhat similar to the Bayeaux tapestry (q.v., p. 98).

Painted Mischief, playing cards.

There are plenty of ways of gambling…without recourse to the “painted mischief,” which was not invented for the benefit of king Charles VI. of France.—Daily News, March 8, 1879.

Painter of Nature. Remi Belleau, one of the Pleiad poets (1528–1577).

(The Shepheardes Calendar, by Spenser. It is largely borrowed from Belleau’s Song of April.)

Painter of the Graces, Andrea Appiani (1754–1817).

Painters (Prince of). Parrhasios and Apellês are both so called (fourth century B.C.).

Painters, Characteristics of some—

(1) Angelico (Fra): It Beato, or the blessed painter: angels, saints, Saviour and Virgin; grouping and draping full of grace, even of splendour. Rich gold ornaments and backgrounds, and gay delicate flowers “like spring flowers.” Drawing often defective, from the want of human knowledge. The faces of his heavenly beings are full of serenity, and of a perfect radiance of expression (1387–1455). (See Anachronisms, p.40.)

(2) Angelo (Michael), painter, sculptor, architect, engineer, poet, and musician. His power lay in the mastery of form and the display of the human figure. The sibyls painted on the ceiling or the Sistine Chapel are most characteristic of Michael Angelo. “They exactly fitted his standard of art, not always sympathetic nor comprehensible to the average human mind, of which the grand in form and the abstract in expression were the first and last conditions.”—Lady Eastlake: History of our Lord. He is the Æschylos of painters (1475–1564). (See Errors, p. 331.).

(3) Botticelli (Sandro Filipepi, called Botticelli): “vehement and impetuous, full of passion and poetry, seeking to express movement.” The most dramatic painter of his school (1447–1515).—Sarah Tytler: The Old Masters, etc.