{
    "system": "GoGuides Verified Text",
    "api_version": "verified-text-v1",
    "status": "ok",
    "response_type": "verified_text_record",
    "source_key": "britannica_1911",
    "source_title": "Encyclopaedia Britannica (1911)",
    "license_code": "public_domain",
    "attribution": null,
    "license_url": null,
    "chunk_id": "1911:fresnoy:8782799a456e",
    "title": "FRESNOY",
    "section": null,
    "hash_alg": "sha256",
    "hash_sha256": "6c3a25144266bf0b050c463261e3b0f4c9b600ba3153635b63bb5418e034eb22",
    "normalizer": {
        "name": "ggnorm",
        "version": "1.0"
    },
    "verified_text": "fresnoy, charles alphonse du (1611-1665), french painter and writer on his art, was born in paris, son of an apothecary. he was destined for the medical profession, and well educated in latin and greek; but, having a natural propensity for the fine arts, he would not apply to his intended vocation, and was allowed to learn the rudiments of design under perrier and vouet. at the age of twenty-one he went off to rome, with no resources; he drew ruins and architectural subjects. after two years thus spent he re-encountered his old fellow-student pierre mignard, and by his aid obtained some amelioration of his professional prospects. he studied raphael and the antique, went in 1633 to venice, and in 1656 returned to france. during two years he was now employed in painting altar-pieces in the chateau of raincy, landscapes, &c. his death was caused by an attack of apoplexy followed by palsy; he expired at villiers le bel, near paris. he never married. his pictorial works are few; they are correct in drawing, with something of the caracci in design, and of titian in colouring, but wanting fire and expression, and insufficient to keep his name in any eminent repute. he is remembered now almost entirely as a writer rather than painter. his latin poem, _de arte graphica_, was written during his italian sojourn, and embodied his observations on the art of painting; it may be termed a critical treatise on the practice of the art, with general advice to students. the precepts are sound according to the standard of his time; the poetical merits slender enough. the latin style is formed chiefly on lucretius and horace. this poem was first published by mignard, and has been translated into several languages. in 1684 it was turned into french by roger de piles; dryden translated the work into english prose; and a rendering into verse by mason followed, to which sir joshua reynolds added some annotations. fret. (1) (from o. eng. _fretan_, a word common in various forms to teutonic languages; cf. ger. _fressen_, to eat greedily), properly to devour, hence to gnaw, so used of the slow corroding action of chemicals, water, &c., and hence, figuratively, to chafe or irritate. possibly connected with this word, in sense of rubbing, is the use of \"fret\" for a bar on the fingerboard of a banjo, guitar, or similar musical instruments to mark the fingering. (2) (of doubtful origin; possibly from the o. eng. _fraetive_, ornaments, but its use is paralleled by the fr. _frette_, trellis or lattice), network, a term used in heraldry for an interlaced figure, but best known as applied to the decoration used by the greeks in their temples and vases: the greek fret consists of a series of narrow bands of different lengths, placed at right angles to one another, and of great variety of design. it is an ornament which owes its origin to woven fabrics, and is found on the ceilings of the egyptian tombs at benihasan, siout and elsewhere. in greek work it was painted on the abacus of the doric capital and probably on the architraves of their temples; when employed by the romans it was generally carved; the propylaea of the temple at damascus and the temple at atil being examples of the 2nd century. it was carved in large dimensions on some of the mexican temples, as for instance on the palace at mitla with other decorative bands, all of which would seem to have been reproductions of woven patterns, and had therefore an independent origin. it is found in china and japan, and in the latter country when painted on lacquer is employed as a fret-diaper, the bands not being at right angles to one another but forming acute and obtuse angles. in old english writers a wider signification was given to it, as it was applied to raised patterns in plaster oh roofs or ceilings, which were not confined to the geometrical fret but extended to the modelling of flowers, leaves and fruit; in such cases the decoration was known as fret-work. in france the fret is better known as the \"meander.\"",
    "source_url": "https://archive.org/details/EB1911WMF",
    "observed_at": "2026-02-08 18:42:57",
    "integrity": {
        "hash_check": "match",
        "hash_scope": "full_normalized_text",
        "computed_sha256": "6c3a25144266bf0b050c463261e3b0f4c9b600ba3153635b63bb5418e034eb22"
    },
    "machine_use": {
        "read": true,
        "cite": true,
        "decision": "verified_public_domain_text"
    },
    "goguides_data_license": "https://www.goguides.com/data-license",
    "goguides_data_license_version": "2.0",
    "documentation": {
        "white_paper_url": "https://www.goguides.com/white-paper.php",
        "pdf_url": "https://www.goguides.com/whitepapers/goguides-ai-source-clearance-white-paper.pdf"
    }
}