an extraordinary love of art, and as he was encouraged in his tastes by his father and brothers, two of whom afterwards became famous as artists—John Collingham Moore, and Henry Moore, R.A.—he was able to begin the active exercise of his profession at an unusually early age. His first exhibited works were two drawings which he sent to the Royal Academy in 1857. A year later he became a student in the Royal Academy schools; but after working in them for a few months only he decided that he would be more profitably occupied in independent practice. During the period that extended from 1858 to 1870, though he produced and exhibited many pictures and drawings, he gave up much of his time to decorative work of various kinds, and painted, in 1863, a series of wall decorations at Coombe Abbey, the seat of the earl of Craven; in 1865 and 1866 some elaborate compositions: “The Last Supper” and “The Feeding of the Five Thousand” on the chancel walls of the church of St Alban’s, Rochdale; and in 1868 “A Greek Play,” an important panel in tempera for the proscenium of the Queen’s Theatre in Long Acre. His first large canvas, “Elijah’s Sacrifice,” was completed during a stay of some five months in Rome at the beginning of 1863, and appeared at the Academy in 1865. A still larger picture, “The Shunamite relating the Glories of King Solomon to her Maidens,” was exhibited in 1866, and with it two smaller works, “Apricots” and “Pomegranates.” In these Albert Moore asserted plainly the particular technical conviction which for the rest of his life governed the whole of his practice, and with them he first took his place definitely among the most original of British painters. Of his subsequent Works the most notable are “The Quartette” (1869), “Sea Gulls” (1871), “Follow-my-Leader” (1873), “Shells” (1874), “Topaz” (1879), “Rose Leaves” (1880), “Yellow Marguerites” (1881), “Blossoms” (1881), “Dreamers” (1882), “Reading Aloud” (1884), “Silver” (1886), “Midsummer” (1887), “A River Side” (1888), “A Summer Night” (1890), “Lightning and Light” (1892), “An Idyll” (1893), and “The Loves of the Winds and the Seasons,” a large picture which was finished only a few days before his death. He died on the 25th of September 1893, at his studio in Spenser Street, Westminster. Several of his pictures are now in public collections; among the chief are “Blossoms,” in the National Gallery of British Art; “A Summer Night” in the Liverpool Corporation Gallery; “Dreamers” in the Birmingham Corporation Gallery; and a water-colour, “The Open Book,” in the Victoria and Albert Museum, South Kensington. In all his pictures, save two or three produced in his later boyhood, he avoided any approach to story-telling, and occupied himself exclusively with decorative arrangements of lines and colour masses. The spirit of his art is essentially classic, and his work shows plainly that he was deeply influenced by study of antique sculpture; but he was not in any sense an archaeological painter, nor did he attempt reconstructions of the life of past centuries. Artistically he lived in a world of his own creation, a place peopled with robust types of humanity of Greek mould, and gay with bright-coloured draperies and brilliant-hued flowers. As an executant he was careful and certain; he drew finely, and his colour-sense was remarkable for its refinement and subtle appreciation. Few men have equalled him as a painter of draperies, and still fewer have approached his ability in the application of decorative principles to pictorial art.
MOORE, EDWARD (1712–1757), English dramatist and miscellaneous writer, the son of a dissenting minister, was born at Abingdon, Berkshire, on the 22nd of March 1712. He was the author of the domestic tragedy of The Gamester, originally produced in 1753 with Garrick in the leading character of Beverley the gambler. As a poet he produced clever imitations of Gay and Gray, and with the assistance of George, 1st Lord Lyttelton, Lord Chesterfield and Horace Walpole, conducted The World (1753–1757), a weekly periodical on the model of the Rambler. Moore collected his poems under the title of Poems, Fables and Plays in 1756. He died in Lambeth on the 1st of March 1757. His Dramatic Works were published in 1788.
MOORE, GEORGE (1853–), Irish novelist and poet, was born in Ireland, son of George Henry Moore, M.P., a well known orator and politician. He studied art in London and finished his education in Paris. He was a regular contributor to various London magazines when he published his first volume, in verse, The Flowers of Passion (1877). A second, Pagan Poems, appeared in 1881. As a novelist he followed the French school of Flaubert and Zola, and became prominent for deliberate realism. His powerful Mummer’s Wife (1885) had decidedly repulsive elements. But Zolaism meanwhile was a thing to which the reading public was gradually becoming acclimatized. George Moore’s Esther Waters (1894), a strong story with an anti-gambling motive, had a more general success, and was followed by Evelyn Innes (1898), a novel of musical life, and its sequel, Sister Teresa (1901). He interested himself in the Irish Gaelic revival, and was one of the founders of the Irish Literary Theatre. His play, The Strike at Arlingford (three acts, in prose, 1893), was written for the Independent Theatre, and his satirical comedy, The Bending of the Bough (1900), dealing with Irish local affairs, was played by the Irish Literary Theatre in Dublin. His Diarmuid and Grania, written with Mr. W. B. Yeats, was produced by Mr. F. R. Benson’s company at the same theatre in 1901. The Untilled Field (1903) and The Lake (1905) are romantic pictures of Irish life. Moore had originally come to the front in London about 1888 as an art critic, and his published work in that line includes Impressions and Opinions (1891) and Modern Painting (1893, 2nd ed., 1897). Among his other books are A Drama in Muslin, (1886), A Mere Accident (1887), Parnell and His Island (1887), Mike Fletcher (1887), Spring Days (1888), Vain Fortune (1890), Celibates (1895), Confessions of a Young Man (1888), and Memoirs of My Dead Life (1906).
MOORE, GEORGE FOOT (1851–), American Biblical scholar, was born in West Chester, Pennsylvania, on the 15th of October 1851, the son of William Eves Moore (1823–1899), a prominent Presbyterian minister, long the permanent clerk of the Presbyterian General Assembly. The son graduated at Yale in 1872 and at Union Theological Seminary in 1877, was ordained in 1878, and from 1878 to 1883 was pastor of the Putnam Presbyterian Church, Zanesville, Ohio. He was Hitchcock professor of the Hebrew language and literature in Andover Theological Seminary in 1883–1902, and was president of its faculty in 1899–1901; in 1902 he became professor of theology and in 1904 professor of the history of religion at Harvard University His chief critical work dealt with the Hexateuch, and more particularly the Book of Judges (Commentary, 1895; text, translation and notes, 1898; text with critical notes, 1900).
MOORE, HENRY (1831–1895), English painter, the ninth son of William Moore, of York, and brother of Albert Joseph Moore, was born in that city on the 7th of March 1831. His artistic education was chiefly supervised by his father, but he also attended the York School of Design, and worked for a short time in the Royal Academy Schools. He first exhibited at the Academy in 1853, and was a constant contributor to its exhibitions till his death. At the outset of his career he occupied himself mostly with landscapes and paintings of animals, executed with extraordinary detail in imitation of the prevailing taste of the Pre-Raphaelite Brotherhood; but in 1857, while on a visit to the West of England, he made his first attempts as a sea-painter. His success was immediate, and it had the effect of diverting him almost entirely from landscapes. Among his most important canvases must be reckoned “The Pilot Cutter” in 1866, “The Salmon Poachers” in 1869, “The Lifeboat” in 1876, “Highland Pastures” in 1878, “The Beached Margent of the Sea” in 1880, “The Newhaven Packet” (bought by the Birmingham Corporation), and “Catspaws off the Land” (bought by the Chantrey Fund trustees); in 1885, “Mount’s Bay” (bought by the Manchester Corporation) in 1886, “Nearing the Needles” in 1888, “Machrihanish Bay, Cantyre,” in 1892, “Hove-to for a Pilot” in 1893, and “Glen Orchy,” a landscape, in 1895. He was elected an associate
