LONDON

WILLIAM
265, "HIGH

GLAISHER,
HOLBORN,
W.C.

PEEFACE,

THE which

somewhat is devoted
as

discursive
to
a

character

of

work

like

the of of

present,
all such

brief be few

illustrative called words "the

explanation language
of

phraseology
demands
and at

may

properly
some

the

Arts,"

its

outset

descriptive

its character

object.
The

plan

embraced

in the in

present work

includes

all

such

terms

as

are

generally employed
real

painting,sculpture, and
the of
as

engraving,
which

whether rule
the

descriptiveof
mind and

objects, or
the
as

principles
artist.

of It

action thus

guide
of
to

hand well
a

the their

comprises
But
as

the it is

Esthetics desirable in the

Art,

practical
for
as

results. all persons be used

make

this

useful
or

hand-book

interested in

Art, all such

contents

terms, ancient
of
a museum

modern,

may

describing explained.
pottery
civil form and the
;

or

picture-gallery,are antique
;
as

here

Thus,
sacred

the and

technical domestic

terms

for

vases,
as

or

mediaeval

implements
arms,
a

well

for all

costume,
which in its

military,
component
notices in of

armour,

"c.,

are

described;
may be included of

parts of
the
;
an

picture, or
schools of of

description ;

various

Art, and
and

public picture-galleries implements

;
a

England
of

analysis
woods

colours
or

artistic
stones

tions descripof call

as

ornamental their
or

precious

brief

notice
as

the Art
arc

saints
to

and

symbols
such in
terms

such

manufacturing
and works for

processes the may

their

aid,

in architecture Art. Other wishes

as

cognate
be

arts

necessarilyused
advantage by
the

general

consulted
on

with any

student of these
"

who

detailed

information

particular branch

such

Costume,

Architecture, Heraldry

VI

PREFACE.

Ac. and

to

all such

subjects
with

books

have

been

devoted,
;

lucid, sufficiently
this tionary, Dicas

embellished such

illustrative have been

;
our

engravings

throughout
in

books
to

carefully

indicated

foot-notes,
to

further those
abstruse

guide
terms

the

student
are

principal object being

and

include the

only
most

which for the

generally
of which than such

familiarly used, leaving

as

pages

volumes exceed

may
our

be

more

properly
space,

devoted

to

explanations
to

would
to

regulated
Thus,
the
to

and this

belong

rather

peculiar
a

general
range

Art. of

while

Dictionary
limit

exhibits in

somewhat

wide

subject,

restrictive
any

embodied it
a

its title will

and

prevent

its
a

resemblance

other
to

giving
students

completeness
amateurs

utility as
Fine Arts.

general

reference-book

all

or

of the

DICTIONARY

OF

TERMS

IN

ART.

ABA"

ABO. ABNORMAL.
condition. In
to

ABACULUS.

(Lat.} A

small

tile of glass,
other of
rious va-

Contrary
Art,
the
term

to

the

natural is from
to

marble, or Isubstance,

abnormal deviates is

applied
the rules

everything

that

colours,
in

used

of

good taste, and

analogous

making

mental orna-

and tasteless, in of
or

overcharged.
A loose woollen cloak made

patterns
mosaic

A HOLLA.
a

pavements.
re-

rectangular
square

[The engraving
Ipresents
of
a

piece
of milar siand A, and

ment paverious va-

of

cloth,
form

such

shaped placed
and

tiles

use

as

the TOG

together,
a tinuous con-

but

smaller,

forming

is almost with

tical identhe
:

geometric
I

pattern, and
at

is part

PALLIUM
was

it

of The

pavement
use

discovered tiles been in

Herculaneum.
and

fastened the

of

churches much

public
to in the
one

upon the under

top

of

buildings
present
of and been the

has
;

resorted is of

shoulder, or
the

age
more

its restoration features ancient

indeed the

neck,
or

marked of

time have

by

brooch

imitations made in

examples

FIBULA.

though Al-

great perfection.

ally originslab the of

worn

ABACUS. of

(Lat.)
used for in

rectangular

by
diers, sol-

marble, stone, porcelain,"c., coating

or

of various walls the whole

Roman

colours,
rooms,

the
over

it subsequently

either

panels

became
of civilians

part
of the

of

the

ordinary
It but finer its

tume cos-

surface. ABEZZO. resin which

all classes.

differs
was

(OLIO
exudes the

DI

ABEZZO. from the

Hal.}

The

very smaller

little

from

SAGUM,
and much

of

Terebintha
or

dimensions
Our

rial. mate-

abietina, Off.;
of Linnaeus

Pinus
atmte

picea,
of the

silver

fir

illustration

exhibits

ordinary

; the

Italians with forms called

; the

form,

as

given

on

Roman The

bas-relief. first sketch the is French

or

tapin

of the

French.
nut

Diluted

naptha,
an cellent ex-

ABOZZO.
dead the

(Ital.)
which

drying linseed, or
varniah.

oil, it
also

colouring, to termfrotte;
whether

give

It

wa*

Sti-as-

the

term

criminately, applied indisk

burg 'llu-pentmt.

the

sketch

ABS" in
one or colour,as umber are or thinlyapplied,

ACA. with

whether rubbed when the

the in
as

colours

those who

they are

intended

to remain

ture picspects re-

other,as frequently hhppon* to model from a study which WM only intended to exhibit the development
each of certain muscles
or

is finished. ABSOLUTE. unlimited

own

members is also

of the the
name

body.

Whatever and

is in

all

ACADEMY-FIGURE which
we

uncontrolled

in it*

or opposed to the relative, without any other intention than that of and to whatever exists only conditional./. of entire Thus, tho absolute is the principle studying the human form, an.i ta a part of academic mental studies. completim, the universal idea and fundaACADEMICIAN. of all things. The quesOne who is a member principle tion of of absolute beauty, "'. the called a society e. Academy, wliich has for prototype of the beautiful, is the most important the objectof its discourses and labours the within the reach of Art, involving the Arts, Sciences,and general Literature ; foundation of .-Esthetics, and of the philoand to whom the care and cultivation of sophy of the beautiful. these objects in is, some degree,intrusted. ABSORBED. In Italian, ACADEMY. This term was Prosciugato ; appliedto in French, Enibu. all great schools, When the oil with scientific societies, and which a pictureis painted has sunk Lhto institutions. It was firstgiven to schools the ground or canvas, of Art in Italy, the earliest being the old leaving the cok'ir flat or dead, and the touches indistinct, it Florentine Academy, which was only a is said to be absorbed. This term is nearly kind of learned JEsthetic Society, founded in 1345,under the with CHILLED, or SUNK IN. by the Venetian painters synonymous ABSORBENT-GROUNDS are picture- titleof " the Societyof St. Luke," which was grounds preparedin distemperupon either encouragedby the Government, greatly have and the of panel or canvas protected by the importantand princely ; they property house of Medici. We mention the must imbibing the redundant oil with which the and are pigments are mixed, of impasting, Academy of San Luca, still existing at used principally for the sake of expedition. Rome, founded by Frederick Zucchero in ACADEMIC." but whose real A^DEMY-FIGBKE. after In 1593; existence, the firstsense, we call a figure of academic slumbering a hundred years, began with Marratti. Of the early Academies for th." proportionswhen it is of little less than half the size of nature, such as it is the study of Art we may note that at Milan, for pupils da Vinci, custom but existto draw from the antique attributed to Leonardo ing his birth. and from life ; any figurein an In to attitude previous 1391, the French h i imitation those of their chosen rentine Floartists, or conventional, resembling in life-academies for the purpose of disformed themselves into a playing brethren, muscular to the students action, Society,called also the Academy of St. in 1648, by tage. was form, and colour,to the greatest advanLuke, which elevated, " Louis XIV. into the Paris In the second sense, we the demy Royal Acaemploy of the term same Painting; position Academy-figure to describe in a comsovereign tecture a founding also a Royal Academy of Archilected figurewhich the artist has sein 1671. The most ancient German and in such a posed with skill, to exhibit his taste in design, Academy is that at Nuremberg, founded as in manner That at Berlin was but without strict regard to the character 1662. firstestablished in 1694; that at Dresden of the personage in 1697. and the voluntaryaction At of the subject of the picture or statue. Padua, an Academy of Painting was founded in 1710 ; another at Bologna, in Sometimes ACADEMY-FIGURE is understood in which the action is constrained, 1712 ; at Augsburg, in the same 50 be one year ; at in "ad the parts without mutual in connection at 1716; Vienna, 1726; at Parma,

nature

it is

by a figure designate drawn, ed, paintmodelled from the nude solely,

"

ACA"

ACC.
;

Madrid, in 1752
at

; at

in Copenhagen, 1757 ; at

1754

round for

drinking-cups ; and
the

in Architecture

Manheim, in 1761 ; Stuttgard, year; in the 1770 in at Munich, at ; Brussels, in at Mantua, same year ; at Cassel, 1775 ; 1769 ; at Turin, in 1777 ; at Bordeaux, ui in 1781 ; and at Weimar, in the same year.
St.

in Petersburgh,
same

ornamenting
the

of columns,* capitals

in the

at

those particularly and

or

of the Corinthian

order,

Roman, Composite,

which from

sprang it.The type be

There

are

also old-established schools at

of the Corinthian

Leipsig,Ghent, Bruges, Antwerp, "c., capital may ascertained, found on numerous whose date is not so clearly
but which
are

of that

foundation early In

to

Egyptian
capitals, which resemble it, as u
shown in the
nexed an-

be expectedin that

importanthome
ages.

of the

Arts
an

in the middle

Edinburgh,

Academy was founded in 1754 ; but we in London nothing of the kind possessed tillGeorge III. founded the present Koyal ant Academy in 1768 ; which was the triumphtists, result of a longstruggle by a body of arwho, earlyin the century, established for the advantage of a school principally The first the from livingmodel. dra\\'ing in public exhibition of English Art was of of the Society 1760, in the rooms April, the and admission the being free, Arts, cataloguesixpence; the following year, and raised to a shilling, the catalogue was without its purchase; the admission no at once third exhibition was charged an admission-fee of one it so shilling ; and
has since continued.
was

woodcut. also obtained from

The
a

decoration

is hero

study of the
and Objects

vegetable
materials

tribe.f
ACCESSORIES. and in a picture, independent of the figure essential the without to position, comwhich, being whether nevertheless useful, are under the picturesque to fill up relation, those partsthat without them would

naked, to establish
masses, to the to form

balance

appear the between

the contrast, to contribute of and colours, richness of

a so

harmony

add to

the

and splendour

picture ;
the subject, stances circumwill
con-

or, under

the relation of

composition, poetic
of the

to facilitate the

understandingof
one or preceded,

The

first President

recallingsome
which have

Sir Joshua ACANTHUS.

Reynolds.*
The and bear's claw
: a

which the

plant
of its

follow the action ; to make

*

known

ased in Greece

on Italy

account

1.

Fig. 1
manes

illustrates

the child with

fancied

Corinthian
the and grave, from birds.

capital
of
a

in

Creece.
was a

An

dead

origin of the offering to it* placed over

protect
it

covered The

tile, to

of upon the root and spread iu an acanthus, and the plant grew of leaves around it, thus suggesting the form structing that the idea of conthe capital. Fig. 2 shows basket stood
a

capital from

much
are

more

here

ancient. chosen, and

beautiful

indented

leaves

and

graceful
ments, gar-

much adapted without of the Temple of a capital. It is from several other Edfou, in Eitypt, but there are tha exhibit ancient Egyptian buildings which same thing. cultivated acanthus (acanthus nsollii) t The and that Italy for was adopted in Greece artistic

the leaves of a plant is leaves of the palm The and disposition its form ties change to the necessi-

and growth for garden plots, of Art for the borders the
"

also in works

decoration,

in which

countries

it grew

of embroidered
vases,
or

edges
S""
SCHOOLS

of

for

wreaths

AKT.

chitects, modern gothic arspontaneously. The more sculptors, and painters adopted th" wild and prickly acanthus (aranthus spinota) u metric according better with the sharp lines and geoforms prevailing in their School of Art

dition aiid habite their

terise figures ; to characgeneralmanners, and, through of the and

them,

the

age

country in which

the

be orange; if red. it will b" into changed green ; ytllow,it will appear The elucidation of this interesting purple.

spot will

"c. ; such are draperies subjectbelongs to the science of Optics. place, LIGHT. ACCIDENTAL Secondary variouslyadjusted, trophies affixed to the ture, furniwhich for by the not accounted lights, are walls,devices,sculptureddivinities, of effect effects of other than prevalent light vases, arms, carpets,lamps, groups ; and material, ordinary daylight,such as the rays of the utensik, "c. Every object the direct sun to darting through a cloud,or between not absolutely necessary action takes

narrative, is

accessory. executes

Of these

painterwho
tively effecobjects in his

the leaves

of

thicket
an

of trees,or

such into

as a

employs
we

and say

penetrates through
chamber otherwise

opening

that he

is successful

also includes all the which accessories, the the the of of figures, adjustment part* Some authors rank draperiesexcepted.
among

obscure; moonlight, candlelight, or burning

ACCIDENTAL POINTS. In do not

the effect of bodies.

vanishing points that

the horizontal ACCIDENTALS of strong

perspective, fall on

the

accessories all which

is not

an

line.
are

essential part of the

as

well

as

the

subjectof the which figures

is used

sition, compoare

those shade

unusual in
a

fects ef-

not
sense

lightand

picture,
as

necessary the word

ceases

to the action ; but

in this

produced by

the introduction

of the representations those In

accessory

adjectively,
a

of artificial light, such

a or fire,

to be

and technical,

takes

general
name

proceeding from

candle,"c.*

acceptation.*
ACCIDENTAL COLOUR which
an an

is the

given
have

to

that

objectappears
eye which

to

is applied to the landscape the term be of such effects as may representation whether of light supposed to be transient,
or

when

seen

by

at the

shadow. ACERRA.

affected time is strongly colour

:

by some
a

particular
short time

(Lot.} An

incense-box
at

of

as a wafer on upon the sheet of and then direct a paper, eye to another part of the paper, a similar wafer will be seen, but of a different colour, and

thus, if we look for such any bright object,

form, used by the R*"unarm and at sacrifices, particularly

square

their

feasts and

this will

always be
or

what

is called ite COMPLEMENTARY

ACCIDENTAL be

COLOUR;

thus, if the wafer

*
"

blue,the imaginary

In the early age* of Art, few accessories employed, and those of the simplest kind ; have become but, in later times, the accessories and find the more more important, till we tell the story figures which merely accessories in a landscape or piece of architecture, as in Wilson's Niobe,' (N. G. 110), in Caravaggio's Christ and his Disciples at Empicture of the table, maus,' 011 (N. G. 172), the supper which is a divides mere circumstance, our attention with the When principal action. accessories introduced without are any meaning or motive, and in direct opposition to the sentiment of the subject, it is an instance of bad taste. Paul Veronese perpetually sinned in
were
' '

funerals it is of
on

; like all vessels used

importance

in

many
"

bas-reliefs.
"

at sacrifices, Art, and is met with According to Festus,

"

this

manner,

as

did and

Rubens,
Flemish for

and

as

do,

rally, gene-

In the celebrated
instance

Notte

of

Correjotio
in which the

is

the Dutch Is very

remarkable

painters. Hogarth the of ingenious use

fine

of

MI

accidental,
emanate

the

light
Jesus.
these
manner.

accessories, though apt to overload with them hi- Mihject for the take of being intelligible. "tlri Jaminon.

to appears In almost

from

infant

all

Rembrandt's
in
a

effects

are

exhibited

very

pictures striking

ACE-ACK.
the
A
Pern i was

also

small

altar portable

Scythians,Medes,
seen
a on

and

Persians,

burnt to the dead ; on was but Virgil and Ovid mention it as a box in wliich the incense tables of the Acerra
as was

which

incense

the

Persian

of figure prince in Pomof the

kept;*
the

the
use

twelve of the

the celebrated

law

forbade

peian mosaic
weapon and
was
a

thuraria

an unnecessary luxury. Acerra is the vessel used in the church to

Battle of Issus. This

not
a

keep the

incense

in.

sword, but (lat.) In

,

dagger,
on

ACETABULUM.

Roman

an-

worn

the

vessel a tiquities, of

oppositeside

of the

/" porcelain, silver, body to that weapon, from belt a bronze,or gold,in suspended round the waist,so the form of a goblet to hang against as or tea-cup,f in the rightthigh. Our which vinegarand illustration is copied other liquids were from Ker Porter's table brought to : of the Peralso the goblet plates which the Roman sepolitan Sculptures, which used. Properlythe are numerous jugglers (Acetabularii) among examples of this peculiar word mjeans mode of wearing the dagger, and corresponds to a measure, which appears to have been entirely the Greek Oxybaphon. confined
ACHROMATIC.
the A term derived from
to the Eastern

nations.

ACKETON. "free from colour." A quilted leathern Greek, signifying (JK) viewed through a lens in which no under the armour, jacketworn Objects probably derived from the Asiatics at the time of the is made for the correction of the provision chromatic aberration Crusades. The Greek term for a tunic is that is, through a whence the numerous of singlepiece glass are always fringed ho-kiton, corruptions, with colours. An Achromatic lens is a achoketon,hauqueton,hauketon,aketoti, combination of two dissimilar glasses, as tione, acton, "c. ACROLITHES. and flint glass, crown (GV.) Extremities of so arranged that the
" "

coloured rays and

or

chromatic

aberration

of

the

stone.

Those

statues
were

of the earlier Greek of wood

to

passingthrough a rected, corand the light passes undecomposed, singleglassis

colour.
similar

which artists, The

made

and stone.

antecedent sculptors

Phidias, says
extremities of

is therefore

free

from

The

made Vitruvius, their statues and feet

were or

only

the

better class of

and telescopes have

opti-

of marble

"cal instruments lenses ; and lenses

in the

always Achromatic when camera obscura,

of stone, while

of bronze make whitest

to

giltwood
extremities
was

used for photographic purposes, Achromatic

are

the

head, hands, body was ; and, in order to conspicuous,the

the
an error
were

; the

indispensable.
the

marble that

selected. It is

ACINACES.
worn
on

straight dagger, to the right side,peculiar

short

suppose

these Acrolithes

vented in-

"

Our
an

cut

"t

ltd, and

standing

exhibits the Acerra as on legs fashioned

box

with

like those

of

animal.

Museum
t An tha with
cut.

It occurs in a bas-relief, senting represacrificial implements, preserved in the of the Capitolat Rome.

utensil of this
The
at
name

kind

original
inscribed

Museum
iu

Naples, and

is represented in preserved in the is of a fine red clay, is it.

beneath

by the latter artists to give greater variety to their work, and to lessen its cost. These statues certainly belong to the Hellenic in the first of Art, early age marble was efforts of which only used for skill the extremities; increased, but, as of that formed the figures were entirely Acrolithes existed long before material. who executed " I'^liw the time of Phidias,

ACR"
at Plate*

JED.
wood
an rous

in tliisstyle. The To the clothed

were

Greek the

artists

and

and ivory,
a

varied

departed only by
firstin bodies feet of the
use.

degrees from
or

wood

inch and

half to
are

length froii eightinches.

in

even arms

gilded
and
to

examples
taken

of wood
stone
or

attached
was

found of Art

in the works from

ivory also
was

joined
Art

wood, gold. Vide

"

it

overlaid entirely Ancient

with and

MCLLEH'S

its Re"nain". ACROPOLIS. summit of

a a

Pompeii. needle a signified for sewing, and the

tongue
or

It also

walled

city on
on

the the

of

brooch Our cut

hill ; the

citadel

buckle.

usuallyincluded the represents three sacred buildings. The Acropolis at most Roman hair-pins. Athens was built on the highest point of The firstis of bone the mountain, and contained the famous of the most nary ordiof Minerva and (the Parthenon) temple form, and the sacred statue of the goddess. It was about six inches in accessible from one The second pointonly. All ancient length. hill cities in Asia Minor had an Acropolis. is of bronze with ACROTERIA. A Greek word, geneornamental rally dants, penused to signify the pedestals placed and was cently retop of rock, which
discovered
at villa,

in the ruins of The

Roman is of

Hartlip,Kent.
was

third

bronze,and
ADHERENCE.

found

in London. effect of those

The

parts of
are

not

picturewhich, wanting relief, and hence appear adhering detached,

a canvas or

to the

surface.

manner

on

the summit receive

and

anglesof
or

pediment,
ornamental the

to

statues

other

in a picture,is the draperiesare chosen, arranged,and disposed. ADRIAN, ST.,in Christian Art,is represented armed, with an anvil at bisfeet or in which with a occasionally beside it. The anvil lying of St. sword is the who

ADJUSTMENT,

means figures. It sometimes extremities of other or feet,

wings,

in his arms, and

or an axe

statue.

ACTION.

The

effect of

martyrdom, having his limbs cut figuresacting together. In off on a smith's anvil, of this term, it and being afterwards acceptation St. Adrian was forms the subject beheaded. of the chief milievent which tary principal saint of northern bas-relief. "We also say that for a picture or Europe many does a certain figure or or ages, second only to St. George. He was personage takes, not take, part in the action; and that a and regarded as the patron of all soldiers, has action when it has the attitude, the protector figure againstthe plague. Ht has not been a popularsubject with artists. muscularity,and physiognomical expression of a person acting naturally, mish giving St. Adrian is the patron saint of the Flethe idea of ACUS.
or
an

figure or the general the signifies

a

attribute appropriate suffered

Adrian,

action

more

or

less vivid.

brewers. ADVENTITIOUS.
not

A Latin

a pin term, signifying

That

which

doe*

needle, representedin ancient works of Art as employed in dressingthe hair (Aciu comatariii) and in fasteninggarments. They were made of various metals,
,

but which belong to a subject, properly is adopted in a pictureor other work of Art to give it additional power effect. or .EDICULA. A small house,
or a

died-

nutive

temple ;
a

the of

model
a

held
or

by

the

and

ana opacity of bodies,

of

the

eff rf

figure of
"ometimes
a

founder

temple
or

church.

necessary

to action.

the tabernacle
or an

niche in which

^RIAL

PERSPECTIVE of

is that branch
treats

placed. JGGICRANES. heads or (Gr.) The skulls of rams, adopted in classic sculpture for temples and altars. as a decoration .JDGIS. (""'.) In its primary sense, this word sides means a goat-skin,which, beother skins, the primitive bitants inhastatue
was

altar

of the science

Perspectivewhich
of the the

of the diminution of

of colours intensity eye, in proportion the spectator,

objectsreceding from by
which is the

to their distance from

and

of the atmosphere interposition represented. Although subject is

more

to

laws, it

completelyunder

the

painterthan linear perspective. of Greece It enables him to keep the several used as an article of and objectsin their respective situations, and for defence. to impart a natural the most to clothing reality complicatedscenes.* According to The name Homer, the shield JEHUGO, J^RUCA. given 07 the of Jupiter was Romans that to vered cobright green rust produced with the hide by the action of the atmosphere on Iof the goat Amalbronze and other metals,of which copper is a component thea. It was wom part, thereby increasing the beauty of statues,"c. ; it varied acthe back, and over cording tied by the front to the quality of the metal,f and of frequently imitated, on account legsover the breast, was
but
as

control of the

this condition

which used

we

find the

term to

.J5K.UGO

NOBILIS
true
arose

was

too rude

for ideal

it was sculpture, into

a

in later times the factitious.

the distinguish distinction ancient

transformed

by of small breastplate
covered with

the artists of Greece and scales

from
at

This the

elegant proportions,
to

the

period
used

when

art

of

imitate

mour, ar-

coinage was
BRASS,
took
a

invented. for coins

The and

COBINTHIAN small

the

of

figures, that so a later bright colour, Gorgon's green ancient author speaks of monetts it was virides used to designatethe ordinary cuirass worn by persons of distinction, green money ; but this coat, called by the which the armed Italians PATINA, in of Hadrian not so rapidlydepostatue was sited edged
with
a

serpents, and

bearing in
quently Subse-

centre

head.*

"

the British Museum SERIAL.

this brass as on the other metallic on example. employed particularly amalgamations. It is difficultto account for that part of perspective this, do not know the mixture to specify as we exactly which the Corinthians of the resultingfrom the interposition used; but it was the object and the atmosphere between probablysilver and copper. The beautiful is
an

This

term

is

is Perspective," says Burnet, designate those changes which take (Jace in the appearance of objects either jERIAL FIGURES those by which are terposition as to their receding or advancing, from the inhabitants paintersseek to represent the fabled intherefore of the atmosphere, to the of the air: dreams, demons, application of this quality the artist is mainly for the power of giving his work the indebted such as are conceived in genii,gnomes, of nature; but and retiring character space the brains of poets and philosophers. In although the eye is at all times pleased and of viewing distant the gratified with power these riguresthe painterdispenses with, as certain nition defia prospects, yet objects require far as his art permits,the weight, solidity, to lead the imagination without ing perplexor troubling the mind."
*
" "

eye of the spectator; the gradation of the distinctness of form and colour.

JErial

made

use

of to

t It is sometimes
*

found brown
;

of

bright blue,
most

T"P

The

example
statue

we

engrave
at

is

copied from

An

milion,

or

rich

but

usually of

"

antique

of Minerva,

Florence.

delicate green.

grern been
'as

on

coins and

email

producedby
is

accidtn'^J
on

have the province of JEsthetics must figures the manifold circumstances, systematically of the
same on

la

to

develop
in

beautiful

it

not

universal
are

those few

date. which

There the

but

large works
and

idea of the beautifu*. every Art, as the one But pure JEsthetics must be defined by oue who is at the
: same

J"H.VGV
and
a

is clear

smooth;

time able

the statues Museum is

busts

in the Herculaneum
green
were

he

will

be

philosopoet and pher to give a theory

still more

have

dark

colour, which
found much

suitable to the suitable to the

and philosopher, artist.

for factitious, and

they
means

damaged,
were
was

the

by

which

soldered destroying the artificially replaced. As increased ancients

more

they JErugo, it the beauty

poet has
demand. of
our

But as yet no philosophic this appeared to meet the only philosopher Schelling, who
rose

time

to

an

active

plation contem-

of the colour

work,
statues

the

the age of the preferred the older

ones.

with

of the

and beautiful,

to whom

all

looked

expectingly,gave,

instead

of Esthetics,

to the

recent

JEruca,
formed

only an
this
we

"

JEsthetical

confession

;"

the the is
an

artificial copper rust, was action of wine refuse upon

acetate

by

find firstdevelopedin his admirable On the Relation which

of copper copper

it copper; while (VERDIGRIS),

a bonate car-

essay
to

of

the Plastic Arts

as

Natwe,
S"

is invaluable

regards

the

genuine

rust, JErugo, ia

^Esthetics.*

of copper. This word .ES, (Lat*) CHALKOS, (Gr.~) be to modern to our equivalent appears the which of term was bronze, employment very extensive among the ancients for It the

USTUM,

or

CUPRUM

also FERRBTTA
to

DI

SPAGNA,

was,

USTUM. called according

or

calcined Ctssalpino, of that metal. AFTER. This word

copper,

the

oxide per-

is alwaysused when

vases, weapons, money, is frequentlytranslated

"c. utensils, brass; by

ottone

Italians and

in

the

words

and
no

ratne:

by

the French

airain; but
have

ancient modern

works

of Art

in brass similar that is

name
a

to the

drawn or speaking of any work modelled the antique,afterRaphael, or some after other great master an antique ; or in copying It characterises "c. a work simply statue, ia not original, which, however excellent, f

composition of
discovered. and

yet been
of copper mixture of

After
an

the

manner

is

term

also used

for

Brass

compound
is
a

zinc, while
tin.

bronze See the

copper and BRONZE. MS

articles, BRASS,
name

it bears proof of originalwork, when in imitation of the styleof being composed execution thought or adopted by a preceding artist. AGATE.
A for gem

CYPBIUM.
was

The

by

which

stone

much

used

by

the

engraving ; the oriental copper is it became then semi-transparent cyprium, Agate ; the occidental cuprum. of various ESTHETICS. A term derived from the is opaque, tints,often veined nation; with quartz and jasper.The stone obtained imagisentiment, Greek, denotingfeeling, from the circumstance of great its name mans, originally adopted by the Gerfound in the river and into the being now Achates, quantities incorporated in Sicily.They were known of Art. Bv ;t is generally as Leucachatet derstood unvocabulary with white when Cerachates when "the scien..* of the beautiful" tinged ;
first known
to the

ancients terwards afancients,

and

its various

modes

of the

representation ;
criticism of the
reason

veined
"

with
limit*

stria
do
not

of

waxen

hue

; and

is to lead its purpose beautiful back to the it is the science of

Our

of principle

examination student
on

of this in the

extended permit of an interesting subject. The

deducing

from

their

may

this head

retical taste the theooriginin nature or acquired which and elements form principles artistic theories or practice.In beauty lies the soul of Art. Sohelling declares that

Herbert,

information readily find further works of Hegel, Schilling, and and in the others, in German, Let-

of Schiller's jfMhetv English translations "". tert, Schlegel's ^Esthetic Work' when there is one t Of course cxc"ptt-w. speak of a study after natnr*.

w"

AOA" when of
are a warm

AGE. AGNUS DEI

red

or

blood these

(LAMB

OP

GOD).
the
form

Th" of
a

colour.

Cameos

formed

from

of the Saviour figure

under

or more Lamb, in accordance with the symbolical possess two words of St. John. The holy lamb bears of which is removed strata of colours ; one Greek additional headed with his fect, efstaff and a a and an cross, partially, produces

stones,,when

they

whether
or

incuse

be raised for gems, tint being "c. ; one for seals, the work

head the

is surrounded form of
a

by

nimbus, also taking

the
arms

cross,

within

of

used to relieve the other.

which thus

occasionally appear
"

smaller

crosses,

representedas a ST., when is crowned, with a long depicted martyr, the of her instruments and bearing veil, with oruel martyrdom, a pair of shears, AGATHA,
which her breasts
were

duplicatingthe prevailingidea of the whole symbolkation the glory of the Lamb throughthe redemptionof the world. This sacred figure is so represented in our

cut off. As

patron

she bears in one hand a palm branch, saint, the other a plate or and holding with which is a female breast. salver,upon The subjectof her martyrdom has been del Piombo, Van treated by Sebastian and others. Parmigiano, Dyck, AGGRAPPES. used in armour, AGNES, ST.
as a

GFr.)
or

Hooks

and

eyes

in

ordinarycostume.
saint is

This

represented
feet with
or

martyr, holding the palm-branch in

her

hand,

with

lamb

at

her

in

consecrated by each new were misfortune, day Pope at Rome, from the Easter Tuesand the executioner about to slay until the following Friday in the year her with a sword. of St. of his accession to the Papacy ; but latterly Representations in Christian the Art are of Agnes highest they were solemnly consecrated every the distributed among as seven high almost as those of the antiquity, years and and apostles tion evangelists ; but the introducpeople. of the lamb of modern
as an

olives, holdingan olive-branch as well as the is a splendid palm-branch. At Windsor altar-piece by Domenichino, in which St. ing, standas a young Agnes is represented girl, in rich costume, leaning on a pedestal, with her long hair confined by a tiara. An angel is descending with the a lamb, palm-branch ; another is caressing her attribute, and symbol of her name and purity(Agnus, a lamb) In a picture, by Paul Veronese, at Venice, she appears as the patroness of maidenhood, and presents Domenichino a nun to the Virgin Mary. has also painted the martyrdom of St. ing kneelAgnes, in which she is represented the fire extinguished, on a pile of faggots,
and
.

her arms,

sometimes

crowned

of the sculpture M. Didron century, published by in his Iconographie Chretienne. The name which is also given to the oval medallions,

engraving from
tenth

an

Italian

are

made

either from Easter

the

wax

of the of

secrated con-

candles

or

the wafer made the of

dough. They are and have silver,

with and
on

also sometimes
on one

side

the banner

of

Victory,or
of picture about

Lamb, St. John,

saint.

the other the

were

some

They

firstmade

the fourteenth
to

century, and, being supposed

prevent

attribute

is

an

dition ad-

AGREEMENT. of all

An
a

union

or

concord forms
a

times, when

she became maidenhood

portionsof

design which
in
no

the patroness of as recognised and maidenly modesty.

and total, satisfactory tradicts another.

CUP

part cnn-

10

A1G" AIGLET'S

AIM.
ailettea were cloth
and
or

AIOUILETTES, (properly
The

Ao-

formed

of leather covered bordered with

with

LOTTES,

AOOLET).

tags

or

metal

silk, and

fringe,

bons sheathings of the ribused so constantly

to

were

laced to the shoulders of the hauberk

with silken cords.

fasten

or

ferent tie the dif-

AIM,
been

INTENTION.
to
a

The

spontaneous
actual.

deavour en-

of dress portions
worn

create

during
and

the

teenth has six-

something disputedpoint with

modern
or

It

phers philoso-

seventeenth The and works the works

of ancient and of Art be

times whether

centuries. of

voluntary involuntary,
be called forth

Holbein,
fine his

whether i.e., mental "We

numerous

portraits
furnish

they or will, by
here

by

the

of

time,

cannot

the power of necessity. all that has been state will

abundant their form.

r\

examples of
They
were

written notice
:

of frequently formed the precious metals, enriched and by the art f

'

nion great divisions of opithe first party contend that a work

is since voluntary, which that

upon the the three

subject;we

merely

of Art

only can

be

called Art
a

is created

in freedom;

of

the

chaser. abound

The with

work

of Art must is
a

be the result of fi-eeand

works notices

of

our

elder dramatists

and

thought
The of Art

thought, ercise. voluntary exthat

plays of Shakepeare contain allusions to their general from a printof 1650, Our engraving, use. exhibits the ribbons and aigletsused to then slashed draw the sleeve, together
of

them,

and

the

second is

party contend

fashionable.

ATLETTES, wings). The

or

AILERONS

(Fr., little
modern

because it is involuntary, the result of genius, and genius is a secret miraculous working instinctively power, and unconsciously. firms they say, conHistory, this,for the greatest works of Art were brought forth before the theory of
a

work

prototypes of the

Art

existed.

The

third

part}'maintain
tary involunworks

that Art

is both

voluntary and
part of Art

; the technical

tentional in-

and
and

the imagination consciously,

feeling of the beautiful work and unintentionally unconsciously, and, united to genius and beauty, technically
constitute
a

work

of Art.

In

support of

the this opinion from forms

following passage is quoted "If the we : investigate Schelling

of mental that action and find in the which is

epaulettes.When
service

designed

for

actual

made of leather, and they were of the wearer, the arms usuallydisplayed or some personalbadge or device; they attached by laces or arming-points to were to furnish the hauberk,and their object was additional protection to the shoulders and in the fashion early into neck. They came I.,and ceased to be worn reign of Edward Dress III.* during the reign of Edward
"

is generally termed only a part of it, namely, that which is executed with consciousness, that which is and reflection, deliberation, and which be and can quired aclearned, taught and practice;so by transmission conscious

Art, but which

shall

we

find

in

the that

unconscious which in any

is

which
to

accompanies attained by practice or

III.) and upon winnowing
upon each

Art

is not

be

other way,
of

The

brass the

of

Sir

Robert
war

Chartham
furnishes this tushion.

Church,
above

de Septvans, in Canterbury, Kent, illustration in UO'i of

ailrttt

depicted

one

the

excellent died

Sir Robert

(34 Edw.

of which he bore fans, seven five emhis dress as a rebus of his name, blazoned and two the jilettet his surcoat, on on

AIR"
but
nature

ALA. recession of all parts which and atmosphere. ALABASTER

CHITES

11

which

can

be conferred

upon

us

by
of

expresses

tance dis-

only."
ATMOSPHERE.

AIR,

The

imitation

(Gr.),
This is
a

MARMOR

ONT-

the effects of the fluid medium visible.

a

When

atmosphere regardedas a through which forms are in the objects represented

well the detached from each such

picture are
and from

other
manner

background, in
to

eye appears has wished the space in which the painter them to w e isolated, say such a appear the has air. This effect demands picture skilful union but it latter.
accurate

that the

measure

of linear and

from proceedsessentially the most of the

aerial tive, perspecthe careful and

as

Air deserves

artist, it is the study medium are through which all objects seen, and its density or transparency determines
both in respect to size their appearance and colour ; it softens the local colours and renders them
more or

of marble, variety to mineralogists known as gypsum, of the compact granulous speciesplaster of lime) is made. It of Paris (sulphate is the softest of all stones, being easily scratched by the nail, of uniform texture, red sometimes but or grey ; white, generally at the quarries is found in largequantities the of Montmartre, near Paris, whence name "plasterof Paris;" in Italy;and in Derbyshirein England. It is translucent, ing the degreeof transparency varying accordBesides the scribed deone its to goodness.

(Ram.)

baster, above, there is another kind of alathe STALACTITE called, ; but this cal of lime,identical in chemimarble. It with composition statuary
so

is

carbonate

less decided

or

racterised, chais easy to ascertain

of which

kind

baster of ala-

a vessel is composed,for carbonate of producing what is technically lime is hard,and effervesces if it be touched By happy imitation of the or riatic muproduced by the interposition by a strong acid, such as sulphuric appearances differ with the climate, of the air,which of lime does not but the sulphate ; the time of the scape landthe season, effervesce with these acids ; besides,it is day, "c., it is to this kind only that painters, who, in other respectsare soft, and,in fact, not masters,have given the greatestcharm alabaster is properly applied. the term where the objects Many of the ancient vessels used for holdeven to their pictures, ing in themselves little TITE, possessed painted very perfumes, "c., are made of STALACattraction. the compact crystalline mass sited depofrom water holding carbonate of lime AIR, CARRIAGE. Appliedto the human the head. Air is one of in solution, of which figure, especially springs are many

called tone.

those words understood

so

easy

The readily found in almost every country. * but not beautiful alabaster most by application, (calledGESSO by equivalent expression. It is VOLTERRANO, much used in Italyfor the
sense

of which

the

is

their

nearly synonymous
or

with is used

is carriage, action, grounds of pictures)

to

found
of the

at

Yolterra,
baster ala-

movement,
true

and
or

imply when
"

theyare
somewhat but not

false ; it

in style, a finds,

Many
are

of the

varieties in

Stalactite

mentioned

analogous term, equally vague, "c. Among COTOGNINO Of portraits ALABASTBO nearlyso significant. of that fruit. ALAto the colour is noble, or graceful, we say the carriage there of which are BASTRO DORATO, many Jorato affected ; of the head, it has a good, or or a nuvole.".c. kinds, such "siJorato a rosa, in which blances resemALABASTRO ERBORRIZZATO, affected air. a mannered, or an are of trees, plants, "c strongly AIRY. In figure-subjects this term marked. ALABASTRO a striped variety, FIOHITO, in which the lines are of every possible colour. is to be applied similarly it is to individuals; as
,

seums, descriptions of muthe most important are its resemblance (quince), from

it is characteristic in
as portraits

ALAHASTRO

of

PECORELLA,

from

manner
or or

depictedby Reynolds
as

the white a flock of grey

are

blotches

upon

red

the resemblance ground bear to

a

Lawrence;
Lan.'.Twt.

in groups

by

"Watteau

sheep. ALABASTBO variety. All these, and

described
in

POMATO, many

dappleties, varie-

other

Head's

Hume,

Appendix,

In landscapeit is that proper

rol. i.

12

ALABASTROX. A box, vase, Florence,where it exists in great whence in hold to a nd it is l. vessel, exported quantities, perbaster, The softness of alabaster fumes, formed of alalarge blocks. called by renders it easy to work, and instead of the was the ancients mallet and chisel, alabassharp iron instruments the tron Horace calls such are as "c., ; used, saws, rasps, files, them marks of which are removed onychites. The by polishing. The baster Alabastron is always of the ancients for alapartiality the attributes is provedby the use they made of among of the Bathing Venus. it for their articles of luxury, for columns,
near

or

other

and

for other

ornaments.

The

Etruscans
of which

Oriental alabaster the most for the

was

employed it for burial

were

urns,

found

at Volterra.

many In the baths Roman been

sought

after

of

Titus, and
works

in the

ancient

in alabaster have
was

ducts, aquefound.

making
The
cut
a

of purpose these vessels.

hibits (Fig. 1) exgood specimen

Oriental alabaster

of still greater importance

Arts
:

in the Fine
at

it wa.-.

quarried
executed

of

vase

of the

kind

from

bas-

Thebes, and

the

Egyptians

relief engraved by Montfaucon and beautiful work The ointment

vases on

borate in his elaClassic Antiquities.

there

in it.* In the Villa Albani largefigures seated was an Isis, largerthan life, with Horus
on

name

was a

also

appliedto

her knee

; and

in the

seum Mu-

of

pear-like shape,which

of the College at Rome have no feet ; their most ordiis a smaller 2 both of which of alabaster. nary form is exhibited in our are sitting figure, cut (Fig. ever, 2). They are, howMany ancient vases of ornamental sometimes alabaster are of the in the shape one most preserved, of animals is among beautiful of which the Antiques hares, monkeys, of heads and limbs in the Royal Museum or at Berlin. Many of ducks of the human the collections in Italyand elsewhere contain body. Dennis * has of busts with in the form one engraved Torsos, figures Hermes, of seated a of Isis. It figure drapery,"c., of alabaster. The Museum from their at Dresden mens. does not foDow possesses several such specithat they were The classic nations appear never name always whole figwas of any kind of made of alabaster ; they were to have made the extremities (head, hands, sometimes of gold. alabaster; of marble bronze. tural and feet) were ALAGRECQUE. A or (fr.) An architecis preserved ornament at head, wholly of alabaster, resembling a variously and granular gypsum Rome. Crystalline burned of is and ground (sulphate lime) Moulds and to prepare plasterof Pans.
"

"

statues

are

formed al v"
a

from this valuable material,

for the very strong cement the of sculptors and masons to form close joints of marble ; it is also much used
use

and

twisted ribbon,when
continuous either raised
cut

it is merely

narrow

forming right angles, stripe,

or

for mouldings by plasterers, particularly and foliage.

in,and
used

sometimes called for

only
also
a

painted. labyrinth, may

mouldings.
called
a

This

ornament,
be

rectilineal it is stripe, stripe*

"7
.

"

Alabaster
a

is said small
town

to derive in

its

name

from
rases,

\labaitron,

Egypt, where
from
the

only one simple labyrinth ; but

and Cennttna

If it be

if two

"c.t
near

were

fir-t

manufactured

rocks
"

that

plac*

Cttui

of Struria, Tol. 1. p

ALC"

ALL. ALLECRET
armour

the resin in

pure

state.

The

objectof
and
so

this process is to remove render the resin fitfor ALCOVE. whose

ment

the gum,

for
a

oil-painting.
a

of sisting

A 'Urht (HALLEcnrr). and COLlight cavalry infantry, whicl. and gussets, breast-plate
to

niche

for

seat

or

statue,
segl

reached

sometimes sometimes

the middle

of the It

ground-plan
of
a

is

generallythe
in
an

and thigh,

below

the knees.

circle. A raised
a

recess

apartment

sometimes and

used for

level, beyond the ordinary couch,for retirement,or for

State occasions. ST. The patron saint of ALEXIS, Christian Art he In beggarsand pilgrims. habit in a pilgrim's is usually represented and

staff;sometimes
a

as

extended

on

hand, dying. St. but as a Roch is also represented pilgrim, Alexis St. from he is distinguished by the plague spot on his body, and in being accompaniedby a dog. ALHAMBRAIC. A term applied to a
mat, with
letter in his school of ornamental the decorations of the Moorish

art, which
at

is based

on

Alhambra, the
Granada

famous

(A.D. for the style is remarkable elaborative complexity and varietyof its all living forms are in which details, floral ones and vegetable far so or omitted, resemble nature. used in the sixteenth century, modified as to distantly much was marked of strongly who are It is susceptible colour, particularly by the Swiss soldiers, and rich metallic elaboration ; and, though it in in paintingsand commonly depicted subdued far was so of that period. The engraving is a by gaudy in principle, prints vented copy the true taste of the best artists who inof a figurein Meyrick's celebrated colours and it,that the positive armoury, at Goodrich Court, Herefordshire, combined in small and is a good example of the peculiarities being bright gilding, blend into harmonious which characterised this convenient defence one portionsonly,
1348.) This
and rich effect.
or

palaceerected

to the person.

ALITHINA,
to

VERANTIA, according
the
true

ALLEGORICAL kinds which

:

PICTURES
one

are

of two

Theophilus,was Byzantines.
ALLA-PRIMA.*
COUP.

red

of

the

the the

artist

comprehends those in \vith unites allegorical

this is the lower rank those of of

(Ital.)Au

PREMIER

real persons, and

allegorical painting. Such are bourg, Rubens, in the Gallery of the Luxemwithout lifeof t he touching. to the canvas, Mary impasting or rerepresenting stormy Some of the best pictures of those in which the de Medicis. The othc;r, in at once the great masters are artist represents allegorical by painted persons only ; much this method, but it requires too of single figures, and by the position and decision to be geneand the compothe grouping of many knowledge,skill, rally sition
which the

of painting in (.FV.) A method pigments are appliedall at once

practised.
of Painting is fully of Painting Rtttortd, by in The Art dwcr.bed u. Uundertpfund. London, 1849.
"

of the the
Prim*

whole, conveys to thought spectator one

he
cannot

the
or

mind

The

method

of

thoughts,which
common

many convey by the language of his art : this is alle-

rTical
term.

painting in

the true

sense

of the

in Art, Allegory,
I the

has

different meaning

ideas
to

which be

ALLEGORY.
another

Properly,a figurehaving
the visible

course,

it represents acknowledged, but

ought,

of

its great

one meaning besides ; in a general sense, the intentional therefore, notification of a thing by means of another limited resembling it ; in a more

aim it

is

beauty of form, and, by rendering

the senses, to excite
a

to perceptible

ing feel-

of love to the idea

(EMBLEM).

Allegory

sense,

the declaration

of
"

an

abstract

idea

expresses a fanciful state of the mind when the imagination calls up all its treasures to

of an by means image, the i 'ndering general ideas perceptibleto the senses. Every Allegoryhas a double significationa
"

explain an
to the

idea

by

means

of suitable; representations, in perfect and tion propor-

and

it is

of identity

its forms

images, principal
must

generaland
to the

particular ;

the former

refers

and

to the

beautyof
we

the collateral circumstance

to

meaning of an representation object; the latter is a higher and concealed meaning which is to be discovered, and being the comprehension of the intellectual in the is the foundation of Allegorx and sentient,
for the
,

usual

of the signs chosen

which
i

annex

the

idea. be

The the

feeling of the

beautiful

|ever

principaleffect of allegorical representations.The accessory parts of an which rectly allegorical figure, directlyor indi-

the

result of creative

phantasy.
be made
use

quently, Conseof in

Allegory may

its intellectual moral or convey contribute its better to meaning, or expression, ATTRIBUTES either are are ; these essential the
or probable; the former produce recognition of the allegorical figure according to its true meaning, and, when

plastic The ancients were fond Arts. particularly of Allegory; and the simplicity and fitness of their ideas have not been equalledby any A happy instance moderns. be cited may is reprein the figure of the Nile, who sented in the famous rounded antique group surlittle to genii typify his by veil the is over throwing a fecundity ; one
urn, to show

and p-ainting, poetry, rhetoric,

the

founded called

on

resemblance

or

analogy,are

that
measures

his

source

is unknown

and

another

his

his size and the Fine

importance.
a

to indicate foot, As belonging to

to

dental symbolic, but, when merely the acciunion of certain images with certain ideas, conventional. Thus, the scales of club of Power, the the or Justice, sceptre mirror and of Prudence, the serpent breasts of Nature, the poppy of Sleep, the the mouth of Harpocrates(Horus), on finger all symbolical. The are cap of Liberty, the

different Arts, it is essentially

serpent of Medicine,
conventional

and

the

lilyof

The France, are is not a whole, but simply a part, not the ence, subjectof Allegory ought to excite reverbut a end of the poet and rhetorician, admiration, love, and the feelings allied thereto,and be the to that end. means Allegory,in Art, is a beauty must result t he end the of the in of as a whole, existing itself, representation whole; the subject and complete without farther reference. ought to touch our own feelings artist, It is for this reason in most seen needing no long study to be immediately, and in gems and coins, acknowledged or felt ; all those subjects perfection utility wliich requireterse and epigrammatic dewhich excite disgustas lineations be excluded must circumstance the prominent idea,but these may be used of the object or the when the subordinates as they design to commemorate, giving general effect can emblem in preference gory, to the reality. Allebe increased by their particular effect; in Art, is also distinct from an their blem empoverty, avarice, treachery, with the aim the latter themselves of refers the in to are no subjects attributes, ; make for the Fine Arts, but they may intellect, acting thereupon, to appear in abstract ideas and general truths visible, a work as parts or episodes.The perfection *nd thence evident to the understanding ; of an Allegory consists in three things
as Allegory
"

in rhetoric ; the latter figure

attributes.

ALL"

ALM. disturb proper frame the

course

the firstis the invention

idea ; the second of

of the

I principal

of

ideas

"nd

by

means

is the making figures rather symbolical attributes,

con-

than

conventional ; the third is the

of the which style,
ALLEGORY

"truction

must

selves,
of the mind. ALMAGRA. (5p"n.) A ALMAGRE, of a variety red earthypigment, probably ALMAYNE of plates
armour

be

haematite.

thoroughly ideal.
as a

is

fied personiin
a

RIVETS.*
for the lower

Overlapping
part of the

female

wrapping

herself

veil.

ALLUME
kind when
gesso

SCAGLTOOLO.
stone

(Ital.)A

of

of which, resembling talc,

the gesso da oro, or and which is also used of the gilders, is made calcined,

for the

grounds of pictures. Heat

renders

it to split it opaque like gesso, and Tauses into layers. It has been observed that this
was

the pigment probably Eraclius. Allusions

called alumen

by
or

ALLUSION.

are

either real consist in

to
a

metaphorical ; the former

of

slighthint
mind
:

something

not

be

pressed, ex-

but which it

is to be present to the the

depends greatlyon

tion. imagina-

Metaphoricalallusion
more

approaches

of and is the oflspring comparison, both of "We make use understanding. Goethe Thus Arts. kinds in the plastic "Dispute says of Abraham, in .Raphael's tears cf the Sacrament," that " the flowing which he tried to restrain are and the grief
to

the

upon the thighs engraved in page 14 ; and held together by rivets, they were name.* whence its in invented Germany,

body,"imflar

to those seen

of the Swiss

soldier

beautiful allusion to the sacrificeof Isaac. and in this than

to the will of subjection
manner

They

were

introduced in the seventeenth

Skelton's Court
a

Obedience God
are

century.
Goodrich

more

pressed nobly ex-

engravings of Armoury furnishes

armour.

the
our

they could object of the repellent

an
we
"

have

been

by
This

the is

for authority

of representation allowed slits, than it had

provement this im-

victim." In

in ancient in the

The

rivets,
of freer before. ance appearthem

example of
find many

real allusion. instances sometimes of

Correggio by moving
accessories The

metaphorical. motion
by

to this defence cut

Correggiohas

hinted

at the characters

thus the white

of his personages ; hare in the so-called ' Zinthe in the goldfinch

"

upper of three with

exhibits the outer

overlappingpiecesof platethe studs which lower

cut

armour,

held

garella or ' Marriage

'

Gipsy,and

together. The
side of the
same

shows

the inner

of St. Catherine.'

of such of getfulness Uie idea

shy ^nimala,and

presence their for-

The

of innocence

is intended to enhance fear, and purity in the

to denote
sc^ne.

and represented, figures and quiet of the

cannot

the

pose re-

The

artist

prudence and allusions, cularly parti" Almaynf being the since unimportant metaphorical; rtw" Atmaynt ritett. allusions, which too easily present themexerciae
too

much

and the mode iu plates, which could which the rivets were secured, but not slip, in the open slits they move, passedthrough. ALMOND SHELLS, when burnt,yield It does not appear to be a black pigment. used in the Arts at the presenttime.
meiiKTal are, word for Germany,

moderation

in the

use

of

literally. German

ALM"

ALT.
tor
on

'.T
bas-reliefs
we

ALMTJCE,

AMESS, AUMUCE, (ALMUTIUM, Lot.) A furred round hood, worn the neck, having long ends, hanging
down the the front

find them the

souietine
at others

as scarcely high as

knee,and

half
were

as

to be

high as a man ; the circular altars the highest, in fact, some are scarcely from pillars.At festivals distinguished
the altars
were

of
leaves

decorated

with

the

something dress, and like the stole,

which the
was worn

flowers sacred to their tive respecgods,and these decorations served as the beautiful
ornaments
we

and

by
the

patternsfor
see
on

clergy from

those altars which On these the

have

been of

served. pre-

thirteenth

teenth to the fif-

heads

victims,

for centuries,

paterae, vases, and other vessels of sacrifice

entwined

warmth,
during
weather. colour sometimes

when

ciating are offiSome

by
and

festoons of various kinds.

in the church inclement Its usual

was

altars had

simply an
to whom most

when telling

inscription, corated they were deare

; but the

beautiful On
some

those
are

grey; white and It

over

having

bas-reliefs.

altars

spotted.*
be thrown when head

could the

the figures of the gods to whom represented such as the three altars they are dedicated, found
at

stances circum-

Sometimes
was a

Nettuno,near the portof Antium. the altar, as with the Hebrews,

monument,
some

requiredit.
It
was

votive

erected

in

the
to

not

sary neces-

open

air,and, among

other

purposes,

part of ecclesiastical costume, like other officiating vestments times ; and is someworn

commemcmte

event extraordinary

whom

it is

law, in by bachelors of canon It a distinctive dress. really

seen

is sometimes round the

with and

row

of small tails from the

cape,

pendant Art,
upon

lower ends. ALTAK. In Ancient construction made and

to
a

the altar was which fices sacrithe

usuallya
were

divinity. Among
the altar
was

Greeks of
a

Romans

formed

pedestal, square, round, or triangular attributed ornamented with bas-reliefs, sculptures,

and

to

Divine

interference.

The

inscriptions, upon which incense was burned,and that portion of the victim
which
was

annexed

woodcut forms of

nating representsthe predomiwhether earlyaltars, cular cir-

consumed.

The

most

ancient

altars others

were were
or

four-cornered polished

stones,

from Roman square, and are copied In Christian originals. Art, the altars
or

either square, oblong,triangular, circular;those of metal were the form

to

of

our

edifices bear ecclesiastical

to

no

blance resem-

those

of the

heathens,because
the former
are was

in generally could be

stituted inSupper, therefore and the rendered easily to Saviour, portable. There seems by havp been no fixed rule as to their height, the type of their form is a table,and intended to represent a their covering was taken
were

TRIPOD, and thus pieces,

of

and

the

sacrifice to *hkh

propriated ap-

the

Lord's

table-cloth ; but it resemoies

It Is very clearlyshown in the above cut, front*'Waller's excellent worfc on sepulchral brasses.
"

the ancient forms of the of

A

orders base.

in

the

diversified

It U

in the form frequently

c

IV

ALT"

AhU.
a holy Gregory (Pope), offering

because the earlyChristians sarcophagus, assembled in the catacombs,offered the the tombs of martyrs, on holy sacrament whence also
was

sacrihce is

before
an

an

altar.

An

altar overthrown

attribute of St. Victor. ALTO-RILIEVO. HIGH (Ital.) RELIEF.

derived

the

custom

of

Sculptureworks in rilievo are divided into mezz^-rilievo me low relief, in the primitivechurch, the altars were or bas-rilievo, constructed of dium a nd high reliel. simply wood, subsequently relief, alto-rilievo, of of stone, marble, and adorned the projectionii bronze, degree accordingto with rich architectural ornaments, sculptures, which the figuresstand relieved from the and paintings, and the altar-piece flat surface of the block from which the} above each of these the raised In cut. on a screen was are degree generally in the to entrench but not so much was as them, while the altar-plate varies, decline the the the others ; most shape of a sarcophagus. Upon figuresare upon of the Byzantine style of architecture commonly left adherent to the background ; and the introduction of the Gothic,altarbut in some fine alto-rilievos, so-called, from the architecture the figures cut away are entirely acquired,through this new The character. exalted surface the and and of a block, style, new are, in fact, Gothic architecture pointed heavenwards The finest alto-rilievos : extant BOSSES. in the collection ielicate in single parts, it was the fifteen METOPES are ficent magniseum. as a whole, and full of meaning. of the Elgin Marbles in the British MuTo In their originalsituation they greatly enriched. Symbolic Art was the altarthe art of painting we ornamented the frieze of the entablature owe which with side surrounded the exterior colonnade of on its piece, wings (TRIPTYCH), the Parthenon,givingrelief, which ness were by the boldrepresented the histories of the sainta and martyrs to whom the altar of their projections, formity to the dull unidedicated. The altars of the English of a large plainsurface ; and the was churches of alto-rilievo is where use part, utterly most legitimate are, for the most of it is introduced in alternate or occasional oaken so tasteless, consisting generally an table or stone slab, covered with a white "c. compartments with triglyphs, cloth. The Reformed ALUM church does not allow -Fr.,ALATTM, Germ.) (Aum, of altars-proper. The desire of showing This well-known substance performs an the Christian altars to in respect by splendour important part processes of the many animal and richness of decoration has not been In combination with arts. glue attended with success. The most ancient and with white of egg (albu(chondrine) men),

placing upon

the altar tho relics of saints,

altars in CIBOBITJM,

the but the

Basilica this
was

at

Borne

have

it forms horn

an

insoluble

substance,

sembling re-

afterwards

planted sup-

CHIN, BALDArichly-ornamented whioh, however, was scarcely ever

by

propertyto
MINE

; advantage is taken produce the so-called

Similar

of this
K.ALSO-

TEMPERA.* process of

to this is the

for any but detached altars ; those which stood apart having screens mented ornawith columns, paintings, and bas'eliefs. The aad both altars

used

familiar

renderingunsized

paper

standingin

the choir
see ex-

able (suchas engravings are printedon) suitfor the application of water-colour uses pigments. One of the most important of alum is
as a

by

them

these appurtenances, and we how the spirit of invention itself in ambitious

MORDANT

in

dyeing ;

an-

tausted

combinations.

employed as an attribute. I bus St. StepL (Pope) and St. Thomas Socket a are immolated fore beas represented an altar; St. Canute, as lying"St. '..'harles Borromeo, as kneeling and St.
"

Che altar is also

ancient works executed in tempera incapable of being removed by water. Since both animal known glue and alum were used from and the earliest times, it is not that tiie paintings executed with improbable with a pigments mixed were glue medium after they were washed finished with a solution
*

Many

are

found

of alum

ALU-AMA.

other, is in the
of
CARMINE

of preparation

from
commerce

cochineal.
is
a

LAKES, and The common

and
occurs

in

Spain,

albin.

When

this word
on

in the works

of the

writers early the ochre,

alum

of

double Other

sulphate

Art it

indicates probably

red

red

kinds are haematite of mineralogists. in which the potash AMAZONS. A fabulous race of female chemist, Rocht in Ancient warriors, frequently by soda or ammonia. represented is replaced The Art. alum (or roach alum), Roman alum, and legend of their existence was the varieties of founded the worship same on are Turkey alum, paid to the moon in grees dedifferent substance (potashalum) of purity,described by mediaeval of alumina and

potash.

known

to the

writers

as

ALUMENS.

ALUMEN.
of the
was

alumcn (Lai.) The name and stypteria of the Greeks, Koiuans,

to applied

doubtless of

several salts of the

among

nature

and vitriols,

them

to the

natural
QUEEN
was

sulphate
VITRIOL name

the

(COPPERAS, or of commerce). Alumen formerly given to all the

of iron

but the vitriols have either copsulphates, per, Alum has for as a base. iron,or zinc, arises the earth alumina.; hence a base
some

confusion writers

in the
on

works

of the

diaeval me-

Art.

Alun glatum, A. glade, A. were onlydifferent names glace, probably for Alun catino
ROCHE

Thus, jameni,

Alumen de

de
was

which also called was ALUM, di AUume Attume rocca. rocto; carbonate of

in the countries di and eunuchs soda; AUume by priestesses the coasts of the Black of eastern bitartrate of potash, or cream lying on feccia, the feSea. male de plume, As the eunuchs Attume di piume, Alun tartar. represented in the male form, so the amazoiis is a natural alum, fibrous, sex AUume scissile, in the female form. the male were sex times someand fringedor bearded like feathers, Poetical sagas speak of them as a miscalled Amyanthus. strong, brave nation of females,and place them AMASSETTE. (Fr.~) An instrument the colours are collected beside their historical heroes; but these of horn, with which gious and scraped togetheron the stone point to the symbolicrelisagas evidently of a warlike peoplein the customs during the process of grinding. AMATEUll (Ital.) Caucasus,who representedthe goddess of (2"X), AMATORE the moon One who has a taste for, as a skill in,and armed, and paid her honour an the warthe Fine like admiration enlightened of, Arts, by war-dances,thus explaining The of the Amazons. in them but who does not engage profesappearance Such are honorary members of Greeks believed these people to exist near lionally. academies of painting, "c. the presentcityof Trebizond,dwellingon AMATITO Atnatito is the LAPIS (Ital.), AMATITA. is the banks Amazons small of

tie river
oil

Thermodon.

The

softred

and haematite,
rossa.

called also amatita

matita, matita

Lapit

horseback,carrying fought crescent-shaped shields,a bow,

battle-axe. the

is the compact red

is also called in

and haematite, quiver, spear, and mineral cinnabar, reported to cut off Italy*

They
of the

were

to give right breast,

use

greater freedom
*

to

the

bow. of the

fox. Baldinuoci, Vocalntlario,

Diieyao.

Grecian Art has

touched

the

myth

20

A MA"

AMD. the works

on

Amazons

in its most of Amazonian

heroic

sense

; representationsIn
are

of

the

earlier continental is described under

battles and these

to be

writers

Art, amber
names

found on bas-reliefs, vases, where find we paintings, with their sometimes girdles,
costume

in wallwarriors

the various

of is

carabe, glassa, glas,

confounded the resin of of with
an

gkssum;
with the black

and

sometimes

crescent-shields and
clothed

military

oriental

and copal, of the

in the Asiatic

poplar. For
use

examination

on (particularly

at others vases),

the evidence
see

of amber Ancient

varnish,

in the

simple Doric,and
a

sometimes

even

Mrs.

Merrifield's

Practice

of

their dress is

union

of these two.
statue

Our

Oil the

engraving represents a
of Phidias.
at
an

in the Vatican of

Painting,and Eastlake's Materials for History of Oil Painting.

VARNISH.
A modern

Amazon,
An Amazon

probablythe work
on

AMBER

writer

found horseback,

in the Museo Herculaneum, is preserved Borbonico,at Naples. In the Gregorian Museum Vase." connected those which is the But renowned
"

Amazonian

the finest series of bas-reliefs their fabulous

with

historyare

commemorated

the battle between

themselves

the

Temple

at

and Theseus,formerly in the Athens, and now amoug in the British Museum.

followingrecipe Fuse six making paleamber varnish. rent transpapounds of fine picked, very pale, amber, and pour over it two gallons of hot linseed oil ; boil it until it strings with four gallons of ; mix very strongly turpentine. This will be as fine as bodyand flow well will work very freely, copal, (J.Wilson
for upon any
work to ; itbecomes it is applied durable of all
a long requires polishing.*

Neil)gives the

Elgin The PhigaleianMarbles, in the same representthe battle between

Amazons AMBER. washed up and Centaurs. A fossil

Marbles

very hard, and is the most varnishes. varnish lection, colAmber the time to fitit for AMBER

YELLOW

is
raw

an

ochre

of

product, usually

rich amber burnt it

colour in its
a yields

state ; when

by the sea in various parts of in the Baltic. It is world, especially coniferous tree, the resin of some probably
the
as

fine broum-red.

It is in other

better known countries.

in

Germany
The

than

such

wood with

is found in
a commerce

in

fossil state. in

It is met

AMBROSE, irregular- Milan; but

ST. few

patron
of Art

saint of exist in

works

shaped

of pieces,

which he is so represented. The yellowishresinous pearance, apthe painting that adorns his and devoid translucent, brittle, smell. It is not but alcohol, in
warm more

finest is

chapelin

of taste and

by

water

or

acted upon chlois soluble in roform of spirits

the Frari towards work

at

Venice, painiud by Vivarini,

and

rectified

the end of the fifteenth century, a St. Ambrose of the highest excellence. is in usually represented the costume hive, bee-

but turpentine, balsam

in its vapour, readily of copaiba, and in hot linseed oil, of valuable

a

forming a
used from
as a

which varnish,

has been
as

bishop His attributes are, 1. A in allusion to the legend told of

as

very vehicle and of

periodin Art, both early

as a

well

to protection

the

face sur-

their
swarm

him, for distinguished when an a infant, t hat, eloquence,

of
some

others

pictures. It is harder

than

copal,

of bees settled

on

his mouth 2. A

out with-

colour. doing him any injury. scourge of sin), of the castigation opinionexists as to the (as an emblem of using it as a picture of the Arians expediency varnish, in token of the expulsion but we valid objection he inflicted of the penance can see to it. from Italy, no or Much of the brilliancy Theodosius. This latter and crispness in the on Emperor the works of the early Flemish is has been event painters finelyrepresented by is at Vienna, but a undoubtedlydue to the employment of Rubens ; the picture "his varnish as a vehicle, and it is now ployed emTramactioni of 0* Society oj Ar'i, vci. eminent by many English artiste. xllx. Great difference of
"

and, if

as palein carefully prepared,

22

AMP"

AMU.
at originally

AMPHORA.
"nd

(Or.)

A term

in Grecian
sel, ves-

the coronation exhibits

an

of St. LouU. enamelled

Roman

a signifying archaeology,

The

engraving
of the in the

pointedat
that the
on was

the be

base,so
stuck
a

ampul
Paris.

fourteenth

century, preserved

it could

in

ground,
narrow.

with

handle

each side the

neck,which
with

dled Double-han-

Bibliotheque du Roi, at in height,and is elegantlydecorated with representations of angels in coloured medallions, and
It is six inches scroll ornaments tributed
over

wine-vessels and
were

feet,

of

fanciful

kind

dis

shaped like the crater,

also named. similarly

its surface. vessel

times some-

AMPULLA. made of

used for were Amphone keeping wine, oil,honey, and other liquids in, and sometimes as coffins,in which vided dicase they were down receive
two

(Lat.) A bottle. A or metal, and glass, clay,

these with materials

of covered various with oil

or a

leather, of
so

shapes,but always
long neck,
it. that could liquid It
was

the

middle

to

corpse, and the afterwards joined. reparts The usual material the

any other be dropped from used

by

the

Romans,
of

and

specimens
collections The flask

abound

in most

of which

commonly composed
kinds ; sometimes and mention glass,
one

was are

amphorse were clay of various

found made of

antiquities.
oil
was
,

an ampulla olearia,

they

(lentil-shaped),
for pouring STRIOII,,
over

is made

being made of onyx of the a as greatrarity. The name the and of of manufacture, place maker, was stamped upon them, as frequently be seen those preserved in the on may
British Museum. AMPUL.
or

by Nepos of ter) alabas(stalactite

used in the baths oil the

to

prevent

it ;
a

abrading the skin,and

it
was

flattened

for other purposes at the sides, and with than the other

somewhat

shorter neck The

pullae. am-

kinds,from
for

A small (Lett.")

cruet, used

vessel, vial, consecrated containing oil, or wine and

water

AMPYX broad the band

engraving represents both Roman originals. (Or.),FRONTALE (Rom.) A of or plate metal, worn upon
as a

forehead the

for the Eu-

part of
of rank.
seen
in

dress headladies

charistic formed of

service,
earth

of Greek

It is often
ancient

or glass, of an oblong globular

works

of

Art, as

an

form. The ancients used the latter for the oil with which

attribute

of female

divinities. Artemis
wears a

frontal

of sometimes It
was

they anointed the gold. The ampyx was stones. body after bathing. with precious
The famous Sainte preserved Rheims horses of
a

enriched
worn a

also
cut

by
copy
as

and

elephants.The
lady wearing

is

Ampoulle,
at

Roman

the ampyx,

given by
AMULET.
the

Montfaucon.

until
a

the

first French

small bottle

anointing the
coronations.

Revolution, was oil used in containingsome French at their sovereigns

It
was

said to fr-"inheaven

have
to

been
wrre

worn Any object suspended neck, or attached to any part of the body, supposed to have the effect of and of securing good warding off evils,

from

by broujrht

dove

fortune.

They

consiotrd

of various

gub-

ANA.

stances, such

as

and stones, roots,plants,

are

human

body, "c., cut

agate, "c.
"

out

ot

amber,
from

nelian, cor-

scraps of writing. Amulets in museums, found preserved of

frequently
in the

Amulets,

their

shape
of the

members beetles, quadrupeds,

nature, every where transgress the limits tion in direct cot. t radiaof Art, nay, are oven

to artistic taste.

The

dreaded

invidia,

which
costume.

the

figusesare

clothed in modern
occur

accordingto
with
so

the

belief of

was antiquity,

Anachroniflms
in the works A
on

very for
women

quently fre-

much
more

the off,

warded certainty the repulsive, nay, disgusting before

one;

the greater

of the old masters.

term
a

ANADEM.
or

Greek

band,
am\

objectsheld

and

the

rous nume-

worn fillet,

the head

by

Phallic bronzes,although originally wards, symbols of life-creating nature, had afterthis however, only meaning and aim. The the hand ously varieye, the foot, to be met with in symare applied, bolical and superstitious significance."*

ANACHRONISM. A or disturbance, of the order of time, by which inversion, duced, events are or represented, objectsintrowhich could not have happened or
existed ; such as the introduction of guns in historical pictures or cannon representing
events

young men the DIADEM

; it must

be

from distinguished head

bands, which the insignia or were honorary distinctiona, offices. Those of royalty,or of religious shown in the female and male are worn by
and other from Greek cut, copied ANAGLTPHA, ANAOLYPTA,
vases.

which

occurred

before

the invention annexed

of af events
*

gunpowder ; the representation belonging to ancient historyin

Ancient

ANAGLY-

See

Mutter's

Art
cut

and

its Remain*.

(GV.) Vessels of bronze, or of the chased or embossed,which metals, precious

PHIC.

Figs
form of the

1 and

2 in the

above The

represent
; the

tian Egypearliest head

derived

their

name

from

the work

on

them

necklaces of amulets.
cat

of sacred
eye to

symbols, the
of Osiris

and not being in relief,

to anaglyphic,

the relief engraved,

; hence

compose
one

Figures 3 and 4 are Roman of Hercules loped enverepresenting the head

in the other lion's skin ; the was bulla, in which the charm hollow enclosed.
a

sacred them.

Isis, and

figures of goda
;

by hammering being produced

term

the
cuting exe-

denote

the art of
name
was

such

figures. The
cameos

also
gem"

golden

appliedto

and

sculptured

ANA. Wlu
an n

the

or figureis indented, sunk, it is or

the and

law

of "the

of dissimilar, repulsion attraction of

INTAGLIO,

DIAGLYFHIC.

ANAGLYPTOGRAPHY.

(Or.)
is that
an

Ana-

engraving glyptographic
of machine which

process

similar, par tides,"and is exhibited by oil, water, and to be gum-arabic. The printedmatter
the mutual

rulingon
a

etching ground

copiedis
portionof
sheet

first submitted

to

the

action

of

moisture,is pressed upon a which is diately immeif it were of polished zinc, as frequently of coins, attacked by the acid in every part, employed in the representation It is the invention "c. medals, bas-reliefs, except that covered by the printingink,a has It thin film of which is left on the zinc. of M. Achille Collas,who thia of work is then weak solution washed with on a a large engraved published roller being now gum-arabic ; an inked plan. of the the ink adheres ANAGRAM. Changing the place passedover the zinc-plate, words so as to give a letters of one which was inked in or more only to that portion the original different meaning to the word or to the the then are impressions ; embossed, and
is
sentence ; also to inscribe the words

the appearance of subject surface of the from raised the being paper

gives to

diluted nitric the

acid,and, while

a retaining

wards. backgram ana-

taken
manner

from
as

the in

Examples
are

of

each in the

kind words

of

contained
roma;

rose;

AMOR,

Several their
names

artists have
as a

ALCUINUS, used the anagram of

EROS, calvinus. of

ANATHEMATA

in the same zinc-plate, lithographic printing. DONARIA (Gr."), (Lot.) the ancients
to the

By
the

these
or

names

presents
locks of

made offerings

MONOGRAM.

early ages

these consisted

designated gods. In of garlands,

Arts
were

ANALOGY.

The their known the Fine

agreement

two

thingsin
in

and qualities

tions; relaand

flourished

the hair, "c., but, when in Greece,the anathemata

Arts, the unity

conformityof the
ANALYSIS.
of idea into its

representation.

a thing or an separate in the number losophy phicomponent parts; by immense Art, to arrive at principles

To

tripods, candelabra, statues, cups, vases, "c., of the most exquisite workmanship, in bronze and the preciousmetals. The
of anathemata
are

must

have

been

; many

still extant, showing

examining

characteristics. A

by deceptionin

their

ANAMORPHOSIS.

to the

optics, which, by perspective projection,Another tablets to commemorate when in the distorted viewed from gives a figure recovery will be described under VOTIVB sickness, but, when ordinaryand proper manner; seen at a particular angle or point of view, TABLETS. its natural and The science of the strucANATOMY. resumes ture figure. proper be constructed of Such creatures that branch on a figuresmay living ; curved surface, is called ANTHROPOand, the visual rays being which rebates to man collected in a cylindrical mirror,reflect a : the TOMT, and that to animals ZOOTOMY former is the knowledge of the interior and perfect image in true perspective. exterior parts of the human ANASTASIA, ST., is representedwith frame, and its the attributes, and stake and faggots its a to changes according position, emotions, ; with the palm as a symbol of her marand movements tyrdom. sary neces; it is particularly there is no to the artist, exact as ANASTATIC. derived from A word unless there beautyin his representations, " the Greek,signifying be truth also. The cently-invented reviving." A restudy of the bonea and that of the muscles which (OSTEOLOGY) any process, by number of copies of is also of a printed of the (MYOLOGY) highest importance, any page for upon these depend the proper size,a woodcut, or a line-engraving, can
be
o

that they were cated dediinscriptions gods as tokens of gratitude. class of anathemata, consisting of

tained. The

proce^^

is hosed

upon

ooiancing,motion, and

exDres.non

and it

A NO.

26

and readiness taste, always that genius, "willsuffice without in seizing nature, actual study. The anatomy of the artist for the former ig not that of the physician,
is not

as

theyinfluence
to

for blood-vessels, know

the external form ; in the he merely reinstance, quires those which appear and in

dies, sturepresenting passion.*The physician

only studies

the bones

and

muscles

so

far

in the corpse, the muscle*

theii

ployed Angelo, emdrawings, the type of physical but few of which as are regarding them preserved to us. the o f of mind mirror Such anatomical state as a or as strength, tablets, drawings, ; in of that which the first were called, engraved agitates soul, a reflex they were in of the spiritual life. Anatomy, in a medical wood, and then in metal, and latterly wanta is a purelymaterial study, lithography, so that the anatomical pointof view, of the artist are well supplied. useful to the artist in his representations of f dead bodies ; in an artistic sense, it is an in Christian ANCHOR, Art, is the Skeletons abstruse physiological science. symbol of hope, firmness, tranquillity, and faith. Among those saints, and anatomical patience, drawings are not enough whom of the anchor is an for the artist ; he must the are into attribute, penetrate Clement of Rome Bari. and Nicolas of mysteriousregion where the soul moves the springs of the body, speaking in a Pope Clement, who suffered martyrdom in as languagewhich will be intelligible long the year 80, had received the anchor as bound either because he was an exists. To this language descripas man attribute, tive to when thrown the into one the is only sea, or dictionary anatomy ; in from the form because, a pretended letter living, acting,sentient man, must the study are struggling ; for where passions * The woodcut accompanying represents the where grief, and are love, joy, acting of Bull a

mechanical

on functions;the artist,

the

faelle, Titian,and
much time

Michael

contrary,examines

their

play,their life,

in anatomical

"

"

"

there Thus and

must

the

artist learn

the

idiom.

did Michael Angelc, JacquesCallot, Hogarth, studyli", and thus did the conceive of human faithful tions representanature ; the great painters their

a Winged Victory slaying British is in the (the original of which the frontispiece Museum), and is copied from to Discourse the Nature a of Limits. By on

anatomy

Richard

Owen,
best

Dutch

t The

F.R.S. treatise

on

1849. London, the Anatomy

of the

sixteenth

century, Da

Vinci. Raf-

of artists External for the use Forms Dr. Fau, translated by Dr. Knox. 1849. It haa excellent engraving*.

is that

of tht by London,

ANC"

AND.
so these,

Peter,he Aportle

was

commissioned

to steer

that it

might
were

u6)

the Church

safe

and

stolen.

They
once
a

into the haven. Nicolas of Ban, whose

temple of Mars, on
were

carried the Salii.

dom martyrtook

by

There

recoguised hung in the the Palatine Hill,and year through the city is a representation of
not

be

all

place

in

the

209,
the

year received
as

ancilia upon a gem in the Florentine collection, in which two are of the servants with Salii,
on

coloured
are

togas,carrying

rod

anchor

which

patron saint of
to whose sailors,

two

fastened

hanging six shields, every togetherwith a strap. The

that
An
a cross

shows inscription ANDIRON. of iron with

they are

ANCILIA.* standard for

/^x

prayers answered

he

ornamental

by
to

bar,used
rooms

burning
sions. man-

'vj__
'
'
"

appearing

logsof
the
were

wood

in the
were

of ancient
use

them, guiding them safely

into The also harbour. anchor

They
general

in constant of

before

introduction

coal

fires,
the
at

and frequently highlyenriched, sometimes Kent. formed of in

standards

as silver,

lises symbocommerce

Znole,
many

They
in this The

still remain

in

old houses

country.f
patron saint
order of of

and

tion. navigaThe
cut

ANDREW,
Scotland: the Golden

ST.

also of the renowned Fleece of

representsthe
earlier forms of the anchor second
; the firstbeing

Burgundy,

and of the of Russia.

order of the Cross of St. Andrew The

principalevents in the life of this chosen for representation apostle by the century). Christian artists are, his Flagellation, the ANCILE. The sacred shield carried in Mars. Adoration of the and his festival of Rome Cross, dom. Martyrby the Salii at the and He is usually depicted as old an It was both sides ancisum on incisutn, nor oval, man, with long white hair and beard, recisum; being neither round the Gospelin his righthand, and but the two sides receding holding inwards,making it broader at the ends than in the middle. leaning upon a transverse cross, formed sometimes of planks, at others,of the It was heaven sent from to Numa, who told by the nymph Egeria and the of trees. was % ,'i rough branches /J Muses that the safety This form of is of Rome cross depended \\^ peculiar to this saint, and hence ^\*j Roman,
the

Mediaeval

(twelfth

it is termed Croae. and the His

St. Andrew's

/*

Flagellation,
of the the

/^r\\
\^k

Adoration

/J

of^r \} subjects in the two fine frescoes Chapel of S. at Andrea, in the Church of San Gregorio,
form Cross,
*

They
of
a

are

represented aa
of Antoninus lines ending

oval

on

the

re-

Terse

coin The each of

a

engrave.

Pius, which we in circles, above

rude them. way neating of deli-

and
on

below

shield, is

glory emanating

from

its preservation. The

Veturius
to make

king
eleven
one

ordered others
among

t A

series

Mamurius

andirons, and
will be found tiont, vol. ii.

and exactlylike it,

curious examples of antique vture, history of their manul in the SUMCX ArchteologicalCW'/o

hid the real

AND" Home. The

ANG.

"11

and glory is the work of their sanctity Flagellation ; the cloth of gold that of Guido. diapered with orphreys of jewels and Domenichino, the Adoration picted precious stones ; with emerald This latter subjecthas also been well de(unfading in the Vatican youth); crystal (purity) tial by Andrea Sacchi, ; sapphire(celesject His martyrdom forms the suband at Rome. ruby contemplation} (divine love). ; admirable of Art,angels of an pictureby Murillo, At this periodof the history clothed in the often represented the original as were study of which is in the Dulecclesiastical vestments, copes, chasubles, wich Gallery. but in the works A Greek term for human and tunicles, ANDROIDES. dalmatics, constructed earlier to of are move an usually figured by machinery. they period figures times with goldenwings.* SomeSee AUTOMATON. in albes, white, feathered all in EgyptianArt, drawn as ANDROSPHLNXES, angelswere heads. One of enorin lions with human mous is frequently like birds, seen are as over out teenth size is at Ghizeh, which is hewn the carving and stained glassof the fifof the with the exception of the solid rock, ranted century, but the idea is not wartiquity, fore-paws,between which stood a small by the tradition of Christian anand the effect, bordering on the temple. It is considered (on the authority the of Pliny) that the Sphinx represented is far from good. In Christian ludicrous, which event reguNile in a state of flood, and in painting, larly design, in sculpture, and occurred under the signs Leo as bels, corintroduced, angels are frequently of roofs stancheons the Virgo. ; aa bearing short ANLAS. A ing bearand in panels ANLA.CE, ANELACE, spandrils, or bosses, sword and a between emblems oi a labels with scriptures, or weapon, sacred things, or shields of arms dagger, the blade taperingto a ; on shafts commonly worn and beams ; holdingcandlesticks ; as supvery fine point, porting the until the end of civilians the head of a monumental by effigy ; fifteenth century. It is

always
from
a

in adoration

round

the sacred

or symbols,

representedas
belt
or

hanging

ed attachstrap,apparently

to the upper end of the sheath. in monumental It frequently occurs

persons ; winged with the hands extended, Of good angelf and standing on wheels. vided diwhich nine degrees, are there are first into three categories. The

brasses.

Our

cut

is

consists of CHERUBIMS,
THRONES

copiedfrom
of Edward

brass of the

time

;J

the

second

f am SERAPHIMS, of DOMINIONS,
and
VIRTUES.

HI.

POWERS,

and PRINCIPALITIES ANGBLS,

are

; the third oi

ANGELS,
and in

in

Christian

Art,
in

are

very

ARCHANGELS,

both represented frequently

sculpture Archangels
armed
as

frequentlyrepresented
with
bear

painting. By the devout artists of sixteenth and the fourteenth,fifteenth, of human angels are depicted centuries, form,and masculine ; as young, to show their continued strength ; winged,* as and of and good tidings, messengers grace
to show

for the encounter

of darkness.
"
"

They

the banner

the army of viein the

On

the

revival of Pagan

design

their unweariedness show

; barefooted

century, the edifyingand traditional doned, abanrepresentationsof angelic spiritswere and, in lieu of the albe of purity and golden vests of glory, the artists indulged in pretty cupids sportingin clouds, or half-naked
sixteenth

and

girtto

and that their readiness,

to

they did
were

not

belong

this earth: of white of

they

youths twitting like posture-masters, to display without dignity, or even limbs their repose, clesiastica decency of apparel.""Pugin's Glossary of EcOrnament.

clothed in robes
or purity,

to show to show

their

in cloth

gold
of
an

t For a fuller explanation of their peculiai in this Dictionary. attributes, see their names generallyrepresented kneeliiw " They are and bearing palms and
crowns. or

AN..U,

is the
an are

name,

not

order
mes"enyer,

of

beings, hut of therefore they

office, and

means

5 They
alt

represented

with

wings.

carry swords, crosses, do their companions in thU

sceptres, grade.

_"

AM.

tory suspended from

same

cruse, and

have

the

the with

former, combinations
the animal form*
are

of the
more

human

symbol on covered Angels are sometimes represented well as with feathers, as winged, and
tometimes in
crowns

sacred

their

forehead.

"jear

of thorns sacramental

Virtues priestly garments. of symbolic martyrcups emblematic of

torn, or

attributes edeeming love. Their common 2. 1. voice of God). Trumpets (the ue, wrath 3. swords ""'laming God), (the of Thuri4. of God}. Sceptres (thepower les or censers, incense (the prayers of ments, instrusaints they offer). 5. Musical such as harps,trumpets, and organs,
"

frequent animals, find centaurs,satyrs,tritons, and we thus, in these the human form winged figures ; the the ever nobler, nor were appears animal forms rendered but more bestial, rather more human. tians, Among the Egypthan combinations of different the animal
more man

form

was

conceived than

with of

depth
; from

and the
an

liveliness first the

that

to express

their

orders of
"n

angelsare of magnificent rose- windows ontinental churches,diverging from

the in nine circumferences

The nine felicity. introduced frequently the the

of rich

aacery. HYBRID. This name ANIMALS, given to pictured animals composed two different species : they abound Ancient and mediaeval works of Art; is of in in

Egyptians were admiring observation of the former, by a natural tendency, as their religion their combination, proves ; of various animal figuresare often too, but indeed in the highest often very happy, degree fantastical and bizarre. They produced with human heads), (lions sphinxes and serpents lion-hawks, vultures, serpentwith human all which of are legs, lical. symbo'While the Greeks for the most part

impelledto

retained

the human the

head

in such

Egyptians sacrificed
of the

sitions, compoit first.

AMI-

By

extension

term,

HYBRID

y 8c

JLS

is

appliedto

the

fantastic

in most the

common

in architectural

buildings of

; they appear to embody faith of the time as EMBLEMS popular ;

of them

th 5 middle

ceatury.
head upon
or

in the twelfth ages, especially Sometimes the human we see the

a

but the freaks of frequently they were of those fancy of the sculptor-masons times. When
we

body of

bird,of
head

a a

quadgoat

meet

the

same

figures
to be

ruped,

dragon;

the

of

in different

countries, they appear

each other.

upon the body of a horse ; doves,of which the body terminates in the tail of a serpent;

copi'J
"

from

eagles with
We
must not

the
a

tails of

dragons.
ing meanis
i.t

Oar

cut
a

represents

Nymph
combines fanciful

ridingon
the form*
on

the

look for

symbolical

hack
t.rast

of

monster

and

it is difin all these figures, although not to hidden jfult meaning recognisea

which serpent, with

i

of

adjuncts. It
the

copied from Pocnpe i.

Grecian

painting

vall"

AUK"

ANT left hand other

to
a

It IB soluble in hot oil, and forms,in alcoa :ol, s .ure

bulky, tenacious, elastic

varnishes.
ornament

mass.

It

the

extensively employed in
of coachmaker's
An

the raanufac-

salutes her in his left

while she extend* tnj spindle, Archangel Gabriel, who with his righthand, and holds lance. the Above the

house,

in

gold, of the metal, worn by the women Eastern nations,the Egyptians, Greeks, and Romans, on the legs, above the ankle,
of
or

ANKLET.

the
as
a

sky,is
ray

seen

Holy

Ghost the

descending
head of the the froiii

other

of At

light upon
a

Virgin.

subsequentperiod in
treatment
:

of Art, the history this Greek formula

or

varied

Virgin is represented kneeling,the Archangci Gabriel bears a sceptre,which, at a later was exchanged for the lily-branch, period,
seated in its turn, was this, by some olive-branch an superseded by ; and artist* and the

the

Archangel
_n

was

also crowned
moat

with

olive,

the

same

manner

as

the bracelet adorns

but the

"lie

arm.

They

in works
in our

picted most deare very frequently The first example as of Art. represented
an

as well as frequent, Gabriel is also frequently significant. an

is the lily

ambassador attendant is

cut is

from copied
a

the Egyptian,

with credentials, German early of the ANSA.

second ^oecimen
f"f the Animal.

from

occurs

Greek, painting; another in page 28, as worn

who rides the

artists he

bearing his angels.By the representedas

ments vest-

habited in the
The

Nymph
ST.

Hybrid
cup
was

richlyembroidered priesthood.
handle The

by

which

vase

or

Virgin She is generally representedas a temale of advanced years, teaching the when to read from a book. a child, Virgin, introduced in the backShe is frequently ground
of

ANNE, Mary.

The

mother

of the

held.
or

thong which

held the its

spear
centre.

javelin(hasta unsaid) by
See AMENTUM. A
term
are

ANSATED.

applied to
affixed.
was

vases,

"c., to

which

handles This
to

ANTEFTXA. of the Holy Family,and pictures as a very aged woman. by the Romans depicted ANNEALING. when Glass, suddenly TERBA-COTTA.,
cooled after after

term

applied
in rate decoto

various
were
an

ornaments

which

used

melting,

and

some

metals,

several parts of

to give an edifice,

long

hammering, become
brittieness

brittle.

This

is removed

extremely by

the glass in an oven, after the fire leaving withdrawn, and by heating the metals after the hammering, by which they a .rain, is become annealed. ANNUNCIATION. (ANNUNZIATA, This religious of Ital.~) mystery is one the most beautiful, in as well as important, the whole the earliest range of Christian

Art; from

periodit has been chosen as a frequent subject. In the Manuel d IconographieChre'tiennt, by M. Didron, tfli treatment the Greek adopted by early
most
'

and

'''"t.ows: the scene

'Jfc

h"u

as ornamental to conceal unsightly or finish, in the masonry. porch, junctures They appear Holy Virgin kneelingbefore a chair, on the top of entablatures, above the upr er head slight member where of the cornice, holding in her iy inclined, they serve

Byzantine

artists is
a

is

described
a

house, or

ANT. the purpose

of

I]
is

easily recognised : as the founder of he is depicted in a monk's also affixed the to ones.* habit were and nice corThey cowl,bearing a crutch in the of an for the purpose of entablature, shape of a T, a (ace,* as a token of with a bell susgiving a vent to the rain-water from the his age and feebleness, pended roof similar to the GURGOYLES of Gothic to it, in his hand, to scare or away of the evil spirits architecture. Anlefixa?,in the form by which he was persecuted impressed ; a firebrand in his hand, with flames long flat slabs of terra-cotta nailed along at his feet ; a black hog, representingthe were with designs in relief, demons for ornathe whole surface of a FRIEZE, under mental Gluttony and Sensuality, his feet sometimes the devil is a substituted resembling effect, sculptured ; for the hog. The subject in their applicaof the temptaMETOPES of the Greeks tion, tion St. of not Anthony is treated by Annibale but antefixae were employed in in a picture in the National decoration by that people. Some good specimens Carracci of London of such antefixse are in the British ing Gallery (No. 198). The meetof St. Paul and has exhibit and been Museum Anthony great variety ; they well treated by Guido, Velasquez,and beauty of workmanship. Pinturicchio. ANTEPENDIUM. The decorations, or ANTHONY, ST., of Padua, a recent hangings, in front of a Christian altar, who died in of either of saint, 1231,has had one of his precious plates consisting miracles saints with of and the figures frequently depicted. When metal,embossed such as that predecorated with jewels, sented Pagans refused to listen to his exhortations, he collected the fishes on of Basle by the the sea-shore to to the cathedral listen who in and in to in now him, came 1019, Emperor Henry II., myriads, and shamed the Pagans into conversion. the collection of the Hotel Cluny, Paris; and gilt of wood, carved,painted, ANTHROPOMORPHISM. or (Gr.) Hu; or enriched A compound Greek MA.Ni8A.TioN. of cloth of gold, silk,or velvet, word, the representation with needle-work and seedpearls. Of the of the human signifying form ; but it is employed to signify latter kinds the churches of the continent the of divinity under the human of examples. representation present an abundance In the portrayal ST. The events in the life form. of the Divinity, ANTHONY, Art can the idea of this saint form a very important class only by humaniconvey sation, or anthropomorphism; henue the beautiful statues of their gods produced by the ancients. Among the Greeks, popular the idea of never opinion separated rior supefrom the representation of powers them under a human form ; hence,in their Mythology and in their Arts, each deity had his peculiar and distinguishing attributes, and a characteristic human shape.
and ridge-tiles, the

concealing the

ends

of the

juncture of

the

flat

monachism

Combinations those of in Christian Art. subjects Among most and frequentare his temptation, meeting with St. Paul. St. Anthjny several distinctive attributes by which the his
"

of

the

human

form

with

of in

found

animals, hybrid animals, are Egyptian remains, as well as in

of

has he
and

The ia

badge

the
this in

knightly order
attribute of the
cut

of St.

Anthony
Stothard's

exhibits

saint,
from

represented

the

annexed

Roger
"

Our

cut exhibits

an

discovered terra-cotta,

antefix of this kind at Chester.

In

The uncial

De word

of the engraving effigy of Sir BoU, in Ingham Church, Norfolk.

Anthon

occurs

above

the

tace

in

letters.

AM. those
at recently brought to light
are

Nineveh

painting,but by
or

no

means

these combinations

By symbolical.
form
was

the

water-colours.

Most

of

in oil eligible the Naples

Egyptians the animal with more depth and

of
man

conceived that

liveliness than

their

combinations often very the

of various

animal also

are figures in frequently

happy, and

sold by artists' colourmen is yellow now with a prepared from white lead mixed small proportion of cadmium yellow. Glaus is coloured yellow by antimony; the of the East of
use

tastical women highestdegree fanret

the native their

sulphueyebrows

and ANTIA.

bizarre. The handle

An of
a

shield.

and

antimony eyelids.
sheets

to blacken

Drawing paper is cut dimensions; that the called antiquarianusuallymeasures fiftyfragments of ancient architecture and three inches by thirty the present time this At Arts. -one. plastic A term derived is usuallyappliedto the less ant term importANTIQUE, ANTIQUES. the Latin from pons, weaspecimens,for instance, utensils, antiques, ancient. By fying signithe remains of into particularly antiquity, of various

ANTICAGLIA.

Italian word,

ANTIQUARIAN.

ornaments,
ANTICK.

"c.

"antique"

is understood

pre-eminently

of genius, invention, Irregular in combination, those peculiarities such in the remains and Art,which are preserved or fancy,of heterogeneouscharacter, the fantastical compositions of human of cultivated nations of antiquity,and as beings with foliage, birds,beasts,"c., which must always excite our admiration portant each and combined formed partly of and influence our studies,as the most imother, ornamental and as enduring relics of ancient adjunctsin sculptureand of which ancient Art produces a With the idea of the antique is times. painting, Art and the modern the more united great variety ; by which we generally CLASSICAL, Raffaelle's additional in understand those gives examples writingsand works and in conception arabesques,and the grotesque works of of Art which are perfect modern execution, and therefore worthy of being Italy.* is used only for QUATTRO-CBNTO. our ANTICO-MODERNO, patterns. The term between the left us of the That transition creations which those are style (Ital.) of the Greeks and productions comparativelymeagre Romans, which,among allearly " and the fully nations, cients," eminent most we earlymasters call, par excellence,the Anto all because they were superior developedform and character of the works and because of Raphael and his great contemporaries. others in mind and manners, the stamp of less the time of It arose after or Massaccio, they impressed more soon whole of the teenth fifthe characterised their cultivation on the greater partof the and In Art world. ancient we regard the century, until the appearance of the Greeks as the true classical ancients, of Da Vinci and Fra Bartolomeo. being works who the condition to It is exhibited in its most perfect Romans, superior incontestably formed imitative on were nation, in the works of Francia. only an

ANTIMONY.
enters

The

oxide of this metal

some
as

the

Greeks

themselves. alone is that sentient

Of

all nations, internal

into the used

of composition
in

of the

the Greek and

in which and

pigments

which yellow,

life painting, beautiful oxides of the its most existed in proportions ; a compound the from beginning of lead and antimony. A mineral yellow therefore they appear pendent destined for indeof antimony to have been peculiarly is compounded of the oxides cultivation of the forms of Art, Guimet's bismuth. "nd yellow is the These and of lead although a long development and many deutoxide antimony. required were pigments are useful in enamel or porcelain favourable circumstances which before the genius earlyappearedin

Naples

external

mental

is

"

See

ARABEJKJUE

and GROTESQUE.

mythology and poetry could

be tran*ferr"d

AM.
to

Art. plastic form

In that

of perfection artist

ternal exwas

to

fade

by

an

exposure That

to

light and

by which

the Greek

air.
ANTITYPE.
or

he formed his IDEAL, in which surrounded lies the great truth of the so-called antique the ideal is the compreforms ; in them hension racter chaof nature, whose prevailing of the spiritual. is the embodiment

which
a

is emblematized,

prefigured, by
Lamb
was a

type. Thus, the

our

Paschal

type to which

Saviour,the
So and saints,t ANTONINE
one

Lamb also
were

of

By

ANTIQUES

we

understand
as

those

works

those of

type.* antian God, was the symbols of the the heathen gods. J In the middle of the

which human

have become,

it were,

the types of

COLUMN.

of life in of form, the representations which belong to true plastic all its variety, the Art, such as the works of the chisel, mould and mosaics. statues,bas-reliefs,
"

of the

principal square*

city

In

wider
to

sense

we

use

the

word

TIQUES AN-

express

all the

productionsin
and the Art

the various
as

Arts plastic

of the Greeks

of Romans, ancient and unclassical remaining nations Egyptians,Indians, "c.,and also the
"

from distinguished

from all later and

modern

Art. In
an

ANTIQUITY,

ANTIQUITIES.

artistic sense, the old, as opposed to the It is supposed to extend from new, times. the earliest historical knowledge to the of the barbarians upon the Roman irruption which empire, event, in connection with the diffusion of Christianity, produced the in the history of the great turning-point civilisation of mankind. word in
a

"We also
to denote

use

the

limited

sense

but ages of every nation, reference to the two great nations the times,
we

early with particularly

of
cient an-

the

Greeks

and

Romans,
those

whom

call

" the pre-eminently

Ancients."
ments monu-

By

of Rome the

stands in

ANTIQUITIES

we

understand
were

Senate

honour

erected by pillar lofty of the Emperor

to
memorate com-

of all kinds which in whatever antiquity, be used.* ANTISEPTIC VARNISH.

ensure

produced in
this word may

Marcus

Aurelius his

Antoninus, and
tribes.

sense

over victory

the Marcomanni Around the

and

other

Germanic

composed to vegetableor
"

the

glazing of such protection

as
are

animal

colours

placeda continuous series of bas-reliefs, reaching from the line, likely base to the summit in a spiral senting reprethe victories of Marcus

exterior of the shaft is

Aurelius.

According
was

to

Muller, the
the love for

ancient

in style and execution, be divided into re-awakened, may these sculptures Column of the Antonine three periods :" First. The ing artulical, extendfrom inferior. about have been of 1450 to 1600, and are the time of They very collections and renovations. Secondly. The service delineate to as great they art, learned antiquarian, from 1600 to 1700, when and elucidations,having no referexaminations ence " See Dzi. to Art, took AGNUS place. Lastly. The scientific period, from 1760, in which aesthetic principles f See SYMBOLS. were added j See ATTRIBUTES. to the study of archaeology.

Art, since

treatment of classical quity anti-

It is of

an evidently but,both Trajan,

imitation

of the column

ANT"
most

APL. sellnc of and

as stalls, contempt.* APEX. (Lat.} A
a

the military tactics truthfully their

as

of the
armour,

sign

of

degradation

Komans,

costume,

arms,

"c.,as

well

those of the barbaric tribes who

are

against whom they fought, and unrepresentedelsewhere. ANTYX. (Gr.) The rim or
such anything, shield of the
as

of heathen

Home

by the priesta cap worn the essential part was a

base this
worn

pieceof olive-wood, pointed,

border of surrounded with
a was on

at

the

shield

or

chariot.
was

The

lock of

wool;
top of

Homeric

heroes the

ciently part suffialone

sometimes the

large to* cover

the framework osiers twisted
which
was was

made

entire person ; of wicker,or of and of

over

the

together;

wood,
with with

afterwards

covered

several folds of

and bound bull-hides,

held there by head, and or fillets, by a cap fitting closelyto the head, and fastened by stringsor bands. apex is also the summit on APLUSTRE. of formed the
to applied

The

word

the crest,or

ridge,

of

helmet.

structed con(Lat.) An ornament thin planks of wood, which highest part of the poop of

metallic ring around, the

outer

edge
"

the

antyx.*
used to

The

word

antyx

is

times some-

a signify

chariot ; at
to chariot, strength.

others,
which It \ras

the curved

front

of the and

it gave both form double. often made

ANVIL,

in Christian

of St.

helmsman, and served him, in some from the weather. degree,as a protection At the point of junction between the ape is the the APE. In Christian Art and the aplustre stern,we frequentlyfind "ymbol or emblem of malice,cunning, and ornament lust. The devil is often represented an under resembling a circular shield. It was somewhat this form. presentations fan-shaped,and formed This, with other emblems, reo to the of a similar description, a CHBare correspondingrnament
patron saint in metals.
seen frequently

bute Art, is the attriAdrian, and of St. Eloy, the of goldsmiths and other workers

ancient the

ships ;

it

rose

behind immediately

placed under

the

sub-

NISCUS

at

the

prow.

Its beautiful

form

and
* Our engraving is copied from Meyrick's Critical Inquiry into Ancient Arms and Armour, and represents one of the large Grecian shields, seen sideway*, and behind, showing the straps tor the arm and the hand.

prominent
In
at

caused position

it to be

many

illuminations

at

the head

of the
gas-

Seven

Penitential

Pialms, depictingDavid
an

ing

Bathsheba,
in allusion

duced, tied to a tree is introto the sin of the Psalmist. ape

APO.
.

'

adopted as frequently
and affairs,
was a

an

emblem
as

of maritime
a

the

NIMBUS

; at
or

on others,

scroll* above

carried

trophy
In

their

heads,

beneath

their feet.
finl
; and

In

by
the

the victor of

naval

engagement.

ecclesiastical

Apotheosisof Homer, in the British Museum, is a female who personates the as an Odyssey ; she bears the APLUSTRE in reference the to of emblem, voyages

decoration,we grouped togetheras a series

of which the the the life of Christ:
as'

them
in

tures, picfrom

subjects
the

are

taken

Last

Supper,

Ascension, the
the the Twelve'

the Transfiguration,

Ulysses.
APOLLONIA,
events

Parting of ST.,of
fine Alexandria. saint form The the
are

the Twelve tyrdoms, MarApostles, sumption Baptisms,the As-

in the life of this

some

of subjects
one

of

of which pictures, the best, painted by Domenichino, of the gallery of library Ma-

of the Virgin,"c. When there depictedcarrying scrolls, inscribed

on

they
will be from
"

found the

each

sentence

is in

the

Belief, commencing
in Deum

with

St. 1'eter,

Although the apostlesare always twelve with a tooth, in the other, in number, they sometimes of pincers, piiir give place to which her St. Jude is ted omitillustrating martyrdom,during evangelists; frequently In the all her teeth were introduce St. Paul ; sometimes to St. pulled out.
Munich is a Gallery fine in six altar-piece, Mark and St. Luke and of the
are

ing She is usually as holdrepresented yence. the martyr's palm in one hand, and a

Credo

fatrein

omnipolentem.

substituted for
The
as

: iipostlcs fish St. a key, or a Paul, ; in the garb of a Eoman bears a citizen, resemble the shears of St. lonia so nearly sword ; St. John, a cup ; St. Andrew, a a Agatha, that it is not easy to recognise transverse cross ; St. James the Greater, which is meant. St. James the sword o r a pilgrim's staff, ; APOSTLES. In the earliest periods of a pastoral Less,a fulling-club ; St. Philip, Christian Art, the APOSTLES or were staff; St. Bartholomew, a largeknife, sented reprethe emblematical under forms of saw a cross processional ; St. Simon, a ; St. Jude, a lance ; St. Thomas, a builder's or grouped around Christ LAMBS, SHEEP, with a large stone in hia standing on an eminence, also as a lamb, rule,sometimes the lance or as a nimbed, good Shepherd, bearing hand, or ; St. Matthias,an axe, a later in his At lamb lance.* a a arms. period sword, or a APOTHEOSIS as they were depicted ("?r.),CONSECRATIO MEN, each bearing a ing cheep,and Christ in the midst,also bear(Lat.) Deification. A ceremony among in his arms, or on his shoulders. raised a lamb tile ancients by which a man was the became vidualised, indiThe used Romans the of rank a to apostles Subsequently, god. and were under certain the word consecratio to express the depicted osis. apotheconventional The ceremonies attendant more or forms, which were upon the less adhered both festival to occasion of an apotheosis throughout the whole were presented and religious reperiod of Christian Art. They were consisting chiefly observances, of different ages, someof the deceased on as men in burning an effigy a times with their heads ascended the funeral fire an flowing beards, eagle pile ; as surrounded with the NIMBUS, feet naked, let loose, was by which was conveyed the and with appropriate the instruments idea of carryingthe soul of the deified ATTRIBUTES, of their martyrdom. Usually, mortal to heaven ; and, in conformity with each which medals it is struck to see on to a are common book, they by they this, carry the who bear from "distinguished prophets, * This subject is very fully treated in Mrs. parchment rolls. At times, their names Jamieson's Sacred and Legendary Art. London.

in the scenes compartments, representing life of this saint,paintedby Granacci,a favourite pupil of Michael Angelo. In the old some pincersof St. Apolpictures

St. Matthias
ATTRIBUTES

St. Simon.
are

usual

follows

St. Peter bears

"are

inscribed

within

the circumference

of

1848.

APP.
commemorate
a an

fire

on

it,from which

altar with an apotheosis, an eagleascends.

in occasionally consequence all matters

more

recent

times; but in
of

of the revival

interest in

to Christian Art, they relating lately been revived in a portion of the Romish Church. The apparells either went round the bottom edge or the

have

wrists of the vestment attached

or
"

to which

they were
"

style they consisted of quadrangular pieces, varying in size from twenty inches by tom nine, to nine inches by six, for the botfrom illustration is taken Itoman ;* and for the wrist,six inches by Our mode four, to three inches square. The apparells of coins,and exhibits the ordinary are the this in the distinctly figuredupon numerous numental moact, representing emperor, and brasses : fine exameffigies ples one instance, seated on the back of an of the former are preservedin the eagle, and the empress upon a peacock.
In the British Museum there is
a

this is the most

ancient

bas-

Cathedral APPIAN A

of Rouen.f

the relief representing of Roman been executed In

of apotheosis of the

Homer,

GREEN.
used

(APPIANUM, Lat.)

workmanship,
in the time modern

supposed to hare Emperor

pigment
used

the ancients ; according it resembled to Pliny, and verdigris,

by

Claudius.

has Art, apotheosis for of

was

as

substitute green

meaning ; such, eimply a figurative of Schiller, one example, the apotheosis

the three monument of that

prepared from
known
as

for it; it was earth, and is now green, because places ; all these
a

Cyprus or

Verona

btu-reliefs the
on

of the pedestal the memory

the best is found

green

in those

by Thorwaldsen,to

by poet at Stuttgard. A painting, of James I., forms Rubens, of the apotheosis of Whitehall Chapel. the ceiling worked in silk and gold, APPARELLS,
embroidered with
ornaments
or

coloured

earths appear to be of by oxide of copper. The is

seen

chalkybase,
emblem of

APPLE. it victory; hand which she is of

apple
as an

is the

attribute

in the

Venus

with victrix,

sacred

she holds in the other hand.

the poppy, When

represented as triumphant over Mars, who was conquered by her only, stead inof the apple she generally holds in the righthand a helmet, upon which she
gazes.

The

maternal

honoured genetrix,
bore the

apple, in

Venus or Aphrodite, the Romans, often by of which explanation

to

legendsrelate that she gave three apples Hippomanes, by which the possession
was

of Atalauta attribute

secured

to

him.

This

meant

the originally

nate, pomegra-

because from the the

AphroditeCypria,so called worshipof her in Cyprus,planted

in that island.

first pomegranate tree

The beautiful

imagery,
and and
worn

sometimes

enriched

with

pearls
to ALBS

"

example
the

given in
of
a

our

ing engrav-

is obtained Edward

from

brass

stones,were precious
other
as a

attached

priest,temp.
Yorkshire.

III., in Wensley
reader should

Church,

ecclesiastical vestments, and

generaldecoration
fourteenth

teenth in the thir-

and

centuries ; but only

consult the elaborate detail of the subject under the article ALBE, in Pugin's Glouary of Ecclesiastical Ornament and Costume.

t The

ARB"

ARC.

both in invention
France "f Louis "nd

and

composition.In
in the of love

it reached

its climax
the

ilY., whose

the in general, means ARCHEOLOGY, reign knowledge of antiquity, but,in a narrower splendour sense, the science which inquiresinto and
censed unlidiscovers the mental from life of ancient whether nations artistshe their monuments,

gaudy displaygave
freedom who overloaded

most

to the decorative

literary,
of the fine
were

employed,
with and ind the

their until

mechanical. or designs artistical,

ing mean-

ology Artistic archaeas

decorative

convolutions

treats of remains

works

was propriety

sacrificed entirely

Arts, in

those

two

nations

which

models in Art, the Greeks wearied. In and Romans ; eye insufferably besides these the artistic productionsof the trnanu-ntal Art, arabesque deserves the Persians, but it draws most extensive cultivation, and Egyptians,Babylonians, than take an honourable are liigher resources placein the sessed Indians, posupon of Art. artists ; archaeology According to Griiber, by the majorityof modern artistic archaeology the only one be divided aa who, to our knowledge, has may follows: 1. is the Geman tions examinaHistorico-literary succeeded, artist, Eugene of the works still existingin museums, Neureuther, whose arabesques in the and privatecollections; galleries, Glyptothekat Munich are worthy of any the analytical method For the Moorish gives in this the arabesques,the *ge. best guide. 2. The student should consult The Alhambra, by Technology of the Owen Jones ; for the and exantique regarded as Art-history, plaining ancient, Zahn's and the Ornamrnte alter Classichen Eunstepochen, treatment style, method, of works and Oft/amente und Sferkicurdigsttn of Art according to the different Gemdlde ron Pompeii Herculaneum und Staepochs. 3. The Criticism of Art, which teaches the principles bia ; and for the modern, Gruner's Frescoes by which the is be tried and Stuccoes of the Churches decided to and Palaces or as belongantique ing of Art. terpretati to a certain period 4. The Inof Italy. The name which AREA LEST. of the explains Art, generally applied in the middle

ages to the cross-bows

symbolical part of
the fables,
manner

ancient of

Art and

artist's
ing mean-

carried (arca-b'ilista)

by
use

great expertness in,the

them much

soldiers ; their of which gave rendered it

a

treatingthe Art,ar.d the

of ancient

works

of

sary neces-

and celebrity,

in .theirhands ; it was quently fredeadly weapon of large size, and weight, and of that the bow so was powerfula tension, be to drawn to the trigger required by an iron wheel when (moulinet), carried,
not

in use, at the soldier's girdle, which wheel double set in motion was a handle,the by bow

for the by a stirrup end. (See CKOSS-BOW.) on one placed ARCA. (Lot.)A chest or coffer in which the Romans placedtheir money or goods. satyr,where foot A wooden ARCADE. coffin for the dead. A series of arches

being

held

firm

aids, history, mythology, antiquities. 5. The JZstlietics of the antique,by which we comprehend the spiritof antiques their disposition, and expression), (deciding action, and showing us pure beauty, and animates the feelingof it. awakens The aesthetics of the antique displays the circle of the gods and heroes as the types of humanity,souls made visible in bodies, accordingto various ideals of sex and age, of a Jupiter to a from the exalted divinity
human While
nature

is lost in that
are tial essen-

of the animal.

aesthetics

pointingout the and the the substructure on or columns, as in a cloister, pure taste,the noble simplicity, of a house, as an these of creations appropriateness perfect ambulatory ; used for the decoration of a wall when of Art,they are also employed in a higher
supported
to

in archaeology,

either in the
a

or interior, building,they were

on

the

of exterior, in with

kind Art

of critic?im.

See

Mullet's

Ancient

closed

and itsRemains, translated

by Leitch,
Art*

masonry.

Winckelman's

History of

Ancient

ARC. Panol
ka

39

Manners

and

Greeks,the works of Taylor,Combe, Millengen,and others.

ARCHAIC. Peculiar
to remote ; characteristic of Such restricted power.

in other works,as individually Sacrifice of Gell,Stuart,Eevett, "Expulsion," "The

Customs

of

the

in the ham," Abra-

quity anti-

earlyArt and
as

pear
"

The

Annunciation,""c.
The Art of

its

the

examples

engraved on
more

modern in
our

p. 48 in ancient Art ; and the from the Bayeux Tapesone try of that work. Under stated into that three the the head of

ing designexecutingbuildingsof all kinds ; in its results one of the most importantof the fine Arts to mankind, demanding great
and and varied from qualifications those who would it perfectly, and applicable practise comforts and necessities, real and all and people countries. It is well said that

ARCHITECTURE.

account

ARCHANGELS,
ANGELS

to the

it

was

of heavenly imaginary,
:

host

is divided

hierarchies

has

been

"Architecture

both a Science and an Art, and has been archangelsbelong to the third; they are cultivated in either with great but seven angelswho stand in the presence way doubtful sadors ambasthe aimer of God ; they are his extraordinary at success mere ; science often ministers, degenerating into a skilful protectors, ; they are adorers, the
avengers, remunerators
:

in all these

functions have

they are

their feet

nimbed, and generally and the as naked, apostles ensignis a banner

on

artisan ; and the boaster of pictorial skill into a mere theorist. To the skill of the

practical mathematician, mechanic,

and

mist, chenius gego

as

divine persons ; their

a

Victory representing ; they are clothed as princesand usuallydepicted with breastplates of gold,coronets, warriors,
cross,
as

be added the must philosopher, of the to feelings artist, towards the completion of such men Palladio and

"Wren." PAINTING. Th"

and show that

crosses

on

their

kind of paintingof inanimate principal the creations of man, and his representing objects, surrounded hand. The in of the of seven one names by nature, or independent dart, her. This branch Michael of Who Art is like unto are us great or archangels gives ( either singleor grouped God?), Gabriel (God is my Strength), small buildings, their exteriors or interiors, their Raphael (the Medicine of God), Uriel (the together, and and details, God), Chamuel, proportions, characteristics, Light of Zophiel, Zadchiel ; only the first four are dualised indivito the rules of perspective.Architectura according has done much in the Scriptures.Their attrifor th" butes painting JEsthetics of Art,and also for its history, St. Michael, sometimes in in are, the bears features of architectural sword and a perpetuating a completearmour, which the Angel of Judgment ; monuments under as disappear pairof scales, may the touch of time. It is therefore importalso a rod,with a ciossjlory at the upper ant to the future historian of Art; and end ; St. Raphael bears a fish, and, as a architectural painting has thus an carries a pilgrim's staff and a traveller, many become useful the to at bears St. Gabriel Uriel us a gourd; present day. lily; With the addition of natural features, carries a parchment roll and a book, as propriatel apand tastefully such the interpreter of prophecies; Chamuel introduced, useful as views. bears a cup and a staff; are a flaming paintings Among Zophiel,

they warred and armed angels,

foreheads,to againstthe devil with a sword,or

ARCHITECTURAL

"

sword which

; and

the Zadchiel,

sacrificial knife The

some seven

those

artists who

have

devoted

themselves

he took from

Abraham.
in of

to architectural particularly most

the painting

archangelsare
most

introduced works

of the

eminent

are

Gentile Bellini and V.

inferior in Art, Carpaccio. Later, but much such as " The Last Judgment,"the " CruCanaletti Claude. and cifixion," are truthfulness, and in the "Pietik,"bearing Among our contemporaries who have practised the instrument! of the Passion : they this branch of painting. successfully apChristian

beautiful

.40
we

AKC" may
mention

ARM.
to a pigment from lapis lazuli, of annenium. they gave the name

Turner, Roberts,Prout, Stanfield,Cattermole, Harding, Nash, and Hughe. Architectural painting has made great progress in Germany, recently through the works of A. von Behr, W. Gail, D. Quaglio, M. Nether, R. WeigH. Kintze, K. F. W. Kloes, E. mann, G. Pulian, Dyck, and A. Hermann. Dietrich,
ARCUBUS.
A

which

pared
ARMET.
A

helmet much

in

use

ing durmay

the sixteenth

scntury, and which

word

derived

from

the

bouza (a bow with a tube or Italian area the original form of hand-cannon, or hole),
gun,

invented

in the fifteenth century, the

of the cross-bow trigger

one

having suggested
which held the be
worn

to catch

into

cock

Engravings and Goodrich Court the Armoury, of which of the The the touch-hole was thus described: 1. on Fig. top they are gun, called from being fired by a match was armel. grand et petit, so applied by hand. after The arcubus, or harquebus, seen of assuming either character, arquebus, capable modifications and improvements, in profile.The wire which appears above undergoing many
woodcut is

match, and, by the motion of the trigger, was brought down on a pan, which held the priming. Previous to this invention,

with

or

without

the beaver. Skelton's

Our

copiedfrom

"

went

out

of

use

in the

teenth seven-

the umbril

is to hold the
same

barred triple viewed

face-

flint-locks became century, when universal. ried Previously,the soldier car-

guard.
with removed

Fig. 2. The
so as

in front

the oreillettes closed, but the beaver

to render

long
his hand ARCUS. nations of

threads

of tow

smouldering in
bow used

it

an

armet

petit.
lar simi-

to fire his gun.

ARMILAUSA.

(Lat.) A garment
surcoat

(Lat.) for shootingarrows. antiquity

The

by

the in

to
use

the

by
and It
was over

the mans. Norworn mour. ar-

(SeeBow.) body of the

Art, a symbolof the Mary. Virgin ARMENIUM (LAPIS ARMENITJS). A pigment of the ancients,produced by stone, found in grinding the Armenian also produced which country Armenia,
ARK. In Medical the CHRYSOCOLLA,
to
was or

Saxons

by knights
It with

ed originattimes some-

the classic

and nations, assumed

the

green

verditer. Armenian

cordingform of the Acstone

paludavaryingtaining re-

the Wallerius, carbonate others

mentum,
in

blue

with
was

lime,while
the
same

of copper, combined maintain that it combined with

was

shape, but

covering.* ARMILLA (AKMLET). The Roman term quartz, some but the description also regarded as ultramarine, for the ornaments of the hand and arm. of armeninm given by Pliny The former were generallycalled by the in no the latter peribrachionirespect with the peculiar Greeks pseitton, agrees has the latter ultramarine of nor and both kinds con ; i.e., ophis (serpent, qualities ; in Armenia, although serpent-bands), found been when ever shaped they were
mica, and
it pyrites; there
are

substance

because

the name, it was external an

districts in that country in which

*

of copper exists. It,however, that the ancients is not improbable precarbonate

Our A.

engraving is copied from

it from
an

obtained
20

2, a work

Strutt, who in Royal M.S., illumination of the fourteenth century.

ARM. like Lead*

serpent*, or
of those

w"r*

fattened The

"nini"U.

by the term aphis

the

the

cuirass, forming a short sleeve, and about extending half-wayto the elbow.*

completely describes
armlets which consisted

tes, of the Bacchanof

ling resembserpents exactly those The

custom
as an

in of

nature.*

wearing
ornament

armillaa is of

by

both
as

males rewards

and for

"iven

quity highest antiworn ; they were females, and were bravery. In military the

the collections of Museum

are

in the British antiquities of contained great quantities

of infinite variety of form, in armillae, and bronze. gold,silver, ties holding The ARMING POINTS.

togetherthe
ARMINS.

various parts of armour. Coverings of cloth or of

secure
a

velvet

for the handle hand

a

to give the heated pike,

more

hold.

ARMOIRE. ARMOUR.

See BUFFET. Defences blows

worn
on

the

body
The soldier's chief defence was his shield, which, in length,was equal to about half its height,and generally double its own breadth. with bull's It
was

againstthe
were

formed

of weapons, They such as of various materials, of

"c.

skins leather, of cloth. armed

ancient

The

eartiest
occur

animals, and sometimes of representations

in the monuments
we

most

commonly

covered

soldiers

of

Egypt, where
described

find

and simple thus

marily sum-

defence. primitive who

It has been

by
says
:
"

Sir
"

J. The

Gardner
offensive the

Wilkinson.t

hide,having the hair outwards, sometimes strengthenedby one or more rims of metal, and studded with nails or metal pins, the inner part being probably wicker-work, or a wooden frame, like

bow, those used by the Greeks and Romans, Egyptianswere weapons of javelin, a short which also covered with hide." It sling, were spear, two species and straight that armour of defence falchion, will thus be seen sword,dagger,knife,
axe or mace battle-axe, hatchet, pole-axe, the curved stick and a club, li*"au, or

of the

similar Ahabdeh defensive

to

that

still in

use

among

the

and
arms

modern

Ethiopians.Their
of
a
a

consisted

helmet

of
or

in hand- weapons of a originated naturally kind, the earliest being the wooden simple succeeded bludgeon, and to which rapidly that we so daggers,swords,and javelins, three find the Egyptiansoldierwell armed thousand and of attack years ago with weapons defence little inferior to those of any until

plate,
coat

or

of

quilted head-piece, cuirass, made of metal plates, or armour

metal

quiltedwith
shield.
But

bands, and
no arms

an

ample
and the

succeedingage,
times.
so

they had
the

greaves,
were
a

only covering to
"

part of
statue

Body armour but rapidly,

recent comparatively did not reach perfection

was

of

comparatively

Our

specimen
a*4

if obtained

from

in at

the Vatican. t tfannert

Omttmt

of

th* Awient

Sow-

Our engraving U copied from a bas-relief Thebes, and exhibit! the ordinary appearance of -an ancient Egyptian soldier equipped

for battle.

ARM.

growth, and originatedwith extra or paddings of the dress. Thus, quillings " their helmeta being thick and well padded,"says Wilkinson, "served as an to the head, without excellent protection from the metal tke inconvenience resulting
BIOW

It

was

metal

skull-cap, occasionally very

with

much

enriched

ornament, with
which descended

an a

abundant

crest, from

furnished It was long tail of horse-hair. with a neck-piece behind,and cheek pieces capableof being lifted on each side of the climate." Thecuirass hot forehead (as in our sisted cona so ji cut),or brought down of metal of horizontal rows to it. plate, the sides of the face, as a protection secured by bronze pins,and fastened to a The body armour oV consisted of a quilted, sometimes cloth or quiltedtunic, which scaleleather tunic, which or upon square formed covered the upper part of the thigh,and of metal were but secured, plates sometimes reached to the waist only. We which ended at the waist, where the military but not essentially shall see this modified, of metal banded the body ; the girdle in the succeedinggreat nations of was altered, ened strengthupper part of the breastplate covered the armour circled antiquity.Ultimately by the thorax of metal which enthe throat, and was frequently

richly
covered

decorated the upper for the

and

shoulder
arm.

pieces
The

part of the

first time,protected legs were, by behind the and quently frestrapped leg, greaves

ornamented the lower

; but

the and

arms

and
were

body thigh quiteunprotected, being barelycovered by instead Their swords, the tunic beneath.* of being invariably short and straight, widened and often narrow at the hilt, were thickened in the centre, from whence they tapered to a point,as representedin our. and spears barbed. engraving; the javelins
The shields
were

part of the

of

enormous

proportion,

covering the body and legs of the warrior, nnd having pendent drapery the feet. attached to screen occasionally so largethat, by kneeling and They were pletely combending the head, the soldier was this under and, concealed, cover, the whole body, but parts only were originally sometimes dug they Polyoenus the Greeks the says, mour arAmong protected. the trenches to ensnare cavalry. They consisted of helmet,cuirass, greaves, with broad rims (see of convex were metal, sword and the a a nd were a arms and shield, with dagger,bow and arrow, "c., ANTYX), and frequently decorated spear, javelin, signed deand elegantly subjects mythological of ancient including all the weapons The the Roman borders. of armour in improved Egypt (except the clubbed stick) soldiers corresponded in all essential parts exhibits them forms. The woodcut with that of the Greeks, except that th" attired the figure of a warrior all on hia former wore a dagger on occasionally from a figure for battle. It is copied given his left. instead of sword on a side, right in Hope's Costume of the Ancients. It will Our next engraving representsthese pecudistinctive and be noticed that the most
sometimes

improvement had taken place in perfect, posing moat ima the helmet, which had become 1md useful adjunct to the soldier.

See

cut

from

baa-relief of

at

Marathon,
an

48,

an

excellent

specimen

eailj Greek

warrior.

ARM.
in our ordinaryattire i" Men graving, enwhere the legsare covered by the The soft or flexible parts feminalia at Rome. and san. (orshort tighttrouser) made of leather or with thick soles, of heavy armour made were dak, which were with bronze and iron ; and sometimes studded with spikes, to aid strengthened cloth, them in scalingmounds, and give them foothold in fighting. surer In the succeeding ages following the fall of Rome, armour became rude in construction and ponderous,often obstructive to the
wearer.

and is copiedfrom the figure of a liarities, Column the of jan, TraRoman Legionary on

whose

The
an

armour

of modern of variety with iron

times forms.
at

has That

assumed of
a

infinite

the

Anglo-Saxons
covered

consisted

first of

afterwards

rings, of leather ; overlapping flaps such a" these, with slight variations, in place of of steel, pieces lozenge-shaped until the the ringson the tunic, prevailed teenth, end of the twelfth century.* In the thirof
chain

tunic

mail

was

introduced

from
as a

Asia

by
and

the

who Crusaders,
entire Over

used it

flexible and
arms

body guard, covering

legs.
the

it

was

worn

gold
and
was

and

silver the

were armour.

employed to
Roman of

adorn
armour

linen surcoat,of said material, been East

long light
the of

enrich

to have

generallyconstructed
The

brass,and
earlier
was

adopted in
as a

of their later weapons ones being of bronze. of less

the steel,

means armour

helmet

the preserving from

sun.

than those imposing appearance Greeks. the The worn armour by body consisted of the lorica (orbreastplate), so of called from made being originally which was leather,* modelled,while wet, like the and
was

the

heat

of the

Plate-armour
to

began

be

used

in '

the latter thirteenth

muscles imitated

of

the

human bronze

body,
plate breastthroat

in the

of
was

later Roman

times ; the

and guarded by a brazen pectorale, the "shoulders by overlapping of metal. flaps shortly afterwards The lorica consisted of plates overlapping, added rere braces, in the ancient Egyptian style, which made the reaching from it of considerable weight. A lighter kind shoulder to the elbow,
-

part of the. century, but onlysparingly, for the or genouittiires the knee-caps of knight. To these were

of scale

armour,

formed

of

small

thin

and

vambracei

to

the

afterwards adopted, was lower arm, the juncplates, f to which ture was of the two being appended flaps of leather, which covered and protected the thighs. J Greaves guarded by coudieres or elbow-pieces,t th" but not by common were of the worn, soldiers, " forepart leg beingprotected by jam*
'

"

See

cut cut*

to to

FEMINALIA. ABOLLA

t See and

COBIUM.

See

cut

to

HACBEBE,
Norman

which
armour
'

J See i See

PALUDAMENTOM.

GBBAVM.

example t See

of the
cut

is an excellent of that period,

to

JUPON.

constructed for the nobility, and a | were kind of for were arms rapidity,j lighter soldieryadopted. into use until entire plate-armourcame (See ALLECRET.) In the sixteen tli century in the'fourteenth it received much and was again century. The figureof attention, Edward the Black Prince, in Canterbury modified and improved, but evidentlymore the previous than use rather to dazzle in for display on Cathedral, page, is our finest The this of and of at great tournaments existing example period. jousts peace variations absolute festivals than for service in war. mental ornawere subsequent chiefly In the seventeenth seems century armour ; the periodof greatestrichness and to have been little used, except such porsplendourbeing the reignsof Edward V. and tions Richard Ill.f It however the head and body, and began to assume as defended a exceedingly to have thus subsided to what has been grotesque air, and become This fact be better elucidated considered can a necessary as equipment to the unwieldy. It would seem, at last, soldier. as modern ened lengthby an engraving than by a mere therefore select an if the world was description ; we convinced,as James I. is example from the brass of Sir Robert reportedto have been, when he said that " who died in Castle Donexcellent invention,for Armour Staunton, 1428, was an from ningtonChurch, Leicestershire. The knight it not only protected the wearer is him from harming completely harm, but hindered additions made with much
"

The or thin-pieces.* *or"*,

alteration* and

steel, consistingof a visored helmet, hauberk, gorget, pauldrons,

enormous

cased

in

other*."

ARRANGEMENT.
and

In the

Arta, plastic
ment arrange-

invention in painting,
are

and of every is the

the

groundwork
in and
a

sition. compo-

ARRANGEMENT

placing
work
; it

and
cou-

togetherof parts
to

manner

conformable
of the

peculiar
,

the

character

aim

die res,

and

steel the

to the relates entirely must subject

an

form
out

in which
so as

the

gauntlets,

be worked

hipsare covered by taces, from whi i-l) depend

tuilles
as a

intuitive

of perception

to produce indiits viduality.

Artistic arrangement
not

belongs

for

protection the

thighs,the legs and feet being cased in entirely

steel. Such

to as object well to as to groups as each part specially, and conand to the position trast singlefigures, it refer* In painting of their limbs.

only

to the

whole, but

to the distribution

of

of light and

and the disposition colours, all of which shade,

heavy
continued variations

arming
with

artistic arrangement ; require a peculiar shade, and colouringbeing the soul light, of all

painting.* The
must

characteristic of

tillthe middle

of the fifteenth ornamental suits

arrangement
ness

be

unity in manifolda

century, when
*

highly
termed bra"ses

; but
cause means

there is here
to to

threefold relation,
sion, to conclu-

either
Sometimes that
term. or

effect, argument
an

BAINBUGS. furnUh

See xxcullunt

cut

under

to the whole.

The

end ; or as part to part, laws of arrangement

t Monumental
fur the
worn

thorities au-

in Bee

u*e.

and armour study of the arms in England during the time it continued They are depicted with great care and

accuracy

in Mr.

Waller's

l/onum*"tal

Brtutet.

alsi

Armour,
Ancient

Meyrick's Critical Inquiry into Ancient and the game author's Dttcriftion of
Arnu

the study of a bunch * recommended Titian of a beautiful the simplest example of grapes as and it always speaks well natural arrangement; to reduce artist to he "Wc for the genius of an and prominent- to "a simple and what It rich

and

Armour

in

tUt

CrffceMM

at

comprehensive
risible

illustration, and

yet

let

it

b"

in his works.

46

AKT. that is, subordinate but closely-allied tiller,is a representation, activitythe which of embodiment of the form something representation or by means activity,
"
"

"ays M
an

internal Its

is revealed to sense. or spiritual only objectis to represent,and it is

its

in the

materials To

"

which
or

we

call

TION. EXECU-

with, being satisfied theredistinguished by all activities from practical apart which
are

directed to

some

particular pose purmore

of external determination

life. The

immediate

in represented ing correspondand satisfying is the artistic expression form we apply the term artistic idea, in quite a general understandingthereby, Art
"

the internal

the

whose spiritual life,

"

in Art

on depends especially

the kind of connection and the the external,

between

the internal the

way, from

the mood which

and

of activity

the

mind the

proceedsthe
The

of conception

and representing

form. particular

artistic idea is

never

lutely idea in the ordinary an sense represented.This connection must abso; as it can in the be one be rendered in an entirely never tory satisfacimparted of necessity from arbitrary of man, not assumed nature it have no manner can language, by It is o f but the work not of Art itself. It a tion, regulation. expression subject acquisiit exercise lies the in notion of a work of Art as an although greater or may less influence
rent
on

different natures At

and the

difsame

intimate with

combination

of

an

artistic idea

forms,that it must have a close Art is which this in to so correspondence unity everything in the work time, the internal be and that or and intimate, spiritual may referred, by which the different the momentum or sively succesimmediately impels to simultaneously parts, whether and is only combe so held together, external representation, pletely existing, may that the one, it were, in the mind demands the presentation. as by the redeveloped the artistic activity other, and makes it necessary. Hence The work the very beginning be one and a whole.* must in the soul is from of Art to its inIn tracingthe history fancy, directed to the external manifestation; direct our attention to the a is universallyregarded as and Art must we watch its progress presentingEast, and raneously contempomaking, a creating. The external or rein Art is the sensible form
an a

stages of civilisation.

external

sensible form is

; now,
pressing ex-

with The

that of the

human of

mind.

which

of capable be created

earliest civilised nation its most

antiquity,
ments monu-

internal life can

or

by
as

Egypt, presents in
the
a

ancient

the
senses even

fancy,
in

presentitself to the external

world of

the

reality. But
more same

quaintand peculiar attemptsof sacred to events embody people primitive

secular

and much vision, ordinary

every

is at the artistic exercise of the sight, time

an

of the fancy, the formactivity in nated holiest generalmust be desigfancy creating of chief the faculty representation as The creative fanciful is

through the aid of sculpture and originally painting. That Art was and devoted to the sacred in its character,
and purposes,
was

the

natural

conse-

in Art. of the

artistic form

conception accompaniedby a

* Deep lofty Art.

"

feeling is the only true reveals It is feelingwhich

correct

source

of
true

to

us

ideas

and

intentions,
never

and be of

indefinable the quiescent, the the the to transient; fixed" painting more far and near, latter can also,in that it combines the than iormer; movement admit of more better is therefore adapted for the its nature
more

charm,

to

directed

to

hand the words, but which diffuse can guided by the poet's soul, alone ing, From religiousfeelthroughout all his works.

gives that conveyed in the painter,

love, and

devotion,

arose

the

silent

born in-

sculpture

pression. painting for exto a strict Sculpture is always bound attain it,or to a simple law of beauty ; painting regularity,

representationof character,

old masters : few, inspiration of the seek their hallowed inspiration, or indeed, nou alone they could the tread paths by which endeavour to emulate that earnest noble and the principleof serious in the worka philosophy,which is discoverable SCHLEOKL'I Da Vinci."" and Leonardo of Durer work
out

may

venture

on

greater

apparent

ance disturbmeans

it has richer in detail, because again neutralising it in the whole."" Ancient Art and
iU

of

MCUJU,

Remains

.-Esthetic Worki.

London,

1849.

ABT. qurace power

blazed of its mystic originin the mind toward that forth Promethean in its is

struggles
which ancient

which

characterise*

modern

China

thui

of the human
"

artisticcreative

finds its prototype in ancient for the drawing of the from rigidly established,

spark

Egypt. Buleft human were figure

which
no

in brilliancy

artist

Greece,and
were

yet unrivalled

lence. in its excelones

might
with
a

depart; their laws

mathematical

beinglaid down
their
to

After sacred

historic subjects walls of

" In precision.

attempted, and the temple, dedicated to a god, were

with -the of representation
was

the

temples they were

rules established

obliged to
in the

conform

adorned of

the prowess

Art, which

custom

the hero he

believed

to

protect;
the and
wars,
on

or

the

of the king became palace-walls records of his power, repeatedas well

as buildings

tured sculpquests; con-

sacred ; the looked upon with the Plato and

earlyinfancyof and prejudice had rendered ancient style was always

highestveneration.
mention

both Synesius in

the stern

the
was

which public regulations

forbade

their artists to

on

his tomb.

It

not

long
of

introduce innovations
and the the
more

before the actions of

ordinarylife claimed
tombs

religious subjects ; to prevent this, effectually

artist
was

the
the

same

record ; and the ancient

of profession

not

allowed to

illiterate persons, truthfully be exercised by common features of their ordinary lest they should the most minute trary attempt anything conof the t hat the the laws savant* to established lives, present day regardingthe

earlyEgyptians depictso

have minute

been

enabled

to

give

us

the

most

figuresof
were

the

deities." *

Their

artista

of the particulars
a

domestic

and

publiclife of
left but few
was

peoplewhose
been for

had history

had

no

deficient in conception, consequently knowledge of groupingor pictorial The walls of

or

and records,

whose
ever

language
lost.
of

believed to have In

works surveyingthese primitive

can

Art, we
mind lulidea.

trace

but the

for the embodiment We of find

no

of

of the struggles trutha single

at grace, no

building intended sculptured paintedwere ruled in red squares, the draftsman marking in each square each allotted portionof the figure intended to be represented ; every picture
a

effect.
to be

attempt

or

was sculpture

thus

knowledge
could

dignitybeyond accomplish. Thus, the

what
enormous

size

each conceived parts, where wanted.

"

up of isolated and inserted by itself, made of peculiarity the

The

front view of an eye introduced in a profile carved in the rock at Abou-Siiufigures the ordinary is thus accounted for : it was boul,and the colossal bas-reliefs at Thebes added to a o f that feature their and are representation astounding by Memphis, and allowance made for any their no was rather than expression. profile, proportions in the the of head, So it has ever been with nations in the change f Thus, position observes of Egyptian dawn of their arts. The rock temples then," as Diodorus "arlj " various portions of the same the caves of Ellora, of Elephanta, figure statues, or, to in different descend still lower, the rude idols of the might be made by several artists, t he and attitude Pacific Islanders, the and having places, style Mexican, or been previously North American agreed upon, which,when Indians,strengthen and would necessarily confirm the fact. In earlyEgypt,Art was brought together, agree, and form a completewhole." J The same sacred calling, and its professors a men laws regulated the drapery, which was trained to the service of religion, and bound added the their certain rules in the o f to art drawn, figurepreviously practice upon from became which

they

dared

not

swerve.

Art

in accordance person
*

with

the station of life the intended

ifannert and
H A"P,

thus almost

mechanical
was

at the period

that

was figure

to repreand
and

of its birth, and which for many

by its growth toward beauty prohibited

centuries. That
monotonous

shackled

laws

Sir J. G. Wilkinson's
cuts

Ctatomt

ofthf Ancient
t See
that

Egyptian*, vol. iii.p. 87.

to ASILLDM to

and forms

cularly parti-

CALAVTICX,

Fig. I.

"nt"i"king adherence

to established

t Wilkinson, vol. iii.p. 165.

AIM.
sent

mored

in.

The
to

of representation have been less

stricted re-

It

was

reserved

for ancient

Greece

to
to"
as

animal*

appears
; but

receive the arts at this low leave them the

most

aiiu level,

by
same

more

frequently Egyptian came timidityof change. The vegetable character. Such are the earliest painted from Lycia,now world was even more grotesque and archaic vases, and the sculptures (which have been as conveyed to the eye by these early in the British Museum racter who thus transmitted for centuries dated B.C. 580 460). Their generalchaartists, in the figures, the ideas of their progenitors. is compact proportion and of Babylon are marked whose bodies are The monuments muscular, the joints visible on those the drapery arranged in sinews prominent, peculiarities by the same of Egypt, but they evince greater freedom symmetrical folds : the action of gods to nature.* and a nearer of design, approach ; that of denotingmajestyand tranquillity b oth feature of hare in more expression men They tures ; the gesrepose, bodilystrength ledge knowvehement. and action in their figures, action when in more being of grouping,and depict a battle or The earlyarchaic bas-relief found near much other event more naturally. The Marathon, and now
evince
as

sional though they exhibit occaand are distinguished truthfulness, freedom than those of men, they the of feeling, the same rigidity

bequestto all perfectof human

a

future works.
"

ages

The of

earliest traces the archaic

"

of Greek

Art

the work

period,

it is

adherence

to the

the simpleprofile,

termed

has

much

of the

old

"

minor

details of costume while the

exhibit
mere

marked

in the preserved of

ple temat

improvement,
of the

tion manipula-

These, us,

shows sculpture and

the cultivated

Athens, exhibits
Greek Art.

the

of long experience

careful

of early practice.peculiarities The perfection of later Greek be buted attri-

Art

may

to their publicenthusiasm spirited ;

with
a

them

Art

was

and glory, sacred.

its practice Their

noblest
were

aspirations
to the

devoted

services of the temples, and in the the nation

general honoured
artist who adorned
cessfully suc-

them.

To

be

an

artist

was

to be

This may be best illustrated by the figure and honoured of a horseman from the palaceat Nimroud, if the bearer which the struggleof depicts forcibly toward the of that freedom in the motion of the the Art for

superior being,acknowledged such ; but only honoured as of the divine giftloved his itself alome, and without personal
a

artistic mind

truthful representation
of action visible

vanitydevoted
the The

gods or
Fine

its power to the glory of the benefit of the community.

were

whose impulse horse,

Arts

the vital breath

devoted attachment

of
to

is directed
enemy.

by

rider

pursued by

the

Greek
them

life ; their has been

"

Bee

cut

to ACIXACI*.

by many contemporaries. Cicero says, " The Greeks enthusiastically admire and paintings, statues,

noted

ART.
worii are so

of Avt ; there is no little able to bear as and temples

as

their

cities."
name

calamitythey the pillage of They regarded

for excellence

not a luxury, an ostentation, of beauty. Though

sacred elimination
to the Greek

artist was best

confided

the execution

of their

and

beautyonly goodness.
have refused
even

another

fine masteroieces

their love for So greajt-was of Art, that whole towns

a

influence and wants works, Roman i ts and Art decayed. As crippled purity, Rome

to part with

tempted bute. remission of debt, or exemption from triCicero has stronglyput the question,
when
"

increased in wealth and power, Art decreased became single spemerely ornamental, cimen, at the expense of simby offers of elaborate in finish, plicity
"

and

grandeur ; gorgeous
of taste. So
was was

in decoration,

at the expense

abundant,
it is
corded re-

"What remuneration

the

Rhetians,
on

now

could sate compenEoman citizens, Venus?" ing addcitizens their

however,
more

its

labours,that
and

there
statues

in Rome

other cities A

for the loss of their marble instance who could

than

inhabitants.

reignof

instance of other bear

was

dark barbarism of wealth

a

succeeded

all this

luxury

not

to be

without

treasures.

It

this innate

love of Art,

horde

demolished ; the statues were by of barbarians, and Art was reduced

an

made its embracing a whole the highestaim of human thought, practice and elevated it to a pitch of excellence which succeeding nations, throughthe want reached. of such enthusiasm,have never of Greek Art occupied The golden age the period between 460 B.C. 366,during rebuilt which was period the Parthenon and embellished by the hands of the the world ever produced greatest sculptor
"

which nation,

again night

to

Egyptian
the Church and

level.

From

this the

of

barbarism

which

succeeded

fall of Rome, Christian

were

emblems

again raised Art. sacred subjects

their
presentations re-

Greek

depicted by church, who

the earlier artists of the constructed the

on precisely

plan

of the

"

Phidias.

These

wondrous

works, which

Egyptians, enacting rules for the form, and style of each sacred painting, colour, which thus became a mechanical thingwith them for century after century.* The style
may be characterised and
as

stiff in attitude,

hard exceedingly Constrained render

works

in anatomical

and deficient ungraceful, natural principles. or

attitude and

grotesque action

ludicrous to many eyes the serious took the of these old artists. Italy

lead

in

improvement,
of Florence and

and Rome

it is to
we
are

the debted in-

schools

for its resuscitation. of

see

In the works

enrich
name

the

British

Museum

under

the

the Elgin Marbles, testify which idealised of antiqueArt, greatness without departingfrom nature, and have become The
gave
n ever

of the

the tests of true taste to all time. fall of Greece and rise of Rome

Fra Angelico,we purity of manner had of thought which and gracefulness Michael Anso men long. slept among in paintand Raphael, ing, gelo,in sculpture, the assent again claimed and obtained of the world to honour the great principles creative of the they wielded. powers with varied genius, imbued Other artists,

Cimabue, Giotto,

and

the revival of that

appealedto
"

the taste of

men

in other

coun-

tt *

a blow they have high principles recovered. The fully conquerors of world had no absorbing love of Art

these

M.

Didron

found

the

monks

of

Mount

like the ancient Greeks.

It

was

for them

painting" a few years ago" pictures in racterised chathe same quaint and peculiar style which early B.v"*ntine works.
Athos

50 and tries, until Art aided its spread,

ART.

of Art, or again or subscriptions ; such works the right of selecting and ameliorating buted exerts its peaceful them, being distrisway, in all lands.* the subscribers or by lot among acknowledged and respected LECTIONS. COLOF. See members. COLLECTIONS their to owe They origin AET, appear to M. amateur Hennin, a distinguished Painters and sculpARTICULATION. ganised tors, of Paris, who, about fortyyears ago, orwell as anatomists,employ this little society for the purpose of a as of to express term junction of the bones : bringing together the unsold works member of the when the passing of one hibition artists, them, and, with the exexhibiting and other subscriptions, rectly body into another is well marked, and cormoney be to said "strongly purchasinga selection from among them, drawn, they are " well articulated." This which was afterwards distributed by lot to or articulated,"

part of artistic anatomy is termed

KOLOGY, the moveable and is divided

A.RTH-

the

subscribers. into the Art-Unions

most
"

In

1816

by

anatomists

into
tiguous con-

merged
Arts."

Societe have of the

this company des Amis des

having (diarthrodial),
the

been

extensively
states.

surfaces; and faces having contiguous sur(synarthrodial), and symphyses,which are partly tiguous, conThe student partlycontinuous. will find this important subjecttreated at length in Dr. Fau's Anatomy of the Forms External for the use of Artists, translated by Dr. Knox. ARTIST, ARTISAN, (ARTISTE,Fr.) One who exercises the Fine Arts, meaning thereby the Plastic Arts especially.This made to include term writers, is,by some the poet ; the musician, even and,by others, but it is properlylimited to the sculptor, Artisan is applied and architect. painter,
to
one

immoveable

organised in
The Art-Union The in 1825.

German
was

of Berlin

established selected
an

picturesare
in addition
to

by
The

committee, and
is distributed Art-Union of

engraving
and

each

subscriber. Provinces

the

Rhine

other objects, "Westphalia, purchase among for publicpurposes, such as altarpictures man pieces. The leadingfeatures of these Gerthe purchase of works societies are of Art either by commission or selection, the to be appropriatedby lot amongst of members the an production engraving ; the members for distribution annuallyamong
"

; and

the

creation

of
of

reserve

fund and
chase pur-

who

exercises the

mechanical

arts,

for the encouragement

historical

and

is subordinate

to the artist. A term

ARTISTICALLY. the
sense

of

of expressive gence, intellior particular ability, in the work of the artist. The
cient an-

or religious Art, by the commission for public of pictures purposes.

The

first Art-Union
was

formed

in

Great

Britain

shown

iu

Scotland,iu

ARTOPHOR1UM,
name

CIBORIUM. box

Art-Union

the year 1834. The established in of London was

1837, and since that period similar societies have been established in Ireland, early Christian times church vessels were in many of the principaltowns and in richly ornamented, and many American formed of ivory, with basArtare preserved, England. In 1839, an reliefs illustrating various events in Scripestablished in New York with Union was ture It is a mooted history. question great success. of these soOF. See SOCIETY. whether the establishment cieties ARTS, SOCIETY ART-UNIONS for societies formed in England hau done much are to the encouragement of the Fine Arts by the The elevate the standard of taste in Art. but of the greatest paintersare purchase of paintings, sculptures, "c.,out i wovks

for the

containing the

Host.

In

of
"

common

fund

raised in small
of the mediaeval in SCHOOLS

shares

| seldom
more
'

within

the reach
even

of if

an

Art-Union were, it is not be selected.

and prize-holder,
in continuation
see

they

Art,
"

the

articles

historyof this Dictionary under

OF

than

likelythey
can

would

""""u"o.

HjrLTTuag,

ABT,

"c.

There

be

uo

doubt,however,

ARTJ" that whatever

early
to

ARZ.

may

be the defects of their

inform

help existence, they will ultimately and instruct the public mind.
MAEBLES.
A

importantexamples of architecture, sign. desculpture, painting,and ornamental

more

Among

their works

is

new

lation trans-

Angelica, principal of the Lansdown works, and a series of engravingsfrom the Mr. Petty (an ancestor artist's frescoes in the Chapel of teenth same in the early part of the sevenfamily), travel in of V. in the Vatican; the " Pieta" in the Nicholas course century, in the Chapel of at the expense of, from the fresco by Giotto, Greece and Asia Minor Santa Maria dell'Arena, at Padua; and and for,Thomas Howard, Earl of Arundel, and bronze of the his reduced casts in plaster which of son, grandwas by presented part " Theseus" lection, the Ilissus" in the Elgin coland Mr. Henry Howard (afterwards h ave The of British Museum. the society of Norfolk),to University Duke artist to copy Giotto's also employed an Oxford in the year 1667, after they had at Padua, and frescoes in the Arena Chapel, been unfortunately neglectedand defaced other frescoes out lost. have and early Great the in pointed Eebelliou, many many would desire of to consisted and when they pictures copy ant The collection, entire, publish as evidences of the talent of the 37 statues, 128 busts,and 250 inscribed and materials toward the and intaglios and the invaluable cameos early painters, marbles, Art. A short designation of being form the which now Marlborough history the of the name for desirable in society, "I cannot," says Peacham, Gems." who Earl of Thomas Arundel, Howard, his Compleat Gentleman, first printedin
AEUNDEL of ancient marbles sculptured collected

collection

of Vasari's

Life of

Fro,

by

illustrated with

outlines

of his

"

"

1634, "but
the Thomas

with

much

reverence

tion men-

has

been

called and

"

the
"

father of vertu

in

Eight everyway Howard, Lord High Marshall of England, as great for his noble patronage as for his high of Arts and ancient learning liberal whose birth and place; to charges and magnificencethis angle of the world oweth the first sightof Greek and Eonian
statues, with
whose the admired
presence

Honourable

England," selected was arts,"

ARYBALLOS.
or

the

Maecenas

of all polite

for that purpose. A vase for ointments

perfumes,used by
nations who of antiquity,
gave from to

the

it its
a

that

name

he

resemblance purse.

began to
of Arundel and hath

honour House
ever

gardens and
to

galleries
ago,

It is of

bular glowas

about

twenty years

form, and

transplant made of various sizes. The Arundel, ARYSTERES. old Greece into England." Smaller vessels for togetherwith the Pomfret, Marbles, are the at Oxford, and that which takingthe wine from preserved head the of its tion collectributing disthe crater and at places University known the is the Greek inscription it the to as guests. See CYATHUS. from its having been ARZICA. Parian Chronicle," There two are pigments nologicalknown to mediaeval writers by this name kept in the island of Paros. It is a chroaccount of the principal Art. events on According to Cennini, it was an artificial in Grecian, particularly much Athenian,history, pigment of a yellowcolour, for miniature used at Florence from the reign of Cecrops,B.C. 1450, to painting. The the archonshipof Diognetus,B.C. 264. Bolognese MS. of the same period AEUNDEL SOCIETY. A society shows that it was from a yellowlake made tablished esin 1848 for the purin London herb the which is the ffitalcla, Spanish pose the studyof Art by the and Provencal of facilitating for the reseda litteda, name Tublication of rare historical and which plant has been used as a yellow tical pracfrom a very early works, and of engravings from the throughoutEurope, dye
since continued
"

ARZ"ASP.

period. This yellowlake was known the name the Spanish paintersunder

ancient works of Art on frequently the Grecian : but it is even more especially The other kind of common from on or encora. ancora sculptures, early Egyptian of which has is stated to be a yellow earth for one been our AHZICA engraving moulds for which the of casting copied. painting, ASP. In sculptured of brass are formed; it yieldsan ochreous representations and also of the symbolical which, Christ, pigment of a pale yellowcolour, reprewhen burned, changes to an orange colour.*
to

very

of

ARZICON,
of corruption Greek The with lead.
name

ARSICOX.

A contraction
ARSEXICON

or

the

word

the

for orpiment(auripigmentutn).
AHZICOX

word

must

not be confounded

AZAKCON, An

the

Spanishname
for

for red

ASCOS.

antiquevase

holding
or

ointment
so

fumes, percalled
blance resem-

from

its
to
a

sentations often
seen

of Christian

placed under Different malice. victoryover Pots of this form shapes are given to the asp. Sometimes it is a short reptile, still common approachingin form to are the with a south of in the lizard, large head, without Europe, especially feet; at others,it is a quadruped with in the tail short feet, its body terminating in Spain and Portugal,where they are of a serpent. Our cut is from the effigy used for water.f don, of a bishop in the Temple Church, LonASILLA. or yoke, (Gr.) A wooden pole, his feet. who treads one under both shoulders (like sometimes on resting
leathern bottle or wine-skin. the

Faith,the asp is their feet, note to de-

ASPEKGES.

The

rod used for

ling sprink-

the Roman

holy water

in the service of the

Catholic Church.

MUMMY. BITUMEN, ASPHALTUM, bonaceous Ital.) A brown car(NERO DI SPALTO. used in It is painting. pigment of the found in various world, parts in Egypt, China,Naples, more particularly
and Judea that in
or

Trinidad. is termed

That Jew's

found

in

lake in

and pitch,

this name

common

use on

at the
one

present day),
shoulder

has also been

given to
The

all the varieties of

more

frequently

only,

asphaltum.
is

best is the

Egyptian ;

it

and
"

used
Vide

for carrying burdens

Mrs. Merrifield's Ancient

; it occurs
Practice

cf

Oil

Painting. London,

1849. Cemeteries

t P"unis'i Cities and

of Etruria.

a very strong glossyand heavy,emitting or smell,like that of garlic disagreeable and breaks with a shining ture fracassafoatida, it agrees in out* ; except in colour,

54 the midst of

AST"

ATH. instruction ; this custom has been adopted times by Overbeck,Paul de la others. and pugilists,

them, showing

the

girdleof

in strength mouldornamental ASTRAGAL. An t o the tory vicgymnasticgames, striving gain their rivals, and to obtain the over "ng, generallyused to conceal a junction The gymnastic Art was in architecture. prizeof success. that which ASTRAGALUS. strengthenedand fortifiedthe (Gr.) A huckle-bone. From the earliest times,the huckle-bones been used by of sheep and goats have children and to play at a game vomen which consisted in throwing these bones them on the back into the air, and catching

he holds the Virgin,which gin is the Virthe clouds, Above, seated among Mary, sometimes between the Father *nd the Saviour,who are crowning her.

in his hand.

in modern

Roche, Couture,and
ATHLETJE.
who made

(Lat.)Wrestlers
trial of their

of

the hand.* any

Where

these

bones

were

without

one entirely

artificialmarks, the game was the sides of of skill ; when marked like This

it became a dice, is quently freof chance. subject body, according to rules and principles game ; the agonistic, in ancient Art. In that which exercised and represented is a marble that strength the British Museum of games ; preserved by means group of this the that which one over boy athletic, boys quarrelling became, particugame, larly of his playfellow. in later times,a separate trade, ing strivbitingthe arm derived the ATELIER. A term from and attaining, by the aid of science, the highestdegree of bodilystrength. In to the workroom French, and applied specially and painters, which ancient times, of sculptors athleteshad the same are ing meanThe Dutch also called STUDIOS. and Flemish as agonista. Gymnastics are that part have delightedto portray of Grecian manners painters which, from a natural of the alliance ateliers. of with their ATELIERS Many plastic Art,has been the best Michael the old masters, Titian,Raffaelle, representedby Art; and although the the resort of Angelo, and others,were greater part of ancient works are lost to of letters, and kindred have men of princes, nobles, representations us, we many artists ; they also served as SCHOOLS of left in marble ATHLETE copies, reliefs, of academies,but and on Short Art, after the manner paintingson vases gems. much for the purposes of more velopment curlinghair,strong limbs,a vigorousdeefficiently, of and form, proportiouably * Our Greek a engraving is copied from small heads, characterise these figuresat Resina. painting discovered bones
were

ATL"

ATT.
and lery,
row

prominent muscles and pancrathe pugilistic mark especially of individual tiastic. The representation
the

crushed

ears

and

to

take

the

placeof

an

upp"r

form combat

and

of characteristicmovements the

in

in requisites principal were often these are fied exempliancient Art, and truthfulness by the statues with perfect in honour
are

of the

victors.

The

ATHLETE
a

should not appear : these pillars should be one heavy,but their expression of graceful freedom. ATRAMENTUM. black A pigment. used this for all carbonised term Pliny organicmaterials of a black colour used in painting; but two other substances bear this
name. :
"

of

also

in represented frequently in actions

simple,
to

Under

ATRAMENTUM

are

prised com-

quiet posture, and

all

common

ing gymnasticcombatants, such as anointin the the body with oil (performed tory, praying for vicgymnasia by the Aliptse), and

1. Black coal and peat ; 2. Lampblack, which the ancients obtained by resinous woods in close
; 3. Stone

burning pitch and

reservoirs built for the purpose

encirclingthe
TELAMONES,

head

with

the

victorious wreath.*

ATLANTES,
GAXTES, find we
are as

PERCES, Gistatues

the athletic male

which

ouildiiigs ; female

supports of parts of ancient figures for the same

black,prepared by carbonisingthe seeds of the grape, and used by Polygnotus and bonising Myron ; 4. The black produced by carthe dregs of wine ; 5. That procured by grindingcharred wood ; 6. Burnt ivory, or ATRAMENTUM ELEPHANTINUM,
which discovered Apelles and first used in from
mies mum-

painting ; 7. That
of this "carbon
atramentum

obtained

censures (asphaltum) ; Pliny

the The

use

from

graves."

term

is also used such

as

for other

stances, sub-

sepia,and writing-ink,
mixed with lime
for

the

colouringmaterial
The It
was

used (lamp-black), ATRIUM. classic house.

a

most

walls. colouring of a publicroom had the to sky ; open cornice which ported sup-

ornamental projecting
the roof of the rain-water
a

the in

from

surroundingrooms, which was gathered

ornamental of the

tank

and

suppliedan
centre

fountain
"

in the
was

apartment.
most

The

atrium and

the unquestionably

essential Roman

most

interesting part
was

of

mansion; it

hero

that

bers num-

purpose
not
use

were

called

CARYATIDES

they are
their

exact

imitations

of nature, but

assembled dailyto pay their respects to to their to patron, consult the legislator, to the statesman, or attract the notice of derive importance in the eyes of the

with a by the antique. public from an apparent intimacy sufficiently justified in power."* pillars man only employed when They were of the whole The position ATTITUDE. the for erections; too were insignificant stantaneo body in a state of immobility,either into small they are suitable to a rich style, spect In this recontinued. or a for supporting galfountains, screens, is
ATTITUDE
"

differs from is
more

gesture and

The

statue

believed

to be

from
on

is recently discovered at Rome ration athlete scraping the perspiand is engraved a itrlgil, his body with
an

action ; the term

emparticularly

the

previous page.

"

Moule, Euay

on

Roman

66 in ployedin speaking of portraits,

case

ATT. which did

not

belong
so

to

the

principalfigure
accessories
was

it conveys the idea of the part of the on

certain preparationThis
carried

negligence of the

painterto give

pose to his sitter. ATTRIBUTES. subordinate

products of
serve

human

derstand By attributes we unnatural beings, or workmanship, which

far,that in figuresof fighting their adversaries, whether gods and heroes, monsters or human were figures, frequently diminished, contrary to every requirement
of modern

Art, which
and

demands

more

real

to

denote

the character

and

action

imitation

of the
not

and
must

and

principal figures. These thingsare life c onnected with spiritual so closely character as the human body ; they therefore be founded on faith, custom, laws of Art. here the positive And
sense

because the noble illusion, form of the god or hero is of itself capable of expressingeverythingby attitude and action.* ATTRIBUTES, in Christian Art, when employed for the clearer designation of the personages of the old and
new

the in bora

of the Greeks their great aid of Art.

for noble and of simplicity

Testament, are
Christian
to
man

simpleform, and to the came life,

in certain
or

Art

highly poetical. Ancient preferredattributive action

Thus
on we

Every

ployment, em-

dry

attribute. children

sect

an

old

and effort of lifefound situation,

with

his knee

objectsborrowed from nature, teristic by the hand of man, a characand easily recognised sign. Also in the creation of SYMBOLS, to which belonged and dedicated to arms animals, vessels, the gods,there was besides a religious revealed, and childlike a naivete of fancy bolder combinations thought (much being deficient in use, as in reflection), as a and also growing sense of appropriateness, of artisticforms. In ancient an appreciation Art the figureswere guished distinprincipally
created

Abraham, by
the knife
as a

who may also be in his hand. When whose

symbolising recognised
Christ

flows lamb, the redemption is symchalice, bolised. In the carvings on old Christian Christ has a staff : in old sarcophagi, a pictures, globe. The ladder of heaven is a strikingattribute for the patriarch The Jacob,and the harp for King David. Virgin on the half-moon represents the in a man's assumptionof Mary : her girdle hand is a sign of the Apostle Thomas. The and writing materials betoken butes, by their often redundaut attripen-case the evangelists and fathers of the but attributes in a period of improved St. John. Art became Books tions, church, but especially very desirable addiand clearer developmentsof the idea the gospel, or rolls of manuscriptsymbolise form in general and, with Alpha, and Omega upon them, expressedby the human the evangelists, the apostles. or and or Christ, allegorical painting thus found in welcome them for abstract A crutch in the hand is the attribute of expressions many the Egyptian Anthony, the staff (tace) ideas. With the attribute was often appears into a blood united
a

reference

to

definite action borrowed life : and

formed

like

T,

which

he

sometimes

is only an idealisation of the crutch. in this bears, St. Ambrose is representedwith a saying much rod, because he the defended of the church cient anlanguage slightallusion; by against the entrance of the Emperor Theodosius. Art thence arisingrequires much A model of a church held in the hand study, since it cannot be divined by the natural feelingin the same the attribute of St. Barbara) betokens as (theespecial way the titular saint of the church, and language of gesture. The purely human its founder or benefactor. is often rendered ficult sometimes difmore interpretation which the belonged to by principle * Vide Muller's Ancient Art and its Remaint. the the t On Greek imperial Dalmatica Art, of treatingin a subordinate among of St. Peter's the great treasures at Rome, on dir onishingin size, and making manner, mosaic in the Cathedral of Torcello, and elseless careful in execution, that everything from
Art

and religion the

Greek

had

skill of

ADR.
From the creator with the created, a GLOHT, NIMBUS. the AUREOLA, perhaps, in the of tian Chriswith the dead, in his works. history The living very earlyperiod Art it has been and was with customary to depict nimbus is of Pagan origin, nous and glory," as a lumithat " halo of light much admitted into Christian opposition nebula from Art. It was supposed to emanate probably derived from the When it is divine persons. and surround who ornamented the statues of Romans, it is termed their divinities and emperors with radiated limited to the head only, it envelops the whole when The colossal statue of Nero wore crowns. NIMBUS; These attributes the gloryof the a circle of body, it is the AUREOLA. rays, imitating in characteristic and similar sun are iconography, on insigniaare seen ; very and it is importantto the artist to study round the heads the coins of medals, on else he may be led to comthe consuls of the later empire. This custheir varieties, mit tom the greatest errors; discontinued in the middle ages, was confounding,

forms,the most frequentis that within which are various halo, sacred personages, as the Saviour, enrichments, presented.* distinctive of the persons rethe Virgin Mary, angels,apostles, contains In that of Christ it saints, and martyrs. NIMBI less enriched ; in subjects are or properlydepicted a cross more of gold; but sometimes tion, in stained windows before the Resurrece vents representing than in of various colours.* form the is of are a they appear They cross simpler his glorified most state. The nimbus propriate ap" I believe these coloured gloriesto be symbolical, to the Virgin Mary consists of a but am of the application of not sure the colours. the miniatures of the Among circlet of small stars ; angelswore a circle ffortta Delidrtruin, painted in 1 180, is a representation circle another of small surrounded by rays, of the celestial paradise, in which the with and of quatre-foils, like roses, interspersed virgins, the apostles, the martyrs, fessors conthe golden nimbus wear ; the prophets were pearls. Those for saints and martyrs and the patriarchs, the white or tilver nimbus
and after the eleventh bus century the nimto

of various of
a

was

employed exclusively

guish distin-

circular

"

the saints who strove those who nimbus;

nimbus

with

temptation, the red

have the

married were while the beatified green; have theirs of yellowish while, somewhat
"

penitents
shaded."
1G8.

DIDBON,

Iconor/raphieChr'tienae, p.

* In Pugin's excellent Glossary of Eccktiattical tions delineawill be found and Costume Ornament nimbi for the various sacred of the proper wish to represent. artist may characters an

68 simil

AUR.

aily adorned;

but

in

the

fifteenth

variations

in the form

of the aureola

pend de-

customary to inscribe the century it was the of the peculiarsaint, name especially

of the person upon the position ; if erect, the aureola is

sented repre-

apostles,round
of rays which direction, nimbus

the

circumference.
a

triangular oval,elliptic, or seldom before but occurs almond-shaped ; if seated,it becomes the fourteenth century, is attached to representations of the Eternal Father; and nearly or diction, quite circular ; his symbol,the hand in the act of benesometimes the was generallyencompassedby a is of the nimbus oval is nimbus. When depicted placed within a a square circle; form, it indicates that the person when at others, the audelineated,and is affixed reola was living of honour and respect. From forms four mark a as the the fifth to the twelfth centuries, compassing enlobes, each divergingin
nimbus disc
over

sometimes the head.

assumed Thence

the form

of

lient sa-

portion of broad band it the as a golden body, one century appears behind the head, composed of concentric comprising the enriched with precious head, the one circles, frequently From the fifteenth century it stones. feet,the others The aureola is frequently became the arms. intersected a bright filletsurroundingit (and which most this is the mode of representation is a rainbow, upon by In seated Jesus the or Virgin Mary. The adopted in the present day) frequently is rarely nography, the seventeenth depictedin pagan icocentury it disappeared AUREOLA and is much restricted in to be revived more again in the altogether,
.

to the fifteenth

nineteenth. nimbus

As

an seen

the head, aureola of the body, differ notably, yet of the illuminated of evil spirits.In many books of the ninth and elements, following both are composed of the same sometimes in the same centuries Satan wears a glory. It is also are figured manner, the same of the beast of the and convey to many idea : gloriin a representation seen fication, six heads of which have the sary, apotheosis, divinity. It is necesapocalypse, that a single wounded and droopword should nimbus ; the seventh, therefore, ing, is without that sign of power. comprehend the combination of these two bus and be the genericterm of both As stated above,the aureola is the nimattributes, the nimbus kinds of nimbus call GLORY is of the whole : therefore we body, as is often that and the aureola from of the head ; the word the Latin aura, The aureola
"

attribute of power, the attached to the heads

its use

than the

the

NIMBUS.

"We have the

shown

nimbus

of

is derived the

union

of

NIMBUS

and

AUREOLA,

the

gentlewind,
and "a the solid

nimbus aureola

zephyr, exhalation.
nimbus
are

being peculiarto the head, the to the body, and the term GLORI
to

of

similar nature

is extended united.*

the former

and

the

latter

light,a transparentcloud,"but they are

often mantle confounded. of The aureola is
as a

which envelopsthe body light, is much from head to foot; its use more limited than the nimbus, being confined to the persons of the Almighty, Jesus, and the Yirgin Mary. Sometimes, however, it is
seen

the enveloping and bodies),

souls of the saints of Lazarus. The

(never the

times insigniawhich may someits dimensions, but it is always great in importance. A sculptor who makes or reproduces a Gothic statue, a painter who restores an ancient fresco or painting on glass,should pay the most scrupulous attention to this character encircling the head in certain figures, else he incurs the danger of reducing a saint to ordinary manhood, or of transforming a simple mortal into a god. *

The

nimbus

is

an

appear

microscopic in

AUR"

AZU.
was names, convenient

AURIPETBUM,
economical mural

ACRIPENTRUM. for

An used
ages;

soon

substitute the

gold

in it

and

superseded by a more airy face-guard,such aa

painting in
of leaves

middle

consisted the

gold colour
called

varnished, being imparted to it by the

Another
a

of tin-foil

addition
was

of saffron.

substitute

mercury, and

composition of POIIPOKINO, and sulphur,similar to the tin,

used in cliromo-lithography printing. The
to OKPIMENT,
or name

gold powder

other colour

AURIP1GMENTUM.

by the Romans eulphuretof

AUSTEEE.

the

given yellow
the

arsenic. A

term, when
of
a

appliedto
to

visor.

The

Normans all other

Art, used
of what

in the the

sense

rigid rendering
be
adorned un-

and check-pieces, the face

called nasah, for protections

artist conceives

or aventailles.* ventailles,

and truthfulness, merits

on or

wbich

rests its

AVENTURINE.

brownish-coloured

that

off all adventitious alone,casting

any but does to the mind AUTOMATON.

quently aid,and is conselittle understood or regarded by classical students, appealingas it

meretricious

with glittering glass, interspersed laminae, which give it a peculiarshining appearance. It was at formerly manufactured Venice, and employed for many mental ornaIts manufacture was purposes. but is it known that its pecukept secret, liar
was brilliancy

rather than

(GV.)
to
move

the eye. A mechanical

constructed figure, concealed within mention when

by machinery
ancients

due

to the

presence

of

it. such

The

quently copper fre-

figures,which,
were

they representedmen,
Plato and made
a

called

atidroidfs.
statues

Aristotle which had

speak

of

by
bronze

Doedalus

could

walk

; of

flywhich
In

complete
times and the the
most

filings.French chemists have succeeded in preparing this glassby fusing togetherfor twelve hours a mixture of 300 40 parts of copper parts of pounded glass, and 80 parts of iron scales ; afterwards scales, coolingthe mixture slowly.
AXE. In of Christian the
Art

power the flute-player, by works of Maillardet of such remarkable

of motion, "c.

modern

the

axe

is the and

Vaucanson,
are

attributes Matthias. the

axe as

Apostles Matthew
a

among

Thomas
an

Becket

has sometimes
an

which are productions, confined to French now generally clocks, and barrel-organs. snuff-boxes, AVENTAIL (AVANT TAILLE, Fr.) The moveable covered the air front the whole
was

attribute,but this is
be
a

error, it should

sword. blue

AZURE.

Many by
term

pigments are
under

scribed dethe

mediaeval AZURE, native

writers which

of

the

helmet

which

general
azure was

differ materially German of

as

and through which face, instances

a

in their the

composition. The
blue fine
a

by space left for the eyes between the lacingof the helmet and aventail. This, under various
frequently committed by modern artists in the representation of religioussubjects the nimbus in iconography is what ; hence the fingers and mammae in zoology, characters are very small to the eye, but very important to the sense. Ample details of all the various forms and applications of the GLORY are given
error

In many the sightcould onlybe obtained

breathed.

carbonate colour

copper, which

yielded as although it ultramarine,

at least in northern

is not

so permanent, climates. The

Egyptians used
This is

similar its three

which

has

retained

blue pigment, brilliancy nearly thousand years.

unimpaired during

"

Our

cut

exhibits
worn

an

aventail
a

of the time

of

Edward
at

III.,as

by

flgur* of St. George,

in Didron's

Manuel

"f

Iconographu

Chrttitnne.

Dijon.

60 The which
was

AZZ" German
was

BAC. is identical with bice cendres blue

lazurstem

yieldeda pigment
Ultramaiine
;
azure

or

called asurblau. called known

(Saunder's blue).
AZZURRO DI POZZUOLI differed from

sometimes substances

but

the

the Vestorian azure early the above, it was Italian painters, described by Vitruvius ; a kind of glass della Magna, azzurro as de Lombardia, azzurro and copper filings azzurro Todesco, composed of sand,nitre, de Anglia, (AVENTURINE), used,when ground, chiefly azzurro Spagnuole, azzurro in fresco-painting. It is sometimes were called only the blue carbonate of the oxide of copper. Azure is a name SMALTO. given also to
to

various

the

COBAIT.

light or
arms

Its true tint may be denned as a blue. Azure, in sky-coloured the blues in the

persons part in the festivals of Bacchus.

BACCHANTES.

The

who At

took first

means herald-painting,

only women
Paculla
to

were

alU"wed

to

do

but this,
men

of

of persons whose rank is below that baron. In engraving emblazoned of arms, this colour is

Mitia at Rome and

coats

always represented
lines. The (Ital.)

appear, became scenes The

were

obligedyoung consequently the

riot and in ancient

feasts

of

debauchery.
the

by regularhorizontal
AZZURKO DI BIADETTO. artificial carbonate detto
now

sold in is

of copper. The biais the artificial ment pigItaly It

which

imported from England.

myths god, upon during his journey to India. They were also called Mcenades, Thyades, Lenue, and Mimallides. Bassarides, They wore
the female attendants

Bacchae

mentioned

vine-leaves
or tiger roe

in their
over

hair,the

skin

of
ried car-

being expressedby
and dishevelled

the thrown-back

head

their
or

and shoulders, staff entwined

hair.

They

carry
a

thyrsi,

the THYRSUS, vine-leaves. When

with

inspiredby Bacchus such as wreathing they performed miracles, serpents in their hair,or taming wild beasts with the hand ; and whenever they touched the earth with the thyrsus, honey
and
are

swords, serpents, a portionof timbrels. Their garments are

but flowing, in
more

kid, and

generally

milk

streamed

forth. ancient

The
vases

Bacchantes and reliefs

on represented

as

very

beautiful, their

extravagance

antiquesthey never wear are a transparent; the figures naked. Sometimes girdle ; they are occasionally the mad the M^NADES we see (i.e. with and exhausted frenzy Bacchantes) with coiled in sunk serpents slumber, Bacchic The them. round nymph* are
recent

BAD. and the red sceptre. the red dragon, the portcullis, and white was roses commonly conjoined,the three last borne by shepherds, herdsmen, rustics, being generally reigns adopted by all the soveand travellers, in our of his line. as seen engraving. During the war of the The BACILLUM was simply a walking-stick. Roses,this flower, came BADGE, or COGNIZANCE (inheraldry). red or white, bethe middle when raldic hethe During great badge of ages, the badge were the rival houses, displays universal, of distinction ; it was and the red rose adopted as a mark
more

the

of original of

the

modern

Another

smaller

size

was worn

somewhat the

similar to

upon embroidered and and

helmet,
the

but not a CHEST, has since been the and occasionally badge of England,
as

upon of

the sleeves of servants of horses, caparisons

was

the

thistle

is

on followers, on

the

badge of
and

land Scot-

robes
on

state ; it

troduced also indetails of of

a

the

harp
For

and seals, well as gothicedifices, inns. The

name

in
as

the

Ireland.

for the

signsof
of derived

of

the

royal house
been

long period of badges were

considerable
and portance, im-

Plantagenet is

said to have

the legislature frequently weaiing the broom plant (planta genista) interfered to prevent their being worn by the more retainers and as a badge in their caps, as the dem movants serbut personal any of the nobility highlanders used the heather and dually ; but they have graof wild plants, each being indicative fallen into disuse,and are now sprigs of a clan. The cross of St. George has,from nearly forgotten.* III. been the badge both BADGERS the time of Edward (BLAIREAXJX,Fr.) Brushes the but also and of the hair of the badger are used in of our kings made nation, they for blending or used a peculiar oil painting as softeners, or privatebadge until the Thus accession of the house of Stewart. melting the pigments,as it were, into each to the and imparting a smoothness Stephen bore a sagittary other, ; Henry II.,an from the in form escarbuncle ; Richard I.,John, and Henry differ surface. They ward Edthe pigments are aporescent ; star above a horned brushes with which a III., plied, II. a castle, at the and I. a goldenrose ; Edward spreading being open , , in allusion to his mother's arms (Castille) end, like a dusting-brush. The use of ; the falcon, these brushes is much to be deprecated; Edward III. had several badges, of the and the ostrich feather, it belongs to a tree stump a degenerate method griffin painting; "they are the veritable form; Eichard II. adopted the stump and hart the falcon,but added thereto the f destroyers." the hind beand the sun peascod, couchant, * in the Retrospective It is lamented by a writer the ermine,eagle, a cloud ; Henry IV., Review (N.S. vol. i.). that so beautiful and panther crowned; Henry V., a beacon an appendage of rank to fortune should not be dered adoption of embroigeneral ; the common more chained lighted,an antelope and swan to a badges would give employment round their necks ; Henry with crowns of industrious people much greater number hence, at than might at first be imagined, and VI., the antelope,panther, and double the splendour time that the same they increased the falcon ostrich feather;Edward IV., flo infinite of their equipage, they would useful class and sun, the rose a within a fetterlock, good to a large portion of the most aeval exhibits a medicut Our of the community." white hart, a white wolf, and a sable badge of bronze, the shield beautifully con kind of the anciently dragon and bull ; Edward V. had the falenamelled, and is one families. noble and in retainers royal worn by the fetterlock Richard rose and III., ; The Art of Painting Restored to it$ t Vide and boar; Henry VII., a sun, or white Surest Principles,by L. HunSimplest and bush crowned, the greyhound, hawthorn dertpfund. London, 1849.
,
"

from the circumstance

of its early members

BA1"

HAL.

IAINBERGS
Eiin

(BEIN-BKSOBN,
The

guards.

the Paul, the work of Bernini,is among most it is the largest for the greaves term work of celebrated; the kind in bronze, " an or jambs firstused cetto conenormous of architecture," but it is not destitute as by the military additional proof ingenuity,brilliancy, and an tection, deur. granless vulnerable Over the marriage-gate of the Upper than the Church of St. Mary, at Bamberg, is a chain-mail with splendidspecimen of an ancient German from the wall. the which It is projecting body baldachin, slender two a nd before. armed ia was supported by pillars, remarkable for first These elegance of form. They peared apfor a rich afforded opportunities the structures upon gies effimonumental Art. The development of ancient German teenth form of the baldachin, for the most part, is of the thir-

Ger.)

century,
and led to the
tire en-

square,

but

there

still remain executed

many

of the

hexagonal shape,
metal under and
ornaments.

towards

adoption plate-armour.
Our

of

latter end of the fifteenth century, having Statues

were

placed
churches

illustration is the

small houses

baldachins of the

in the

obtained from
brass of Sir Waterless is of the John Do

old German
of

Creke, in Westley

example, the
on silius,

statues

style ; for Agrippa and Marthe Giirzenich

at

Church, Cambridgeshire. It of Edward HI., and very age

the

faqadcof

of chainclearlyexhibits the mixture then usual in which mail with plate, was the knightlycaparison. A BALCONY. gallery in projecting front of a building. BALDACHINO (Ital.} A BALDACHIN, of wood, tent-like covering or canopy well as exterior the as stone,or metal, on of interior over portals and buildings, altars, throne*, beds,"c., either supported on columns, suspended from the roof,or The Italian word from a wall. projecting to our signifying a corresponds canopy, piece of furniture carried or fixed over sacred tilings, the seats of kings and or
persons
more

extended
were

of distinction ; but the term has a in other countries. sense

They
Those

formerly common
many

over

places, fire-

and

stillexist in this country. of the elaborate fire-places in the

Gurzenieh

able hall,at Cologne,are remarkin pyramidal form, and of ; they are work, similar to those in the perforated Cathedral the at Regcnsberg,placed over altar;the font has a similar baldachin. 1'Le baJdachin in St. Peter's at Rome, the bodies of St. Peter and St. placedarer

altar Cologne,and on the above-mentioned Regensberg,which are standing under small baldachins, pyramidal,perforated, Portable baldachins and terminatingin dowers.
at
were

chiefly used

at the

coronation

64 of emperors and

BAL.

sometimes of such large dimensions kings,under which the as to clad in newly-crowned to transportit. It was sovereign walked, requirea carriage beds retained with modifications ermine and purple. Baldachins over in medixva. the were ancients, times. customary among the BALUSTER. whence have the word tester-bed, A small pillarswelling we in the centre or toward the base. roof being constructed like such a canopy. used in the East Portable baldachins are BALSAM, CANADA, is the product of a abies balscmea, which grows the necessary dantly abunas appendages of dignity. fir-tree, in Canada. It has the consistence They are also carried at solemn catholic of honey when the Pope, and sometimes over processions fresh,is of a very pale and of an agreeableodour. at the celebration of the oath of allegiance, yellowcolour, When the host,"c. See CIBORIUM. over genuine, it should be completely BALDRIC, BAUDRICK. (BAUDRIER, Fr.) soluble in pure turpentine, forming with it colourless varnish, called a beautiful glassy and much used for nishing varcrystalvarnish, or drawings. It is maps, prints, often called Balm of Gilead. BALSAM OF COPAIBA, or COPAIVA, CAPIVI. An oleo-resin usually obtained sions from South America,by making deep inciin the trunks of trees. It is liquid, of an oily consistence, transparent, of a acrid taste, and of strong odour,nauseous colour soluble in alcohol, straw a pale ; It insoluble in and but water. oils, ether, the property of drying,and has possesses been in recommended and
as a

used

as

vehicle
as a

oil

painting;

varnish ; and

substitute for linseed-oil in BALTEUS.

ink. printer's

(Lat.) The ancient baldric used to suspend the sword, dagger, or quently and frequiver,usuallymade of leather,

or plain

ornamental

or girdle, band, belt,

worn across

pendent on the shoulder diagonally ployed emthe body, to the waist, and or horn, to suspend a sword, dagger,
used

much

by
an

warriors It

in

ancient

and the

feudal times.

encircled frequently ornamental

waist, and, as
BALISTA. used

appendage,

served to denote

the rank The

of the wearer.*

(Lai.)

strong iron bow

by Roman

soldiers for

throwingheavy
It
was

arrows,

and largestones. javelins,

curious

specimen
with the

baldric, decorated
from
an

illumination toward

executed

ornamental of an bells, is given above, 15 D. in Royal MS., 3, fourteenth end of the

ornamented. richly
over

It when
over

was

worn

tie

century.

sustain

right shoulder the sword, and

used the

to

left to

BAL"

BAN.
arms

support the

dagger

when

worn

on

the

of the matches of especially

of the deceased's those which

cestors, an-

right side.*
BALUSTRADE.

brought

(Fr.)

row

of balor

lister pillars (which swell in the centre

connected by a coping,and forming base), an or enclosure, balcony-front, parapet. BAMBINO. The infant figure (Hal.) of the Saviour wrapped in swaddlingsecured by ligatures clothes, ; as babies are dressed in Such and Italy the south of

Europe.

representations occasionallyform the altar-pictures,infant being surrounded by a halo and group of angels. BAMBOCCIATA (BUMBOCCIADA, Ital., BAMBOCHADE, Fr.),Rustic. This term is which applied to a class of compositions in an honours or estates into the family every-day rustic represent nature : these and homely manner, fillthe entire flag, which is on embracing the most arms some actions of s uch f tivals, esoccasions as with the metal life, fairs, ordinary fringed principal of the deceased.* "c., and, unlike the elevated style and colour of the arms does not abstract from natural of painting, Cases for containing BANDOLEERS. accidents and deformities without seeking a charge of powder, worn hanging to a of nature, but, leathern belt slung across to exaggerate the whims the shoulder by the contrary, itself to represent musketeers on in the early applies teenth part of the sevenher naively, and herein the BAMBOCCIATA century. ranks higher than compositions of GROBANNER TESQUE (BANNIEKE, Fr.) Under this with which it must not be cations figures, generalterm are included all those indiconfounded. This particular of GENKE of authority, style command, rank, or Van used in was or religious painting practisedby Teniers, civil, military, dignity which are known signs, as standards,enOstade, and Brower, but Peter Van Laar affairs, about the first introduced it into Rome pendants, colours,pennons, flags, "c. ; they usuallyconsist of a year 1626 ; he, on account of his deformity, gonfannons, other textile called IL BAMBOCCIO, or The Cripple, pieceof velvet, silk (taffeta), or was the uniform to his either of and fixed unfortunate soubriquet one colour, material, fastened to the upper in which he excelled. Painting can or style parti-coloured, generally hanging only admit of bambocciata in the same way part of a staff or pole, kind of fastened to sometimes a but that it does the grotesque employing in it loose, of various lutely absoframework are of small size. wooden Sculpture ; they only figures forms and sizes, richly both. f and frequently rejects Aflat ornamented with tassels and fringe. In BANNEROLLE. BANDEROLLE, used in band containing an inscription, the time of the ornamental of buildings " Vide used in Britith A Glossary of Terms The presents engraving restillused and similar to those Heraldry, Oxford, 1847. Renaissance,
"

for mottoes

to coats
a

of

arm.

A banner

the bannerolle
or

which his
-.
"

flag, usuallyabout
of which
were

yard square,
at

several of

head of Cromwell and exhibits his

at
arms

placed at the was magnificent "ineral,

on a

carried

the

funerals

argent; impaling Stuart,

the
*

great.

They

generally display the

dier, sol;

an azure, argent and bruised with a bend fretty,or. used in processions, such t When

lion rampant, fess cheeky. escutcheon argent, do-

sable, a
or,

as

coronu

S"e also the engraving of the Roman in the article on ARMOUR, p. 41 those to COBIOM, FEMIN HASTA. ALIA, and

tions, they
rank of the feet square

are

propoitioned according
and feet. vary in size

to

and

bearer,
to three

from

thti six

BAP"
Catholic

BAR,
former

had their banners, times,corporations in religiousservices, and the several trading companies, processions, "c., to which they impart the livery companies of London stillretain great splendour. Before the Reformation, them for publicoccasions.* all the monasteries ners in England had banA BAPTISTERY. circular building, in their from sometimes detached the church, in from wardrobes, preserved which which the rite of baptism was they were brought on anniversaries, performed. and other important occasions, The most remarkable is at Pisa,and confestivals, tains and field. sometimes ancient decorative works in the displayedon the battlemany These religious contained banners various arts. saint of some a BARB. The backward representation particular points of an or the picture arrow-head. or symbol,such as the Cross, of Jesus Christ.* The military ST. The banner,or BARBARA, patron saint of constituted the rallying point those who might otherwise die impenitent. STANDARD, Her attributes are 1. The cup, given her that those who as a honoured her sign
an

countries, banners

form

important feature

"

could not die without

the sacrament shut her

; 2. A

tower, her
one

when
was

she
wears

up in child ; 3. The sword by which beheaded which she ; 4. A crown, of and reward. as a symbol victory
a

father

having

St.

the patron saint of Barbara, who was favourite subject with the a Mantua, was artists of the middle her in the duces ages. RafFaelle intro"Madonna del Sista,"

one generalcommander; this,in feudal times, the king's own banner, the banners contributed by the religious the banners of the societies, nobles and other leaders, were brought

of the forces under

bara kneelingby the side of Mary. The St. BarBeltraffio is painted by particularly One of the most beautiful representations magnificent. of this saint is a figure carved in oak,depicted in Heideloff's Ornamentik des Mittelaltent. The expression of the features is pure and beautiful, and the waving hair carved. exquisitely A
tower
a

besides

BARBICAN. advance

for

defence,in
or

of the -walls of The

castle

town. to

BARBITON.

name

given
external used

the

into the field, well as and other

as

into tournaments
as

lyreof
board

Apollo.
The

coronations, funerals, "c., where their profusionand dour varietymust have imparted great splenand effect picturesque that
to the
scene.

pageants, such

BARGE-BOARD.
of
a

gablequently freing. carv-

house, which
correct term

to be

decorated with elaborate wood Its more would

be verge-

appear the ancients ; the standards remains appear to be monumental seen on In entirely carvingsin wood and metal.
were

It does not used

banners militar}r

board,but

we

give it
ST.

as

by

BARNABAS,

commonly used. of Representations

" The study of this subject is of the greatest importance to the historical painter, but few

The

national

standard

of

England

is

ligious re-

sources

of information him
to

are

available.

We

must

of banner, being composed of the crosses The and St. Patrick. St. George, St. Andrew, of St. George, in its simple originality flag of England, la depicted in our engraving. banner
as

Critical Inquiry into Curiosities of Heraldry, Lower's Ancient Armour, the Oxford Pouriuivant-at-arms, Plancho's refer

Meyrick's

the

Glossary of Heraldry, and

from whence much

the

Penny Cyclopaedia,
may

information

be derived.

BARr-BAS.
this saint
are

seldom

to be met

with

except
He of
man,

but barytes, sun's

this salt is

decomposed by the
bably prostone

in the works
is

of the Venetian

artists.

as a usuallydepicted majesticmien, holding

venerable the The

Lemon yellow is most rays. ehromate ofstrontian. Common

Matthew

in his hand. which he

gospelof St. for subjects

chiefly
and Apostles,

BASALT.

basalt is
to the

bearing much
Vesuvius coloured
; in

resemblance

lava of
as

picturesin
taken

figuresare
of the

from

the Acts

it may fact, lava, rendered

be considered solid

by

course

from

BAROQUE.
of
a

of time. There are two kinds of basalt, designs the black and the green, the latter being (Fr.) Ornamental of various shades. The Egyptianand Greflorid and incongruouscharacter, cian produced lavish and the of dicative infor sake statuaries have worked in both kinds ; effect, rather than in the former they have carved animals. of a taste for display and decoration. appropriate See

the life of St. Paul.

for true Rococo.

Only the
front
ascent

best artists worked balustrade

are Capitol

in basalt. In

of the
to the

on

the northern
lions

BARTHOLOMEW,
skin in his hand.

ST.
a

This

is apostle his

two

casting

with generally depicted his

knife,and

forth water, and

carved splendidly

in black

The horrible scene of of ancient basalt; they are Egyptian the order of chief In the Florentine b y alive, workmanship. being flayed Gallery is a remarkable who condemned of Albanopolis, torso of green basalt ; it is magistrate has been painted that of a youthful him also to be crucified, figure, naked,powerful, St. Bartholomewand finely that of an formed, apparently by some artists. In other pictures, less, is represented and the work is minutelydelicate, as standingheadathlete, and holding his skin with the head to the hair. even Consideringthe almost Sometimes he hand. it in his hardness of the material, attached to unconquerable but in St. Sethe delicacywith which these and other carries an a or axe lance, bald's Church, at Nuremberg, he is drawn works are finished is wonderful.* A BASCINET, BASINET, or BASNET. holding a curved knife in the left hand, which is helmet of ous variof the position very striking, spherical while in the right he holds his garment. shapes, globular or In the " Last Judgment," by Michael Anconical,plain or fluted, Bartholomew in the Sistine Chapel, worn during the reigns of gelo, skin with the in Edward IT. and III., and one is represented hand, while the other exhibits the knife. alkaline BARYTA. An or BARTTES, metal the the oxide of monly combarium, earth, found combined with acid sulphuric spar, The enriched acid Richard which n. is At the apex, less or

more

find we frequently pointed,

an

arrangement
the scarf
a or

for

taching at-

of (sulphate and, united with

in barytes), carbonic

ponderous
witherite.

crest ;

(carbonate sometimes

wreath

in the mineral ofbarytes), adulterate

with

or cloth, silk, velvet, jewels and goldsmiths'

of

is extensively of barytes employed sulphate

to
WHITE LEAD.

It is also used is known

NENT PERMAas

work, was fastened around the baseinet. In helm actual combat, the tilting entirely
covered it. Ancient Arms See Illustrations of Meyrick's Armour. and

in water-colour
CONSTANT WHITE.

and painting, and HUME'S

WHITE,

Although
not

yet it does
work

possess

very sufficient

ponderable,

BASELARD.

(Fr.~)A
allowed

short

dagger,

body

to

hung
"

in front of the
space

in the fifteenth girdle,

the attempt, we might executed in list of works
content

well, being scarcely visible

its use is limited

when
If

Srst laid on; "c.

ture to minia-

give a comprehensive
this with

of lace, for representations painting, lemon The pigment known as yellow is erroneously stated to be the ehromate of

must material, but we referring to the works

ourselves
in

executed

basalt,
the

in the collection of British Museum.

Egyptian antiquities in

BAJ3.

sheath, burst,frightened at its own image. In Christian Art, the basilisk is the emblem considered and was mark of gentility. a of the Spirit of Evil. St. Basil regardsit It was nearlyidentical with the ANELACE. the of of this ST. a as woman. depraved type BASIL, Representations BASKET. A basket w ho of are was Baint, Bishop Cesarea, containing fruit very century. It had
an

ornamental

rare.

He

is

in represented
an

Greek

ficals ponti-

and

flowers is the

attribute peculiar vessels

of St.

with bareheaded, One

\t

Dorothea. appearance. of the mosaics of St. Peter's BASONS.

emaciated churches

These

were

used
as

in

Rome, designed by Subleyras,reprefaintingin the jents the Emperor Valens

of St. Basil. This work is highly for of the

for various purposes,

such

lecting col-

presence extolled

by

Lanzi. hall (Lai.)A spacious

or

BASILICA.

publicbusiness
They justice.
Romans

the

administration

were

first erected

by

about 180 years before Christ. The

an generally

ground-planwas
square
area

elongated
width
a

twice

as

long
to the

as

the

; the

being open
inner

sky,and
sui

covered

aisle the

supportedon
raised

columns
seat

rounding
the

walls; the
was

for

judge
A
to the

being

the opposite afterwards the

entrance.

circular

apsis building,in which

added

magistrateswere
alms the hands of for washing oblations; the celebration during bishops
taining con-

of to be freer from the interruption placed the populace and traders who used the hall
as an

and

exchange.
wants

The

form
so

of these edifices
to completely

of the sacred rites , to hold the cruets the wine and

adaptedthemselves
the of the

water, and

to

be

useful in the services early Christian church, otherwise generally in the time of Constantino, at altars and shrines. different that, they were They were made inconverted into them, the circular apsis of silver, whole or parcel gilt, either round and brass ; and or being used for the high altar. The most copper with enrichments of chasing,enancient churches were constructed graving, sex-foil, entirely in imitation of these basilica, and were and enamelling.* The earlyNorman BAS-RELIEF also named after them. Ital.) (BASSo-RiLiBvo, churches of our and which have of own a very slight tion projecFigures country, said to be in mination terfrom the ground are France, are so built ; and the apsidai in contradistinction of most BAS-RELIEF gothic cathedrals may (lowrelief),
"v

traced to the BASILISK.

same

ancient

source.

to those which

are

A fabulous
an

animal

said to

or

in

ALTO-RILIEVO.

The

in MEZZO-B.ILIEVO, sort of composition

v"re /ears

come

from

old, and
This the

egg laid by a hen thirty hatched which by a toad in the grew to an enormous body of a cock, the beak
a

proper for bas-reliefs resembles that in tho is suitable for a picture, of characters which it ad-

jpater.

animal

great number
*

*Lze, having
and claws

of

polishedbrass,and
three The

long

and

Pugin's Glossary of Ecclesiastical Ornament tifully most interesting and beauCostume. Some
enamelled
are

tail,which
bad three caused

resembled

serpents,and
of
a

basons

of the thirteenth

tury cen-

points.

death, therefore
could mirror

it Invulnerable,

by holdinga

lisk glanceof the basibeing itself only be conquered it before it, when

figuredin

Willemin'sJ/onume/w

cois Fran-

Our engraving exhibits one date, published by the Society of fully Antiquaries, and containing a series of beautisimilar

In-dits, vol. i.

enamelled
and

subjectsconnected

with

ing hunt-

hawking.

BAT"

BAY. persons represented. It is the upper and lower parts

BATTLE-PIECE.
of battles has been

The made
a

representationthe person or class of edged on both special

by
a

painting.The

figures, persons, the the confusion, crowd, and incidents, the revolting the number, and sometimes of do not allow character of the details, but this style being treated with anything battlesmall figures; and by the term which those call pictures we usually piece
numerous are

border

It ia

and other sphinxes, said to traditionally

to William

birds,quadrupeds, representing simi'/ir subjects.

be the work of the

Matilda,Queen
and

Conqueror,

by her to the Cathedral of presented of which Odo, the Conqueror's Bayeux, was half-brother, bishop. This work possesses

treated in this
of

manner.

When
come

the under

figures are
the of

they life-size,

historicalclass.

Raffaelle's " Battles

ander," and the " Battles of AlexConstantine," battlecalled not Le are Brun, by those great artists be far less can pieces, which term of battles, painters designated who him to chiefly only be applied can in the manner in himself painting occupies One of the most splendid first mentioned. is the Pomof a battle-piece specimens covered disBattle of the of Issus, peian Mosaic is The in 1831. composition of

highest order, thorough knowledge foreshortening.

the

and of

it

exhibits

and perspective rich stuff

BAUDEKYN,
enriched

A (-FV.)

sisting con-

goldthread, oriby embroidery. It was lon, nally manufactured at Baldeck,or Babyits name. whence (SeeDUCANGE.) introduced into Europe at the peIt was riod for regalgarments ; of the Crusades,
of silk interwoven and

with

much

historical interest and

value,
times
events

since it represents the minutest and customs of the earliest Norman in

manners

England,
no

and other

embraces record

several
now

of which
was

exists.

It

and, some
and baldachins.

time

for those of the after,

bility, no-

for church

ings, vestments, altar hanghence termed canopiesof state,

See that word.
recess

BAY.
BATEUX monument
a

The

in

bay-window for

that which

TAPESTRY. of the Middle roll of linen cloth continuous connected the

chamber, hence lightedit. This singular Ages consists of

or

accurately copiedby Mr. Charles Stothard,and engraved in the fourth volume of the Vetusta Monumenta. is enA portion graved W illiam above,representing giving orders for the invasion of England. BAYONET. A dagger or short sword
fixed at tne end its where it
name

of

gun

; and the It

which in

tains ob-

from

Bayonne
was

France,
of the

web

or a

which
events

upon of the representation the

canvas,

in originated

middle

seventeenth intended

century.
as a

originally
handle of the

with Normans

conquest of
is worked in

to be used to
was

dagger,the
the muzzle

England by
woollen

being made
gun,

drop into
thus until

in the colours, of a sampler. Its length is 214 manner feet and twenty inches in width, being divided into seventy-two compartments, each bearing a superscription in the Latin or language indicatingeither the subject thread of different

which
as a

rendered it
was

able unservice-

fire-arm

again
form

moved. re-

Ii received
our

its modern

in

army whose soldiers with the

during the
were

reignof William IH., taught it in fighting

who

French

army,

fired

on

the

BEA"

BEE. of the

71

were

English with bayotutted guns, while they in occupied screwing theirs to the
of their muskets.
or

muzzle

BEAMS,
from

RAYS

op

GLOBY,
or

are

round depicted the nebulse

and saints,

full-grown the iged JSscuHercules, the double-headed Janus, lapius, Triptolemus,"c. The Asiatic Bacchus was also quently bearded, freand therefore the Romans call him Bacchus ceeding proBarbattu,in contradistinction
to

clouds. Under
or,

the

youthful god
His

of their

own

angels, theyshould alwaysbe blazoned

on an

country and of Greece.

the FAUNS and bearded, the
even

azure

field.
One who offers up prayers for the welfare of another. Such
were

companions, and Silenus, (satyrs), are rally genelatter also as are bristly, having a goat'sbeard, his feet. of head of the statue

BEADSMAN.

Pans, the
in Pan very

persons

which

correspondswith

regularlyappointed The
and

beautiful

paid for

the

in the purpose middle Our ages. in attendance

Neptune, taken to Florence from the Villa guished Medici, at Rome, is only to be distinbeard ; the

engraving represents
one on

the funeral

of Abbot 1522: torch he and

not

Jupiterby the is usual with the inas ferior latter, marine gods,is straight, as if wet, but crisper, longerthan that of Jupiter,
the moustache The is thicker.

from

the heads

of

Islip,in
bears the of beads

and

of a helmex face-guard of Sir might be lifted up (seefigure Scottish The royal Robert Staunton,p. 44) or moved down. "bedesmen" an were (SeeAHMET.) Shakespeare speaksof both his
office.

BEAVER.

which

order of paupers,

casionallymodes oc"

"

receiving in alms and clothing, return for which they

were

He

wore

his beaver

up."
ii. sc.
1
.

Hamlet,
"

act

Their

beavers

dawn."

instructed

to

BEAUTY,
of this

Henry IV., pt. ii. act iv. sc. 1. BEAUTIFUL. The consideration
so subject,

welfare pray for the and state. of king BEAKER. A

important in

the

drinking-cupof
without
a

cious capaname

of Art,involves so many tigations invesphilosophy of a purelymetaphysical character, that it would

treat

form, and
has been

foot.

Its

be possible to scarcely the

narrow

supposed to be derived from

vase

the dles), hanfrom

it

within satisfactorily
our

Greek,
the old

(an earthen /St^oc

may
more

with

limits at within
a

but

come probably

the

and it does not lie disposal, of the subject nature to admit

therefore concise definition ; we must for the the reader those works in which the names root refer to forming plied apintended vessel for is treated with the to any liquid. ability.* greatest subject

Teutonic,hoc

(any hollowed

stance),of sub-

BEARD. An attribute of the prophets, and evangelists (with the excepapostles, tion of St. John), fathers of the uhurch, and hermits. The long beard is also worn Paula Barbata, by two female saints viz., in the fourth century, who, in order to
"

BEES,
beehive

as

an

St. Ambrose
near an

in Christian Art. attribute, representedwith a him, in allusion to the legend, is often infant
a swarm

that when upon

of bees settled

his mouth

without

doing

him

obtained escape the addresses of a youth, beard by means of prayer ; and St. Galla, at Rome, who procured one by the same
a

method, in
In

order Ancient of

to avoid

second beard

riage. mar-

Art, the

is

an

appendage

Serapis, Neptune, Jupiter,

The Philosophical and .Esthetical Lettert and Translated by J. Weiss. Essays of Schiller. The Philosophy of the Beautiful. London, 1845.Translated from the French By Victor Cousin. The ^Esthetic 1848." London, by J. C. Daniel. don, Works Miscellaneous and of F. ScHlegel. LonPainters. 1849." Modern By a Graduate 18 49. London. of the University of Oxford.

72

BEL"B1C.
but this fable is told that

injury;

implied only
of other

his

BEVEL.
acute

The

or rounding of sloping

an

eloquence,and
for distinguished BELL. In

saints

angle.

quality.
Art,
a

BIACCA.
one

(Ital.) White

carbonate

of dis-

Christian

bell is

of the attributes of St. BELLOWS. of bellows attribute In

Anthony.
Art,
demon
a

lead,used by the Italians in oil and but not in fresco. temper painting,
BIADETTO.
met

Christian of
a

pair

This with

term,
on

very

quently fre-

in the hands of St.

is the

in writers

painting,

is Genevieve, by which the of Faith (figured typified light by a burning taper) extinguished by Sin. Demons are frequentlyrepresented as ing acts of wickedness, instigating by blowthem enemies with
a

is synonymous with BICE, being the native artificialcarbonate of copper, known or by various names, such as into Sounder's
azzurro

di

biadetto.

rupted (corblue),blue bice, According to Mr.

cendres bleues

bellows

in the

ear

of the

tbia term Eastlake, de Inde.

is derived from biadetus

of Faith. A prospect tower (Ital.) higher than the building The

BELVIDEEE.
or

BIANCO
fresco in

SECCO.

white

used
rated mace-

in

carried turret, BEMA.

of painting,consisting
water to

lime

to which

it is attached.

until

its

is causticity is

(6V.)

term

appliedby

removed,
added.

which

pulverisedmarble
In the church
at

the Athenians

platformfrom which the orators spoke. In the early Christian to churches,it was the part corresponding
our

to the

BIBIANA,
dedicated

ST.

to this

is saint,

statue

Rome, nini, by Ber-

St. Bibiana. It stands representing the altar, work. leaning against a pillar, upon and is considered the simplest, most graceBENEDICT, ST., the founder of the ful, and best work Benedictine order of monks, is usually of this artist, and one of the most pleasing of modern known productions by being accompanied by a raven, Art. There is a series of frescoes reprewho sometimes bears a loaf in his bill, indicative senting life of the saint in the from the life of this saint, of the early scenes executed by Pietro da Cortona. desert ; or surrounded to show by thorns, BICE his austerity to or (BEis, Germ., BIADETTO, Ital.) by howling demons, ; There two denote his power of conquering them. are pigments known by this BENETIER. both native carbonates of copper, (Fr.) The vessel used in name, Catholic church the Roman for holding one of which is blue,the other green,
was

and pulpit,

surrounded

with

tice lat-

holy water.
BENZOIN. from in is A incisions made in
a

BLUE

BICE

has been

known

to artists from

solid balsam, yielded the

tree which grows

earliest
as

times, under

various

names,

such

mountain bleues

It Sumatra, called the styrax benzoin. with an agreeable fragrant hard, friable, and oil of odour,soluble in alcohol, ether, has been employed as an turpentine. It lians varnishes by the Itaingredientin spirit and
to have

cendres "c.

di terra, blue,azzurro blue),ongaro^ (Saundtr's

BICE from

is sometimes

artificially pared preis less it has

durable been

than

lapis armenius, but the native; still

extensively employed in
of

the various

but Spaniards,
an

does

been

in ingredient

appear oil varnishes.

not

branches

painting. The
turns

artificial pigment in

always
but mixed oil, and with

seen

BERNARD, accompanied by
the

is ST. (Archbishop)
a

usually
templating con-

with in

white

dog, or

lime

ground in glue,as distemper, fresco painting,or for

green

when

cient the walls of rooms, it is of sufficolouring appearance plements the Virgin and Child,or bearing the imdurability.The artificial BICE, prepared of Christ's passion. according to various formulae,ifl in commerce mountain blue as BERYL. of a green A gem colour, known mineral,lime, copper, English, and Hampassinginto shades of blue and yellow. miraculous of
"

BIU" chite malaas BICE, known green, is also a green and mountain with a small carbonate of copper, mixed bro" blues. GREEN of proportion from
was

BIL.

accommodating two persons, generally used at their meals. by the ancients in reclining It was nearly identical with the modern
BIDENT.
weapon sometimes
to

the oxide the

of iron.

It is obtained sofa.

Tyrol and

known

to the

Hungary. It as chrypainters early

green,
cenere

(Lot.)
with
two

An

instrument

or

prongs;

de Miniera, verde de The native

Hungarian verdetto, socolla, Spagna,

carbonate and pigment, may it has be
seen

verde verde.

of copper of great

is

luable va-

erroneouslygiven ' of Pluto, inrepresentations stead of a sceptre, his proper

attribute.

as durability, :

BIFEONS. (Lot.-) Literally ing Havsignifying double-faced. mountain faces Most of the two on one head, undeservedly. green is an artificial similar to busts of Janus, inobtained in commerce dicative now of his knowledge of tint, product,of a pale greyish-green in the most of late fallen into

ancient miniatures

disuse,though

opaque, native. in the artist* s Veronese

and

much

less brilliant than is often found

the

the present and busts

future.
a

Such
riety va-

Malachite

native

represent
of and faces,

great
common

shape of
use.

fine

powder, ready for the

green green and Paul
among

are

Emerald
are

green

vivid

pigments,
carbonate sometimes

by mixing preparedartificially,
to which of copper and whiting, ochres are added.

Art, forming termini, frequently BIGA. The term appliedby the

to

relics of Roman

ancients

those

vehicles

drawn

by

two

animal^

abreast.* of capable
manner

BICLINIA.

(Lat.)

seat

Harnessingthus is the oldest the classicnations. adopted among

itis the customary method,but, Iliad, the besides two horses in the yoke, there In the
were

HARMA,
on

two

a short body,resting DIPHROS, closed in front, but open wheels, or

sometimes Hector

others drives Romans the

or a

added

on

either

behind,

side. called

four-horsed
QUADRIGA.

chariot,
BIGA

by

the

means generally

Roman

chariot used is
a

in the Roman method

circus

in the

It processions. Greeks called The

term,
of

as

this form

was entered, and the standing. These are what ancient monuments. are seen on generally BILBO. A lightrapier, named from so the place of its originalmanufacture" in Spain. Bilboa,

where

it

charioteer drove

harnessingsynoris.

* on

of the chariot resembled

that of the great

Our illustration the walls of the

is copied from a painting Pantheon, at Pompeii.

74

BIL"

BIS.
name
was

BILL.
in

A the

much weapon fourteenth

used and

by

fantry bas-reliefs. This insmall boat

man

al"o
oars

fifteenth

aged, by

two

givento only.

"

BIRRUS.

(Lai.) A
over over

woollen

cape

or

hood, worn shoulder,or

head
as a

the the It

cowl.

door outas an originated covering for the

head

among

the has

mans, Roscended desame own

and centuries. It consisted

a

of

broad

blade
a

for the purpose times.

to
our

fastened to

which long staff,

blade had

Our cutting edge,and was curved like a scythe, ing engravwith a short pike at'the back, and another worn represents one by a shepherd, at the summit. It was used to dismount, from a MS. of the eleventh century, first horsemen. wound, and dismember publishedby Strutt. BISCUIT. BIPENNIS. An with to untwo axe (Ir.)A term applied (Lett.) s uch is blades or heads, one used glazedporcelain, as on generally each side of the handle. for statuettes the finest and called Parian. and is sometimes when
most

they imitate
suitable

marble the
so-

It is the weapon
seen
'

usually
in the

being

depicted

In this state

hands

of the Amazons.

it is porous, used for wine-coolers and

J
in

BIRD'S-EYE is perspective, from in

a

VIEW,
a

other

purposes.*

view

BISELLIUM.

(Lat.)

seat

of

nour ho-

taken

vation, great elethe

at
a

which

grantedto distinguished persons upon publicoccasions. It was largeenough to

point
very viewed

of

sight is
the

considerable above and of

tance dis-

objects
is

delineated.

This mode

drawing

ing very useful in representextensive districts of country,

battle-fields,
views,
"c.

panoramic
For many
purposes it has been

superseded
contain two
persons, hence its name,
18ft.

by

ISOMETRICAL

PERSPECTIVE.

but

BIREJQS.
of rowers,

A shipwith two banks (Lat.) ancient on frequently depicted

KtS" it does not appear than one. inscribed

to

BLA. infinite of variety brown

76
and

have

been

occupied producesthe
Calventius

by

more

The "to

cut

represents a

bisellium

Caius

to the predominance grey tones, according of one or other of the primaries. Two primary, two or secondary colours,cannot because the primary produce black, colours meet in them in unequal proportionsbut a ; primary and a secondarycolour of equal

Quietus,Augustal. To him, in reward of his munificence, the honour of the bisellium the decree of the was granted by with the of the consent Decurians, and

people."
BISHOP'S
size
measures

power

effects the and

union

of the three

maries, pri-

LENGTH.

Canvas

of this

hence

the result of the mixture

inches by ninetyis black.* When fifty-eight compared with the of colours found in the prismatic measures half-bishop forty-fivetype pure -six. spectrum or the rainbow, every pigment, by fifty The BISMUTH. sub-nitrate of this is found impure ; the except ultramarine, metal forms the pearl-white, all alloyed used as a with blue or yellow, REDS are the BLUES, with red or yellow,the TELcosmetic and as a pigment ; but its use is in every respect to be avoided,as it is LOWS, with blue or red. Now, it is easy acted upon by sulphurous that when to perceive such pigments are readily vapours, four. The which blacken it. This mixed
at

random,

an

undue is

and

sary unneces-

produced, by and brilliancy is impaired, tints, principallywhich their purity and transparent. It is prepared and it is to this, and not to the yellowish "lost medium" from the soot of wood, that of the beech of the old masters, that rected, being the most esteemed,which is finely the attention of the artist should be dia
warm

BISTRE.

pigment

is of

quantityof

black

brown

of colour,

different

the pulverised, The Eoman but the

salts washed away bistre is esteemed

by water.
the in

f
In mediaeval colours had
a

best,
merce com-

used oil

qualityof that met with the kind on depends chiefly in the burning. Bistre is not
is valuable in

and all other Art, BLACK symbolical meaning, an which In formed

of wood used in
water-

with acquaintance the artist's studies. has been

part of
this

later times

knowledge almost total neglect fine transparenttints in colours, ; but with the recent yielding is much washing, and employed for revival of a feelingfor,and an imitation of those made in in the manner of, the works of the past, the symbolism sketches, Indian ink and sepia. mediaeval of colours has come in for a share of that writers, By
bistre
was

but painting,

suffered to fall into

termed

xn"fuligine. fuligo
A term the used action
or

attention its importance demands.

In this than

BITING-IN.
to

describe the which

in ing engravof the aquafortis

dictionarywe
direct the and subject,

can

do

little more

attention

of the
a

artist to the

upon from parts, removed BITUME

name

copper the

those on steel, etching-ground is and other tools.

exhibit in

slight degree the

by

the graver

JEWS' PITCH. GIUDAICO, given to asphaltumor bitumen. BIZARRE. cious, (Fr.) Whimsical, capriof
a

* The painter should consult the chapter on of Colours," in The Art The Life and Death questionably of Painting Restored, by L Hundertpfund. unvaluable the most contribution made to the literature of the ever Art of
"

grotesque. Ornaments kind,oddlyput together.

BLACK the combination

fantastic

is the extinction of

colour, duced pro-

mixed

mary priby when and yellow, colours, blue,red, and proportion. in unequal strength
of the three combination in of the three primary equal strength and proportion

painting. be produced t A brilliant pieturecan never from a foul palette,yet a cursory glance at the working of the majority of artists would lead us that they preferred painting with to suppose mud, to using the pigments in their natural of Want purity, or in well-judged mixtures.
space forbids
our

enteringfurther
tin*

into this important

subject, but
since the

The

work

is the of

less to be

gretted, re-

colours

fully into quoted above, enters and practice of colouring.

Hundertpfund, the principles

76
character and of application

bLA.

as BLACK, considered and is symcolours, of certain specimens show that it represents darkness, bolical Analysis of evil, falsehood, and error, f consists of Carbon 88 parts and worn as BLACK, as a mortuary colour, Oxide of Iron 12 is authorised the most cient anmourning, by traditions. VIOLET was 100 thought so with small quantities of silica and alu. nearly allied to BLACK., that the Roman niina.* Church used them for the to By submitting plumbago indiscriminately action of fire it acquiresgreater firmness, and the same in days of mourning and one and a more brilliantcolour ; the same fond of dark fasting. J The ancients were lities quabe obtained by dippingit into and at funerals theywore or black, purple, may melted blacksulphur. In oil painting, nearly black. Among the Moors, black lead and of tones gives designatesgrief,despair,obscurity, very pure grey, which much In named used were peries, black, by Vandyke in his draBLAZONRY, constancy. "c. stancy sable, signifies prudence,wisdom, and conBLACK-LEAD in adversity and love. PENCILS factured manuare Engravers from it series of zontal horiin a a plumbago by usuallyrepresent pure state, and lines crossing when they are of the finest kind ; but the perpendicular continental black-lead Black with red produces each other. tan pencilsare sometimes made from colour ; with white, grey. plumbago dust mixed with black CHALK. BLACK An indurated argillaceous clay, and calcined in the crucibles. in but When used for made from air-tight drawing, clay, crayons and that artificial crayons prepared in France material LJ divided pure plumbago, slips Italyare used in preference. In France, from the solid into narrow by a saw, which slips schiste are black chalk is known placed in a groove on the by the names of cedar- wood : a dessiner, graphique. ampelite upper flatsurface of a piece if the GRAPHITE. of cient slips plumbago are not of suffiPLUMBAGO, BLACK-LEAD, is a known The substance to length,they are joined closely by this name each other; another form of carbon, but there is no piece of cedar is peculiar its name plies. then laid upon this, imand glued down, and lead in its composition, as the mass rounded for the hand. It is the material used for making Such is the value of obtained and is chiefly plumbago when of a very fine drawing-pencils, It is that it has fetched as high a price from Borrowdale, in Cumberland. quality 45s. a pound ; and " in some in various as also found, of inferior quality, years the net produce of the six weeks annual ing workof the mine land) Cumber* (at Borrowdale, This subject is ably treated by F. Portal, entitled Des Couleurs Symboliquet in his work amounted to "30,000 has, it is said, dans FAntiquite,le moyen age tt les tempt moMr. Brockedon or invented "40,000." f this of dernes,8vo. Paris, 1837. A translation an Inman, appeared in Weale's ingeniousplan by which the dust and work, by Mr. Quarterly Papert on Architecture, vol. vi. refuse of plumbago might be again consolidated of the middle illuminators sent t The ages repre"

its language.* parts of the world" in Scotland, Norway, the negation of United States, and Mexico. Spain, Ceylon,

"

black in Jesus Christ drapery when wrestling against the Spirit of Evil ; and the often has a black complexion Virgin Mary (symbolic of woe) in paintings of the twelfth

in

mass,
as

as

useful

and

effective

for all purposes

*

the

block. J original
for

century,

which the

pertainto Byzantine
vestments
were

Art.

See

the Art-Journal Ure's older

a

September,

1848.

%
used

"

Black for
are

not

office for in

the
in

dead the of
a

in

commonly antiquity
sixteenth

t Dr.
;

Dictionaryof Art, Manufacture*,

kinds of lead-pencilsappear
of lead tin ; and memorandum-books the
over

"c.

they

seldom
even

figured

earlier the funeral

or

nations, illumiis often

"

t The
have in been

to

century.

The
a

miniatures of celebrant

mixture

and

were

represented in Pugin.

coloured

cope

vestment."

early use for very vellum, "c., or for marking thereon of a design for the artist to go

of
line out-

with

78
sponge, moistened with

BLU. hot rectified oil of

as

the signification is derived violet,* then smoothing it from both primitives signate turpentine (camphine), ; thus violet will dewith a largesoft brush, ultimately the truth of love and the love of placing In BLAZONRY, the picture in a clear sunshine. truth. blue signifies tity, chasBLUE. One of the three and primary loyalty, fidelity, good reputation. be adequately Engravers represent it by horizontal lines. and the onlyone that can colours, CHARCOAL-BLACK. This ment. BLUE-BLACK, represented by a material pigthe purity pigment is prepared by calciningvineUltramarine approaches of the blue in the prismatic spectrum so twigs in close vessels. Mixed with WHITE that it be a it yields regardedas justly nearly LEAD, may very fine silvery GREYS, of blue are blue. The properties and may be considered in all respects an pure negative and cold ; when united with the eligible pigment. A JOHN. other primary colours it produces certain BLUEstained fluor-spar, it with with varied tints blue. It of rich is found yellow yields secondary colours; with in various shades of GREEN merous nuand tured manufacred, extensively Derbyshire, ; in
PUBPLE
or

VIOLET

hues.

Blue

into

small

vases

and

other

ments. orna-

is the

complementary colour to CHANGE. BLUNDERBUSS. In Medi"val A hand-gun, with was eminently Art, BLUE the AZURE and of was wide tion, (lightblue) bore, symbolic. clumsy construcvery mortality, imo f human divine eternity, making a very noisy report; hence symbol of came it is said to have received its German and, by a natural sequence, becolour.* As an angel's name, a mortuary donderbtick, thunder-gun, literally faith and fidelity is believed to be a from which our name ; as garment, it signifies the the dress worn desty, moVirgin Mary, by corruption.
f
worn

When

it is

one

of the

colours
mass

BLUE in oil and

PIGMENTS.
water

Those colour

employed

during

the celebration of the the

seasons

with (varying it

of the

church),

Those expiation. In BLUE VERcompound colours, are BLUE, COBALT, ULTRAMARINE, allied with RED or violet), DITER when purple blue). Of vegeor mountain (in (bice, table with YELLOW or (in green), imparts a blues,the only one of any value is of its PRUSSIAN own meaning BLUE symbolical INDIGO. ; portion may be said to thus purple(compoundedof blue and red, be derived from the animal kingdom, as it the indicates the bitter predominating) of prussiate from a mixture is prepared of blue in which from the love of truth; hyacinth, (obtained decomposition potash the truth of love. of blood,hoofs, signifies "c.),and an oxide of iron. predominates, the two colours are equally When and blended, The qualities uses of these blue pigments

humanity signifies

and

tained painting are obfrom the three kingdoms of nature. derived from the mineral kingdom

the symbolismof

will be described
*

under

the respective

As

we

see

in the persons biers On

custom

of
blue

covering the
cloth. with
more a

coffins of young in the

with

The blue

placesin
BLUE

this

dictionary.
A

Salisbury Breviary contains several miniatures,

which
appear covered

VERDITER.

pigment

ma-

factured from
from acid, copper whole with is

mortuary

cloth.

others, but

on one pall is red ; finally, which red, and the baldachin

seldom, only ia the pall

falque the cata-

pure copper which solution the oxide of caustic lime ; the

a

dissolved

in nitric

covers

by precipitated
upon

the colours, one over These two other, indicate divine love raising the soul to is the baldachin or immortality. The canopy were of heaven. emblem Ceilings of churches with powdered generally painted blue, and blue.
stars

being thrown
an

is mixed filter,

additional quantity of lime, by

to

represent the

canopy has

of heaven

over

"

Violet

was

considered

so

nearly allied
Church and the
"

the faithful. t The Virgin Mary

to

the

represented in a of of the mystic signification

tionally always been tradiblue mantle, on count acthis colour.

used
same

colour black, that the Roman them indiscriminately for one and the days of mourning on

fasting."

Pugin.

BOA" the green colour ia changed into the A cheaper kind is also blue of verditer. which

BOO.

"91

by

the

employment of
for the

water

as

vehicle of oil.

pigments
That

instead

preparedfrom
BOAR. In

the blue solution of copper Medieeval of Art this animal

left after the process of silver refining.

is emblematical

BOLDNESS.
which educated in

quality
artist

distinguishesthe
the

BODKIN

(Acus, Lai.)

and sensuality.who, soundest ferocity of Art, designs and In the figures principles of maidens in

highest
we see

executes

with When

fearlessness and decision. under proper

trol, con-

antique style,
the hair either

bound

it
a

to all his imparts

tions produc-

togetherat

the top of fastened with female

or

}the
in
a a

head knot

or

It

vigourthat is sure to charm. is exhibited in the highest degree

in the works of Rubens. with
a

behind The

bodkin.

BOLT.

An

arrow

broad

characters in the Greek

flattened

head, formerlyused
birds.

tragedies,
this simple head-dress.*
At

and

the

to knock

down

of Cybele, wore priests the

BOMBYLIOS.
necked

(Gr).A
of the

narrow-

present

pot for

perfumes, used by
and antiquity,

silver of Naples wear day, the peasant girls used The acus discriminalis was bodkins. for

the
so

nations

called from

dividingthe
A

hair into curls. of colour consistency This is

BODY. in

thick

by the flow of the generallyvery

and sometimes alabaster.

gurglingsound liquidfrom it. small,

of

caused It
was

painting.
BODY

made

COLOUR.
and

term

applied

BONE-BLACK RIS (PAA of sistence, conBLACK). pigment degree expresses intense of an black It and tingingpower. substance, in some although colour, slightly tinged implies, degree,opacity, there are body with red,preparedfrom pigments possessing many
in oil
to pigments or painting to their vehicles,

their

which

are

also transparent,as

in the blue.

case

the

bones

of

various in close

of Indian

yellowand
in

Prussian

In

animals

burned

water-colour executed

works are painting, body colours, when,

to the

said to be

free vessels, of

from It

the is

in contradistinction contact

air.

mode early

in tints and
on

washes, the and mixed thickly,

and very deep in tone ; when proceeding transparent, with mixed it yields laid beautiful pearly white, pigments are It is the with white,as in sold for pigment usually greys. of

from which which it differs very from this styleof IVORY-BLACK, painting, is met with in painting only differs in certain relations, little ; genuine ivory-black oil
commerce
*

under
BLACK.

the

name

of COLOGNE

and

Of

which all

many

examples
how the beautiful four far

are

still preserved,
ried car-

CASSEL BOOK. the the

showing

ancients
even

In

Mediaeval attribute

Art,
of the

book

is of

their Winckelman

love of the describes Portici

;

in trifles. large silver bodkins

universal

fathers
an

found
inches

at

the

largest is about
end
a

eight
ca-

and abbots, as church, biehops, of their

blem em-

long, having

at the

Corinthian

which stands Venus, dressing her upon Sital, air with both hands, while Cupid holds cular cira

learning. In

the hands

of

the the

and evangelists

it apostles

represents
t"

mirror

Cupid and
busts
Venus
;

Upon another stand Psyche embracing ; another has two

upon upon

before

her.

and

the
a

fourth

and

smallest

is

Gospel. St. Boniface carries with a sword. St. Stephen pierced

a

book

carries ment Testa-

leaning is copied from ordinary mode

the Roman

Our Cippus. engraving exhibits the Montfaucon, and of wearing these bodkins by

book, which
:

representsthe
hands
of and learning, the

Old

in

the

it St. Catherine,
same

ladies.

indicates her

vrhen

BOR" in the hands Thomas BORAX of

a

BOU.

of St. Bonaventura

and

St.

Aquinas.
(BORATE
OP

solution of this substance

SODA). A mixture withgum-traas

has gacanth in miniature

been recommended but painting, the borax

tion
vehicle of which of
a

"\". They consist ribs, of foliage, heads,armorial shields, "c.,and embrace of fanciful shapes. a great variety Our engraving representsa very beautiful

of the

with

doubtful

propriety, as, upon water holding the

of borax must the

of the evaporation in solution, crystals the surface of

be left on

ivory; these are would change many

and alkaline, slightly

vegetablepigments.
would
a

Perhaps
in white borax.

better vehicle

be found

lac dissolved in

hot solution

BORDER
limits
or

(BoRDURE, Fr.)
ornaments

That

the
a

extremities
a

thing. FRAME, of carved wood, sometimes

and The placed. frame is not

in

is picture, the

border
one

or gilt, painted

in the

ChapterHouse
about

of Oxford

dral, Cathe-

which of copper-gilt, on

is picture luxurious

executed

1250.* A manufacture

only a

BOTTCHEK-WARE.
of German

ornament, but it is necessary

which takes its name origin, and to figurethe the composition, in from its discoverer, who, 1704,produced red vessels devoid of glaze, and or opening through which the spectatorperceives brown sion which an illuthe painted objects, polishedby the lathe ; and, four years leads him to think are of perspective discovered the means of applyafterwards, ing is which the them black to the wall brown on a or riched enpicture varnish, beyond in imitation of with fixed not paintings, TAPESTRIES, painting or gilding, placed. also BORDERS, worked in the have by fire. be proportionate BOTJCHE. (Fr.) The pieceslopedout tapestry: as these must which in tapestry of the upper part of the shield in the fifteenth to the size of the picture, be sixteenth allow and mented ornat o are they may usuallyvery large, centuries, with the soldier's lance free motion, and not arabesques, masks, cameos, dained deprivethe bearer of its protection "c. The greatest paintershave not diswhen the this style of composition : facingan adversary. See cut to SHIELD. in the of the tapestries borders of many BOURDON. (Fr.) The tall walkingexecuted after Vatican staff used in the middle ages, were designsby by pilgrims Raffaelle. BOSS. The stud
or

scribe to circum-

and
ment ornaprojecting

to which

was

attached frequently

the the

or scrip

purse

and

water-bottle.

See

in placed them
was

the centre

of

shield.
a an came

sometimes

appended
be used for the
was

pike,which
Bional thrust
close

might
when

of the Saviour as a pilgrim representation in the article sharp TRINITY, who is represented oceaholding one.
to

To

soldier
common

BOURGUINOT.

A close helmet

of the with
a

quarters. This

to Scottish

fifteenth century (see HELMET),

beaver
to cover
use

shields ; and it is recorded of a Highlander that he at who fought Culloden, killed several of his
means.

the face. in the

So termed

from army.

its first

Burgundian

adversaries

by

this
of bronze and other metals were Bosses of the warriors the sword-belts to adorn also head-" of nails were of antiquity. The with ornamented sculptured bosses, as is *eei"
* on

BOSSES

are

ornaments projecting

used

used

in architecture in various
as

such situations, intersec-

to cover ceilings,

the

of points

the doors

of the Pantheon

at Borne.

BOW"

BRA.
arm

81

from the percussion of bow-string. in raisingand depressing BRACAE, in BRACCAE (ANAXTKIDES,Or.) it at pleasure. The term to the by the Romans applied BOW A of fence, dethe trousers Lett.) worn (AKCUS, by weapon Asiatics, Dacians, used from the most ancient times, and Teutones, but unknown to the two but also by classic nations even by the Asiatic nations, chiefly
were a

They

great improvement on

helmets,as turning the head, or

they allowed

vious prefree motion

of the bowman

the

in later times.
were

They
wide,

sometimes

sometimes

narrow

(thelatter being peculiar

to

warlike
as

people,such
and Persians), Amazons

the

rally gene-

of leather. The also

wore

them,

the

Medes,Lythem fastened

and Phrygians, dians,

Dacians, wore
wide under and

the foot.* Later,

wore

the Persians

sers, many-coloured troulet. generallyscar-

Towards of the second after

the end

century the Roman Christ,

worn

emperors
to have

appear them as
custom

mark

tion, of distinc-

Europeans. Among
and Parthians the
use

the
were

the former,
most
war

thians Scywere

The

of

wearing trousers,
was never

skilled in
;
as

though

of this

implement of

the Cretans among of the bow varied

the Greeks.

The

form

by many, the Romans among ; forbidden to be they were

town.
were

imitated

neral ge-

by

Hortensius in the that

worn

The earliest considerably. occur representations upon Egyptian of which is

We
ever

have
worn

no

evidence

they

by
are

the Greeks. Bracelets stillwith

were

one sculptures,

copied in Fig.

BRACELETS. and ancients,

with the

Scythiansand Farthians crescent-shaped (Fig.4) ; that nearly of the Greeks is more nearlythe type of Jie bow of modern times (Fig. 2). The
was

1 ; that of the

the

moderns,
were

symbol in generally
some

the

of the

marriage.
form bands of
a

They

were

round

serpent,and fastened by two

Roman with

bow the

is

seen we

in have

Fig
the

3.

Connected

bow,

held the arrows, and the contained both the bow and

which quiver, bow-case,which the

on arrows.

the

1"2. For Col. Trujana, Uv. See PIEANESI, Asiatic, see the representations of Paris, Ined MoPio. Clem. ii. 37. MILLTNOEH. Mu*.
"

num.,

and

numerous

other

authorities.

Our

They

are

met frequently

with
an

ancient

engraving represents a fine antique statue of a Gaulish captive,formerly in the Villa Borghese,
at

bas-reliefs. The Centaurs. BOW-BRACE.

bow

is

attribute of
the

Rome.

t The

earlier Romans

looked

on
"

them

with

Apollo,Cupid, Diana, Hercules, and

A

corering of bone,

of breeched the name and contempt, gave them. wore to the foreigners who barbarians" unmanly, and types of They considered them uncivilisation. Tue modern

English

word
name.

metal,or

the left leather,for protecting

breeches

curiously preserves their classic

BRA.

hsads,like serpsnte'
The found number of at Herculaneum

the

girdleof
and

warriors. bracelets show

The

golden and bronze

by
a

Michael

engraving represents Angelo.

In (Lat.) upper have for the

one

designed

Pompeii

BRACHIALE.
defence Some

that these ornaments, particularly those in the form of serpents, articles of luxury were among the females bracelets
are

ancient armour, part of the arm.

specimens
at
are

of ancient of two

times.

tique An-

been found which

kinds, armlets

Pompeii, beautifully
and here
one grave. en-

ornamented,*
of which
we

(LAITON, is Fr.,MESSING, Ger.~),

an

BRASS

alloyof

zinc,in

copper and various proportions, but usually sisting conof two-thirds

one

and upper lower of

true

the bracelets, and the Smaller

one on

worn

on

the
or

arm,
arm.

other

the wrist

According to the there in these proportions, variety

the known
as

copper, zinc.

and

-third

are

duced pro-

bracelets, generally
sometimes the
worn

gold,beautifully worked,and
were jewels, on

mosaic compounds gold, pinchbeck, prince's metal, "c.

set with

wrist.

Brass,as

well

as

bronze,has
various from is
a

been

sively extenmental orna-

Bracelets

have

also been found

like twisted

to applied purposes f LATTEN

useful and

but the bands, resembling the TORQUE; of variety pattern adopted was very great. These ornaments
were

the remotest
name

quity, anti-

not
we

worn

sively excluBrass

to tTiin sheets of rolled

formerlyapplied sively extenbrass,

BRASSES.

man

by women, consuls wore

to

for

find that the Eo-

employed for
beaten into very thin leaves is called GOLD, DUTCH

monumental

bracelets in

processions ; they were

emperors

triumphal presented by the

distinguished

soldiers who

themselves (ARMJXLE). The ankles had similar DUTCH

ornaments, thence

called ANKLETS.*

or

BRACKET.
from
a

A BRASSARTS in
mour, -arplate are

support suspended
or

attached

to

wall,for the pose purof supporting

the which

pieces

statuettes, vases,

lamps, clocks,"c.
The skill of the artist has been quently fre-

the per upprotect of part the

arms, ing connect-

the

shoulwith

employed
upon this which of
ment, orna*

der-pieces
the elbows.
find this term
a

Demi-bras-

We

is susceptible

to the Latin

panion only in Mr. Rich's ComDictionary and Greek Lexicon

we on

great
form

(London, 1849) ;
indebted
minute

elegance

of

in some we ; and

work to which of our articles

have been classic antiquities

gladly bear

and embellishment.
The cut represents an Egyptian bracelet in Wilkinson the form of a serpent, from ; and a t raeelet of a Roman kind.
*

and ample detail, and with which that work

all
matters

testimony to the curacy, pains-taking acis executed.

At to
cient an-

an

authority in
Art

relating

simple

See

it is invaluable to the artist. Muller's Ancient Art and Hi Remains.

BEA.
sarts

covered

the

front

of the

arm

only,
arm, also
ram

the the greaves protected as covering of the legs. The

from

front of the lower

the

inferior to those of any other class during executed. period when they were the

Hence the

great value
of these the
most

to

the

artist of

the

elbow

to

the

termed variously and braces, rere-brace. of portion then The

armour

avant

wrist, was bras,vant or

was

study
form

remains. interesting authentic

source

They

of

the brassart ancient

was

termed for this

information

for the details of armour, which

clesiastical ec-

term

vestments, "c., during a period

of in nearlyfour centuries, details
are

BHACHIALE.

the
most

BRASSES.
one

Monumental classes of

brasses

form

minutest

given

with

of the three
extant

in

of
or

engraved or
a

gies effisepulchral scrupulous accuracy.* Brasses were probably consist introduced into this country from country; they incised metal plates now remaining are ; brass, Flanders, and many this known
to be the work

gimilar

(from the
metal

compound called LATTEN the French Laiton,brass) , being

of Flemish

artists,

These metal used for the purpose. embedded in stone inlaid were or plates which "labs, of the formed

such as are engravedon one particularly in contradiction to entire square plate, such and
as are

cut

church, or
or

part of the elevated were

pavement
on

inserted in

shape of the effigy cesses grooved recorresponding

to the stones

altar incised

in the monumental

latter (the The

tombs,
lines in

affixed to the wall.

The

being the

commonest

form).

King's
series

the person of the deceased depicted tary, milicostume religious, appropriate

"

Lynn

brasses in Cotman's be cited

as

Norfolk

and
or

lian; civiin lieu

crosses or cred saor

may late instance

the finest church

examples.
of St.

of

this,

Mary tured Key, Ipswich. Brass was first manufacto in this country in 1639, previous
is in the which all
was brass-plate

ornamented with foliated, emblems

panied devices, accom-

importedfrom
The
rial mate-

Germany
in

and the Netherlands.

used for monumental

brasses is termed,

in either
case

mediaeval documents, cullen plate, plate.f The Cologne probably signifying incised resinous lines
were

with

rial armo-

filled up
as

with mastic

black
or

and bearings

substance,such

tumen bi-

tions, quaint inscripistic characterple of the simand

earnest
our cestors. an-

coarse

; and the field or enamel of various

backgroundwith
colours. The France brasses

many and

revolutionarychanges in
on

the Continent

have
own

made

piety of
were

They
used of

very rare the most

there,our
curious and world
a

by

all

series in the

possessing the largest infinitely probably ; they were

economising the churches,which the
of and

land

ranks and

society, adoptedwith
space in the
responding too corriety va-

view of

ly consequent-

area

depicta

greatuse
"

of altar-tombs
of brasses
for

sculptured
rities authobroiderers, emon a

of costume. It
to estimate too

"

Rubbings
and

are

excellent

is

impossible
as
temporary con-

highlytheir
as

value

glass painters and the whole effect being produced flat surface by beautiful outline." Puyin.
models
"

of our representations their minute dress and truthfulness of all

are

ancestry ;

t The

Flemish

brass

in the

Museum

of Economic
"

armour

valuable.
merits
as

Nor

works

of

for authority most is periods they without their no way art,certainly

Geology yielded, upon Copper

. .

analysis
.

64.00 29.50
3.50

Zinc

....

Lead Tin

....

3.00 100.

BEE"
Monuments

BED.
deur."
*

encumbered.

Examples

exist

When

work

offersthese

results,

datingfrom
many date. revived
were

the year 1277 to 1631. destroyedduring the of brasses has

Very
Civil

' broad touch,' we say it has breadth; and ' broad pencil,' terms are appliedto this

"Wars,includingperhapssome
The with
use

of earlier been lately

manner

of

working,

when

the

touches

and

strokes of the

pencilproduce breadth

hoped
form

In a similar sense, in great success, and it is to be ofeffect. But that this elegant and appropriate we say, 'a broad burin.'

of memorial

use. general

again may Our absurd modern

in
an

come

into

work
we

of

engraving, although a is susceptible of breadth, sculpture

a

costume,

however,
view. The

will

greatlymilitate
artistic and few

against

do not say ' BREAST-PLATE.

broad

chisel.' A defence for the

their excellence grace

a

point of

breast.

See AKMOUK.

expressedby
brasses may of executed
one

beauty frequently simple lines in old

our

BRECCIA.
stones

An Italian

name

for those

which

consist of hard of

angular

or

be well illustrated in in Wimbish 1350." This

term

graving en-

rounded

fragments

different of

mineral

Church,Essex,
is

bodies,united
which

by

kind

cement, of
an

about

the so-called

is pudding-stone The ancients

BREADTH.
in the kind of

employed

example,which
cemented

consists of flint

detritus,
used

language of Art grandeur which

that to express results from the of the mode

by quartz.

breccia both in architecture and the

arts.

and arrangements of objects, of

Porphyry breccia, or
one

plastic Egyptian
rieties vaa

In proceedingin delineatingthem. both to design and it is applied painting

to
: colouring

is breccia,

of the

most

beautiful which

of this

of material,

fine

it conveys the idea of simple pillar Pio Cleis contained in the Museo plicity multifree from too of breccia a mcntino. varieties great exist, arrangement, Many which the lights which of details, be found following fullydescribed in may the and shades work Sir George Head's very interesting spread themselves over

prominent parts, without

with attention of the each

dazzlingor other, so that

is breadth

terfering inRome. on the and

BRIGANDINE

ARMOUR.

Quilted
but with

and kept fixed, the result of

aro-oscuro.

Gambesonrf of small plates of of effect,the additional protection the pads. They were colouringand chiiron secured among judicious
like the older jackets there in is painting, limited
a a

spectator is arrested

"Breadth denotes

used chiefly them the

by archers,and
without Stout
from the

protected
deranging
paper for its

term
ness.

which Its

largeness, space,
not

vast-

against arrows

is operation

by

of their motions. flexibility

small Finish
secure mere

canvas, or does not it.

It

PAPER. by largeone. BRISTOL or negligence drawing, so named preclude, a manufacture. original very seldom accompanies extended few and it. Its limited BRISTOL BOARD

placeof

though some outline,

colour and

in outline admit subjects

promoters are in which,when

by pasting and greatest sheets of drawing-paper together, chiaro-oscuro, submittingthem to the action of a powerful
ment, manage-

is formed

under consummate

it revels in its full power

"

and

granlent excel-

nesses, of various thickIt is made press. water or and us"d either for pencil colour

work of Messrs. titled, Waller, enBrasses, extending of Monumental I. to that of Elizabeth, from the time of Edward for the folio (London, 1849). Also, A Manual Brasses, with a Descriptive Study of Monumental Rubbings" in the possessionof Catalogue of 450 the Oxford Architectural Society, 8vo. (Oxford, by subject, 184S) ; and the works on the same (be liev. C. Boutell (London. 1847 and 1850).
accurate A

The and

artist should
Series

consult

the

very

drawing, or drawings.
BROKEN

as

mount

for such

COLOURS.
colours
or

This

term

is

employed to describe
the
"

mixture
J. B.

of
"

one

more

produced by pigments.

"

of Pictorial The Nomenclature Pyne on Art," in the Art Union, 1843, p. 213.
cut to that

"f See

word.

86 both in ancient and mediasval times

UKO"
as a

BRU. BROWN RED. This

pigment

is found

sign of awurning ; regardedas a compound it is the symbol of red and black,BISTRE, of all evil deeds and of treason. By the of a was represented Typhon Egpytians, red mixed with rather of red colour, or black ; everything in nature of a brown
colour ancient
was

but the greaterpart of that used IB native, cined, from yellow ochre calis made painting the upon
rouge

the

of brightness purityof the called burnt

BROWN RED

the red ochre.

dependiLg
The brun

of the French

is burnt

Roman

ochre,
A

sometimes very fine

Italian earth. is obtained

consecrated

to

Typhon.

In the

by

cining cal-

the Passion sulphateof iron, which becomes picturesrepresenting the action as quently more freof Jesus Christ,the personages are or less violet according less Several of the fire has been or brown. prolonged ; more religious depicted are reds the reds or violet so orders adopt this colour in their costume, prepared "With the reds. The reddest of these known as MARS as the symbol of renunciation. bility, of its duraemblematic of every evil. is not onlyvaluable on account Moors, it was tian Tradition assigns red hair to Judas. Chrisbut also for the fine CARNATIONS the colour of with white. which it yields when mixed symbolism appropriates the dead leaf for the type of spiritual A pigment BRUNSWICK GREEN. death ; the blue, which the celestial colour, in colour resembling used in oil painting, is evaporated they become of tho and consisting MOUNTAIN gives them life, GREEN,
"

of "dead BROWN opaque

to Roman

dark

yellow,hence

the

term

carbonate

leaf."* OCHRE. A strong dark similar

earth.

of the oxide of copper Real Brunswick

and

careous calis

green

low yel-

pigment, very

in tone

ing basic chloride of copper, prepared by actwith sal-ammoniac. on copper

ochre ; it is found native in various well mixes i a and countries, durable, greens, and red in the carnations. blue in

BRUSHES.
of single small bristles of

Paintingbrushes
bundles of the various

are

made
or

hair

with

Prussian

making

with brown BROWN which

PIGMENTS
the three

are

those
meet

in in

primary colours
in

animals, fastened to from fifteen to sixteen round wooden sticks, inches in length, by being bound with in a quill, in a or thread,and fixed tightly
ferrule of tin ; the latter is always used have a the Jlat brushes, which to secure continuous
a

red unequal proportions,

excess. being They are mostlyderived from the mineral kingdom, the earths being used in the raw burned or state, but chieflythe latter.

line of

hair,produced by
must

ranging ara

series of bundles round brushes

of hair in be

The

and principal

most

useful of them

are

row.

The

conical,

umber, terra di sienna, making a real point,and must never asphaltum,bistre, be Cassel Mars brown, earth, Cappagh brown, cut with the scissors, but should terminate brown madder, and burnt terra verde. ends of the hair. with the natural weak BROWN PINK. A vegetable yellow In the first the pigments would flow case, the by precipitating pigment, prepared streaky; in the second, the brushes lose berries upon a matter of French colouring and the pigments never their elasticity, white earth, such as chalk. It forms one flow readily.Brushes vary from the ske " of the class of pigments known as yellow of a common to an inch or knitting-needle lakes,"called by the French stil de grain. more the small in diameter, ones being of Brown pink is used both in oil and waterthe finest hair.* They must be cleaned colour painting, but it is by no means an immediatelyupon ceasing to paint; and eligible pigment. In oil paintingits place the readiest way to clean them is to squeeze is best supplied by MUMMY mixed with other pigments. * Some valuable the choice, observation* on
preparation, and
"

Seo

PorUl'l

Eua\

tur

Itt Coulevri

Symbo-

be
L.

found

in

The

of brushes will employment Art of Painting RtMortd, by

Uundertpfund.

London,

1849.

BUC"
out all the

BUF.

87

pigment between
then

the folds of

BUCCULA.
of the helmet

pieceof

rag, and

camphine,wiping them

rincing them in dry upon a piece

(Lai.) The cheek-piece the sides of which protected

If the pigmentshave of clean oiled rag. they been suffered to dry upon the brushes,
are

if allowed softened by camphine, easily

a

to lie in it for

reasonable time.

BUCCINA.
a

(Lut.)

ment, musical instru-

kind of horn

trumpet, originally
It
was

made

of the shell buccinum.

most

the face ; it was furnished with hinges, by rendered which it was capableof being

commonly used by watchmen

and entertainments, instrument
seen

; also at festive

at funerals.

It is the

lifted up or down BUCENTAUR.

state

at will.*

The

name

in the hands

of Tritons.

in which galley,

the

given to the doge and senate

of Venice ancient

In espouse the sea. mythology,the bucentaur was a

went to
man

were

no frequently

more

than in
use

ameter foot in diwere

; and
at the

when

not

hung

monster, half
BUCKLER.
held

and half The small

ox.

CENTAUR. shield used

girdle.
ornaments

round

BUCRANIA

by

handle
to

in the ward

centre, and
a

tured SculpOX-SKULLS) (Lat., representing OX-SKULLS,

.

by

swordsmen

blow.

They

which,

with

wreaths

of flowers

or

other

arabesque-like ornaments,
to adorn

were

employed
was

BUFFET.

sideboard used
the the ancient

for the buffet the

the ZOPHORUS, of the or FRIEZE entablature in the Ionic and Corinthian orders of architecture. been
to ornament

displayof
so

and plate,

disposed that

panelsof

They

have

sionally occa-

employed, very improperly,

Christian

temples.

with helmet " The Etruscan cut exhibits an neath, beand a Roman one the cheek-piece uplifted, of wearing it. with the ordinary mode

BUH" upper hold

BUR.

part concealed drawers,which

smaller

in small
as
a

napkins,or the lower cupboards, stand for the large brazen

articles of

BULLA. might (Lot.) A. stud of metal emswordthe ancients to adorn plate, ployed by part serving belts, girdles,shields,
or

ware stone-

"c.

An

ornament

worn

of by the children families Roman wealthy the suspended from in our neck, as shown engraving. They were quently made of geld, and fredecorated
an

with

ornamental sometimes emblem

pattern,
with
a

and

figureor
the
"

to avert

the influence of

to be eye," which was supposed counteracted by such charm. BUR. A slightridge of metal raised the edges of a line either engraved by on is the burin,or the dry-point,and which removed by a scraper, as it retains superfluous and has the ink in printinga plate, Some etchers have, effect of a smear. which used for wine, were flagons, however, preservedthis adventitious aid have to their shadows, and seen judiciously They are constantly beer,or water. much in ancient drawings, and displayed managed to obtain the effect of a ground tint to their deep shadows variety of taste in design and execution. by this means. Our engraving representsa German buffet Rembrandt very constantlyadopted this about the date of 1480, which stands amples plan,and his etchingscontain the best exabout four feet in height. of this practice. An BUHL. Ornamental instrument work for furniture, BURIN, or GRAVER. which takes its name from the inventor, of tempered steel, used for engraving on Andre1 Charles Buhl (or Boule),and which It is of a prismatic form, having copper. was end attached to a short wooden extensively patronized by Louis XIV. handle, one It consisted of piercing and inlayingmetal to so as and the other ground off obliquely, with tortoise-shell or enamel, or with metals of another colour, producing a

evil

most

sumptuous

effect

on

the

surface

of

and was furniture, appliedto tables, desks, articles work-boxes, and the ornamental produce a sharp point. In working, the of the toilette, "c., its sumptuous effect burin is held in the palm of the hand, and the exactly suiting magnificenceof taste pushed forward so as to cut a portion of The the the court of Versailles. expressions brilliant indulgedby times Somecopper. the tortoise-shell formed the ground burin,softburin,are used to characterise and the metal the enamel. of a master. the style This costly work continued in vogue in France until the revolution. Its inventor died in 1732,at the He held the officialsituation and BURNISHER.
A

steel instrument

used

by

steel and

copper engravers

to soften the

ftge of 90.

of

litreduEoi; Tapissieren his for many

After his death carried

on

manufactory was
years

by his family.

effect of

harsh

line,or

remove

it alto-

BUR"

BYS. the flat-soled shoe, worn and used both

to terms
are

8?

gether by
centre

friction.

section

of
an

the

by comedians,"c.

of this tool will oval.

produce

gated elon-

to prove

engravers it is used the first take impressionof) (or

By

wood

express tragicand comic

the ma. drain

clesiastical ec-

their

cuts

by hand,
lines
; a

for which
on

of India-paper is laid piece

purpose the surface

are

BUSKINS,
are

costume,
of precious made of cloth of or stuff, gold ; worn on the legs ciating, offiby bishopswhen and by kings , their at coronation, and and
on

of the

raised

engraved, which
card is laid
over

inked previously paper ; and

over

the

then

the

nisher friction of the burink

an
on

paper, and the state of his work. BURNT of very PAPER

all,depositsthe gives the engraver

the

idea of

confounded, they are quitedistinct. BURNT SIENNA. This pigment is BUST (!L BUSTO, Ital.) In sculpture, the raw to the is the representation Terra di Sienna submitted of that portion of the converted action of fire, it is which which human the figure by comprises upper into a fine orange-redcolour, transparent, part of the body,including the head, neck, gible shoulders, breast, and truncated permanent, and in every respect an eliarms, above the elbow. The extent of the body pigment, both in oil and waterIt mixes well with other colour painting. sometimes the represented varies, including dries works and the Busts to trunk are pigments, quickly. freely, hips. supportedon With Prussian blue it yieldsexcellent which sometimes take the form pedestals, deepen in
colour like
some

a black pigment yields is said not to a nd good quality,

other

solemn
have

occasions.

Buskins

sandals

often been

other blacks.

but

GREENS.

of TERRA
warm

square

BURNT of
a

VERDE. brown

pigment
used

BUSTUM.
was

prop or The

column.
where place the

See HERMA. the funeral

burnt pile the Romans. Strabo that describes in by ments, pigby has the Rome It for the shadow of flesh. Campus Martius,at (dedicated formed of to Augustus and his family) been called Verona brown. as white stone, surrounded by an iron railing, The earth UMBER, BURNT UMBER. inside which of poplars. Th" is but little used was a row which, in its raw state, word is sometimes when in painting, burnt,a very eligible used, in erroneously is, fine much colour, with deceased the mixed Italians, other

and erected,

pigment
and other

of

russet-brown

colour.

It is

describingworks
BUTTRESS.
to

of Art, for the A

funeral

itself. dries well, pile permanent, semi-transparent,

mixes, without pigments.

with decomposition, A

of masonry projecting piece which support wall, probably

a

BUSKIN
of

(COTHURNUS, Lai.)

kind

in originated BYSSUS the which

to

the classic PILASTER. is understood beards

boot, or covering for the leg,of great antiquity.It was part of the costume of actors in tragedy; it is worn by Diana, in representations of that goddess, as part
of

(GV.) By this term hairyand thread-like

kinds
:

by

the

many rocks

of sea-shells Pinna is

adhere

the

the

costume

of hunters.

In

for antique distinguished

the

length

particularly and silvery

fineness of its beard,of which the Sicilians ornamented.* representedtastefully and Calabrians make laced in front it fitted Being very durable cloth, and the t o The buskin was gloves, stockings. The ancients were worn tightly leg. this production of the and the sock (soccus), acquaintedwith by Roman tragedians Pinna cloth of it : * marina^ and wove marbles it is
*

Our

cut

represent*
of

very

beautiful in the

one,
*

from the -Museum.

statue

Hadrian,

British

Putin's
and

Glossary

of Ecdaiattical

aunt

Costunu.

90

BYZ" it also used

as

C-EL. but which this latter possesses many qualities the geit to supersede will cause nuine

and the
term

was

an

ornament

for this

hair.
a

They also included vegetable productionprepared

to be

under

Naplesyellow.
CADUCEUS
which The staff of the

from

the fibres of certain

by

some

considered plants, others linen,and cotton, by in ; most of the when examined not all), (if

Mercury
power
*r\.

or

used

to wrap

mummies

mummy-cloths under the microscope, prove to be of linen cloth. Yet, notwithstandingthis kind of scholars insist eminent testimony,many
that both and priests,
were

Hermes, gave fly. It was given to him for having as a reward Apollo,
assisted him
was

god by

to

to

invent
a

the

lyre.
cast

It

then

winged

Hermes but,in Arcadia, staff; it among around

the

garments

of the

Egyptian
the
mies mum-

serpents, who
twined and it, this selves thembecame

the cloths in which

immediately
quiet.
was

wrapped,

consisted of cotton

or

(theproductof the Gossypium herbaeeum, Gr. arboreum). But it is certain that

the
term
BYSsrs

After
as a

event, it

under

the

ancients

herald of peace. included It possessed the power of bestowing of the and riches, happiness healing the sick,raising dead, and conjuring rits spifrom the the lower world. On emperors, silver coins of the Roman

used

different materials and

as

such fabrics, both cotton

the

one

described

above,and
A

and

linen. ART. rative styleof decoafter

BYZANTINE Art the

seat

by patronised
of

the Romans

East.

removed to the the CADUCETJS was given to Mars, who empire was boration of Oriental elaholds it in the left hand, and the It is an engraftraent Bpear in ing to show how peace succeeds war. the right, of detail upon classic forms,endof the is the prototype tecture archiByzantine Norman early

in their debasement.

OELATURA.
also and

(Lat.)

The

art

called

by

the Romans
to

or

Saxon

style.
An ornamental

used

or seulptura, chasing, in designate "raised work"

CABINET. for
or jewels

receptacle
for writing

Art.

It derives

its

name

from

the

tool

articles of vertu, or
a

materials ; also

small

privateapartment.
A

in the process. CJELATUEA the to Grecian term toreutice, corresponds

(calum)used
from

derived

which toros, work.

to

in its true

sense

CABINET-PICTURE.
small and

means pictureof a finished a character, generally

only raised

Quintillian expressly

suitable to

small

room,

and

for close

inspection.
CABLE-MOULDINGS.
Wreathed

mouldings
CADMIUM

in

resembling the architecture,

a

twisted strands of
from prepared

rope. This

pigment the punch,called by the Romans excudere. sulphuret of cadmium. finished by toIt is of an intense yellow colour, possessing Embossings were probably of which Phidias is called the inmuch to ventor. reutiee, body, and, as there is no reason The colossal be statues doubt its permanency, of regardedas gold and may addition to the palette.Mixed a valuable by him and by Polycletus ivory made valuable it yields with white-lead, to sculpture belong partly many by the ivoryto toreutic art from the tints. Much of the NAPLES YELLOW now work, and partly the sulphuret of sold is prepared from gold-work, the embossing of which was
is the cadmium mixed with white-lead. Genuine which essential to their the
statue
as also character,

YELLOW.

metal,while he and wood, ivory, marble, glass, stones as materials for engraving precious the artist's favourite (seulptura).Silver was and even metal,but gold,bronze, embossed. connected iron, were Closely that of stamping with with this art was
mentions

limits this term

to castings:

Naples yellow is of a greenishhue, it from the substitute, embossed. readily distinguishes

of Minerva

was

richly

Besides Phidias and

Polycletus.

CAI"

CAL.

91

at night,and also by day in the house ; it Mentor, are mentioned called by the Romans was and as reticulwn, great toreutic artists. Arms, armour, is to be seen in many adorned in this manner of the pictures at ;* other "c., were and other drinking Herculaneum such as goblets and Pompeii (Fig. 2) ; in articles, also embossed, partly with the last they are made of gold thread. were cups, with also in made of silk or figures They were alto-relievo, figures ; of the costly clear also the Elian naments or: dishes, common terial. mastanding quite BYSSUS, and of a more In the thick caps, the hair hang* of which were set in as etnklemts, riages on Carcrustce. the neck in a bag ; these were fastened slightly as on or nated desig-

Myron, Mys,

and

were

ornamented
even

not

only

with
bossings. em-

by
is meant
not

the Eomans

as

MITBJB,

by

which

bronze,but
such
were
as

with

silver and of

Other

articles of

discs tripods,

gold furniture, candelabra,"c.,

With
this toreu-

or calvatica. This does calantica,

imply merely the Phrygian covering

head, for
the mitra
or

for the

mitella

was

thus ornamented.

or embossing,must not be confounded tice, much pracvarieties of these caps are of the art empaistike, inlaying, tised ancient vases; sometimes by the nations of antiquity. sometimes A heap of stones of a pyramidal plain material, CAIRN.

also called graga by the ancients, by which is meant the true Hellenic cap. Many
to be
seen
are

they

upon of a
a

having

tern, patpart

form

placed

over a a

for friends to add

at every custom
as visit,

grave. small stone

It

was

usual

and

sometimes either open

or checked; striped

to the

heap

they are

behind, so
it
covers

that

of testimony

stillused in

; a respect and Ireland, Scotland,

of the hair

hangs out, or

onlytwo

sides of the head.* CALATHUS

the North. CAISSON. which form sunk brick

(Fr.)
and
stone

sort of tank work

water.

in

siLLvs

is

sunk, to
Also the

baskets wool

(6frJ,QUALUS, or QUA(Lai.) The ancient term for the in which the spinners kept their

foundations

under

panelof

CALAMUS.

ceiling. (Lett.)The

reed pen used RE-

also called and their work ; it was made of wicker-work, and was TALARUS, with a wide openingat top, at and pointed

by the ancients.
CALANTICA K.RYPHALOS,
worn Known

bottom.

(CALVATICA, Zat.,
Gr.)
A in kind ancient

of head-dress

in many represented in TISCHBEIN'S monuments, particularly is placed Vases (T.10), where a CALATHTJS
on

"We find it

by

women

times, and
; there
were

each
were

side of the

chair. in

very

earlyin Greece

They

also imitated is

metal, as

len's proved by Hesilver calathus, in the The

CALATHUS

Odyssey.
was
a

symbol
and

of maidenhood,
sense was

in this

as employed by artists,
seen

is

in the the

among

Achilles representing daughtersof Lycomedes. Other

us

reliefs

antiquesshow
used for many "c. flowers,
two

that these baskets

were

for purposes at the toilette, The CALATHUS also appears

The

1). bags (Fig. kinds,nets and cap-like net worn Grecian kekryphaloswas a
Marfigures In the " Aldobrandini caps shaped like bags : the cap worn and even by the Egyptian gods, kings, priests, is called that of the Sphynx, CALANTICA. a
"

Two

riage" wear
* As, for example, the fragments of giltbronze found in 1820 at Lucania, representing two supposed to groups of conquered Amazons,

Vide

BOTTIGER,

Archaeol.
a

der

Malerei.

8e"

be the

breast-

flaps of

coat

of mail.

Fig. 1, copied from

paintingat Thebes.

CAL.
in

the basket-like

form

of the

of capitals

by hand
on

or

else by from

engraved copper-plates
cloth surface

Corinthian

pillars.
A hard siliceous stone

the

face of

the cylinders, their

CALCEDONT.
used in gem

impressed
over a

being by passing
loured codinary or-

CALCEUS.
boot used

engraving. (Lat.) A
the Greeks

cushioned the

in cylinder

close contact receives

as an

shoe

or

short
as a

with

engraving, which
same

by

and

Romans

inks in the

manner

supplied walking ; book-plate. of another from a trough by the movement tradistinction being used in conmoved reto sandals or wheel, and any superfluousquantity and corresponding slippers, by a wiper,forming a part of the shoes ; they to the modern ingeniousmachinery which thus entirely and colour, prints the cloth submitted to its action, varied in form other aid than without according to the office or machinery will whose rank was give. dignity of the wearer, known CALIGA. by them ; the senators by occasionally (Lat.) The shoe worn them like who The soldiers of the ranks. wore the Roman in particular, high, buskins,fastened with black thongs,and
coveringto
protectthe feet while
the term The colour is decorated with of
a

crescent.

They

were

quently fremost

costly materials, and

The leather was dyed richlydecorated. and the patterns upon of various colours, them heightened with gold and jewels ; and the Emperor Heliogabalusis recorded to have worn costlyand beautiful cameos beautiful pair in his shoes. An extremely
was

found

in

stone

at sarcophagus,

in Kent, in 1802. They were Southfleet, reticulated in of fine purple leather, made the form of hexagons all over, and each hexagonal division worked with gold,in an elaborate various and beautiful
manner.

officerswore and

the calceus. It and

was

very

strong
nails, hob-

heavy,
to

thicklystudded
in

with

assist them

tresses, scalinglull for-

For the

by the coveringsfor the feet worn the terms CALIGA, COTHERsee ancients, SocKVS, CREPIDA, PEKO, SANDALIUM,
crs, SOLEA.

foothold.* give them surer A hand-gun of the time CAIIVER. of Elizabeth; probablya corruption of it being bored to a certain size. calibre, and

CALOTYPE.
invented saturated

A Mr.

photographic process,
Talbot.
of

by

Fox

CALCINATION
in the action of the
as

differs from fire being

a are

with
over

iodide

BURNING

Paper is potassium, and

prolonged ;

bones

heated

in

covered termed

vessel until burnt

with nitrate of silver ; an is iodide of silver is thus formed, which then washed rendered sensitive to
a

they become
and but with

exceedingly bones, with washed over constitute ivory-black, or bone-black; being of and nitrate acid gallic the further operation of heat when,
black

light, by
of
A

mixture

by

contact

of

they are termed old painters used

CALICO

calcined
as a

air,they become white, which the bones,

DRYER.

short
serves

exposure
to

in

the

very camera-obscura

silver.

image
A mode

which

PRINTING. ornamental

designs by

on

by means having
of which

of wooden

blocks cut in

calico, or relief,
of

nitrate of impressing the hyposulphite of soda. CALPIS.

impressthis paper with a reflected is developed by the galloof silver ; the picture is fixed with

the pattern formed copper dipped in

raised lines surface

*

terised charac(Gr.) A water-jar, two at tha by having three handles,

cut

flattened
is

wire, the
and Colour,

The

represents

one

found
with

in London,

impressed

The

sole is

thickly covered

nmilg.

CAM.
on

the stone
was

was

nut

to be

used the

it

cut
was

in

and relief,

as a seal, variegated

tion generallyselected. Great attencolours of was paid to the different ance, but is imitated rather than rivalled the strata of the stone, so that the objects by cuttingin shells.* strument stood out lightfrom a dark ground. Some CAMERA-LUCIDA. An ingeniousininvented of the CAMEOS preservedto us are wonders by Dr. Woollaston,for of beauty and technical perfection, quainted unacshowing the purpose of enabling any one with the art of drawing to delithe high degreeof Art to which the Grecian neate the rious luxunatural attained under h ad with "c., objects, lapidaries great the Great. It consists of a glassprism oi of Alexander successors accuracy. four irregular The finest specimen now on a brass existingis the sides,mounted brass tubes, Gonzaga cameo, formerly at Malmaison, frame, supportedby telescopic

onyx

again in Italyin recent times has become productionof cameos an art-manufacture of considerable import
forward The

now

in the

collection imperial "Winkelman

St.
cameo

Petersburgh.
in such

of gems at notices a and meda, Androall

with
vex

an

furnished eye-piece

with

cou-

Perseus representing of the

the contour

high the figures (in

that almost relief,

most

lens, through which the paper and the point of the pencilare seen, and the image traced ; on account of its simplicity
and the portability which the instrument An of is valuable.

cate deli-

white) is detached from the ground ; belonged to the painter Mengs, at whose death it was purchased by the Empress Catherine of Kussia, for 3,000 Itoman The crowns. only other gem this author rank is the is disposed class in the same to " Judgment of Paris," in the cabinet of Prince Piombino, at Rome. The most celebrated this in is the of art England gem " famous Cupid and Psyche," in the Marlcollection. borough Among the remains of the ancient art of stone-cutting, the gems of the difin ferent account cut on relief, called,
it of layers
more

CAMERA-OBSCURA.

apparatus
thrown
upon
a

by

images
forms

are objects

in their proper light surface.

room or

and

colours
a

It consists of with
a

darkened

lens, admitted; at the proper focus is placed a screen of or other material, ground-glass upon which the external tended image falls. A very exof this instrument has application arisen since the discoveryof the art of
convex

box furnished which the

through

light is

PHOTOGRAPHY.
CAMPANILE. bells constructed attached
to

stone, CAMEI,

are

rarer

and

beside

(ltd.) A tower a church, but

sometimes
not
most

for
not

valuable work in

than

those cut in

INTAGLIO.

it ; and

at all
mon coma sive mas-

The

stones precious
or

connected is either depressed

SCULPcameo.

therewith.

They
Venice

are

TUBA, The impression is the main former adorn. ; the For chief aim the former

INTAGLIO, in Pliny, came-huia, camayeu,

raised

ECTYPA

in the Italian states. square

There

is

example at
with

objectof

the

of the latter is to
were

square ; one tower,decorated

in the great of a round at Pisa,consisting columns and arcades

gree employed to the summit, and celebrated for the dein which it leans from and the perpencolour, dicular. Others are at Bologna, Padua, and preand clouded, euch as were spotted cious "c. There the for was Ravenna, one latter,variegated formerly atones; Cathedral attached and to the such as Salisbury ; and there stones, onyxes, cornelians, is another at Evesham, and Elstow, Bedfordshire. similar kinds of stones, which Oriental and the African commerce ancients, brought to CAMPESTRE. unknown and now of surprising beauty and (lat.) A short garment fastened about the loins, in the and extendmentioned ing not size.* CAMEOS are from thence down the legs, of Mediaeval Art; they were brought history nearlyto

transparent stones

of uniform

Muller.

Ancitnt

Art

and

itt Ranaint.

"

See

SHKLL-OAMBO.

CAM-CAN.
the knees, alter the It
was

manner

of the kilt.

and

were palaces,

of

marble, with
fastened

ments orna-

worn

by

the Roman

youths when
Museum

in

and relief, There

are

were

to the

they

exercised

in

also by publicplaces,

ground.

several specimensin the

at

Clementinum

Borne.

These

large candelabras were the carving showing to what god they were dedicated : theywere also given then made of finer and were as offerings, metals, and even stones. of precious
Candelabra
also made
were

cense, also altars of in-

of baked

earth, but
were

they
gantly ele-

of mostly

wrought
bronze.
sisted They con-

of

three 1. the

parts :
3. the the which
was

"

feet; 2. the
tray
the

shaft; with plinth,

upon

lamp

base

placed. The consisted generally

of three mals' animented orna-

soldiers and when hot weather the tunic.*

for the sake of decency gladiators and sometimes exercising, beneath the toga in

feet,
The shaft

in

with leaves.
waa

placeof

CAMPHINE. CANABUS
VAS

Rectified oil of turpentine. CANNEthe

cients an-

fluted ; and on the plinth often stood

~

(Or.),CANBVAS, (JV.) The term by which

figure holding

covered

skeleton designated the wooden with clay, other soft substance, or some hence for modelling larger figures;
word used
canevat.
as

in the shape of a vase, the top, generally which rests the tray.* The branching on candelabra for not
are

valuable

as

works

of

Art,

unfrequentlythe
a a arm

shaft is formed torch-like

the French
were

tons Similar skele-

by
or

statue, bearing

anatomical
Candelabra

studies, by
were

each

holding

platefor
was

lamp, lamp.
called

artists. and plastic painters

Another jects ob-

kind

of candelabrum

in the form of lampadarii:these were in ancient Art ; of great importance branches from which with arms or pillars, used as candlesticks, the lamps hung by chains. In the Museo they were originally introduced but after oil was Etrusco Gregoriano at Rome, are they were fortyused to hold three candelabra of various forms, which lamps, and stood on the from four to seven have ground,being very tall, excavated at Cervetri. Some were in The ten feet delabra canor have fluted shafts, height. simplest on smooth, and some of wood, others were were which is represented a climbing animal, very splendidboth in material and ornament. or a cat following weasel, a serpent, lizard,

CANDELABRA.

The

largest candelabra, placedin temples

1

cock.

Sometimes

these

shafts bear

"

* The engraving represents a gladiator from at Pompeii. painting ducovarad

Museo

Borbonico, pL IT. to TiL

96

CAN.
or

cup,
which

branch stand

between into many arms, beautiful little figures, or

secrated, and
for

no

man

allowed

to

ciate; offi-

when other

they

their sacrificed, females of

they
above

have
one

platesrising perpendicularly daughters or

another.

unmarried in that

They generallyrest feet of lions, on men, or stags,or they are supported by figures "c. Some of satyrs,
candelabra
the form of
a

their The
works

family, appeared
attitude of in
a

capacity.
in appear with the
one

whicn

they
one

Art, is

favourite

ancient
arm

the artists; and with the

figure elevates
carried
on

to

support the basket

other

the

are

in

head,

raises slightly ing drink-

human the

her tunic. CANETTE.

bearing figure,

(Fr.)A

small

can

or

plate in

stretched

made of fine jug, they were frequently and clay,and embossed with emblematic the lar ornamental sometimes pildesigns. CANON. is supportedby A rule in Art based on sure principles. caryatides. CANOPY. CANDY8 A covering of velvet, silk, (6V.) cloth of gold,extended a frame, and A kind of gown, of on or with with suitable devices, woollen cloth, richlyembroidered and carried wide sleeves,worn by four or more supported borne in processtaves of wood or silver, by the Medes and sions the heads of distinguished side Persians as an outover sonages, perthe hearse at the funerals or over garment ; it of purIn the religious of noble persons. was usually ple processions the
out-

hand,

and

or

similar brilliant

of the Catholic Church

over

it is borno

tail sometimes

decorated

with

colouring ; and flowers,

gene-

the

host

and

to Roman

is still retained the loose gown

\

in

in the French
are

and

red. generally
seem

cording reliques. Acuse they are white,but Flemish churches they In England, the two been used minately.* indiscriterm

sacred

rally
Eastern

worn

by

the

colours

to have

nations.

In

the architecture,
over

plies im-

CANEPHORUS.

the ornament of whether

tombs

and

altars,

(Gr.)The
the

bearer

used by round basket, to contain the viscera plements the Egyptianpriests containingthe imof an embalmed of sacrifice body. They comprised a series of four in sacred number, and had the head cakes, (the the deities of the Amenti of of four one chaplet of flowers, One bore the knife for sacrifice, placed on the lid of each. in the human head of Amset, to whose care the and incense), of the stomach and intestines cated. dediwere larger processions A second,that of Hapi, with the Dionysia, Panathehead of cian an guardian of the ape, who was nea, and other Gresmaller intestines. A third had the head and festivals, of Smautf,under the shapeof a jackal, who which was a coveted honour took charge of the lungs and heart ; and of office the fourth had the head of Ehebhsnouf, with the virgins of service
a

from walls or projecting CANOPIC VASES, were vases

not.

to antiquity,
"

whom

the

was

con"

See

The

cut

Is

copied from
K.

PersepoliUn

basMiddlt

and

relief in Bir R.

Porter** Travel*.

OrnaPugin's Glossary of Eccletiasttcal ment Costume. Shaw's Decorationt of tin Aga, "c.

CAN"

CAR.
as

shaped

like that

of

hawk,
was

to whom

the

liver and

gallbladder
with

consecrated.

CANTHARUS.
cup

ing (Or.) A kind of drinkhandles,sacred to Bacchus,

tinguis
theyare transparent, permanent, BROWNS; and dry well in oil when not appliedtoo
CAPPAGH BROWN,
Or

light and

dark

CAFPAUH

thickly.
EUCHROME

also

called

BROWN,
near

MINERAL, derives its name

MANGANESE

from

Cappagh,

Cork, in Ireland. (Hal.)

to the not

CAPRICCIO. confined A

composition.
such human
as

work

of picture species ordinaryrules of of a fanciful kind, in which

foliated and other

ornaments

not

figures appear natural. strictly

in situations

CAPRIMULGUS.

(Lett.) (A

GOAT-

frequently depicted on antique vases, "c., holding it in his hand. CANVAS. One of the materials, and the principal oil paintings one, upon which made. Two kinds are are prepared for
artists' use
; the best is called
a

who

is

ticking.It
neutral

a ground grey with other colours, or colour, accordingto the fancy of the painter. Certain sizes being in greaterrequest than others, they are kept stretched on frames ready for use ; for portraits, these are known by the names of kit-eat, which measures 28 or 29 inches 25 by 36 inches ; three-quarters, measures 40 by 50; Bishops' by 30; half-length, half-kngth, 44 or 45 by 56; Bishops' 58 by 94. whole-length,

is primed with

of

of MILKER.) A genericterm for subjects and occurrence on frequent antique gems faun man or a a bas-reliefs, representing Amalmilking a goat ; sometimes the goat of the infant Jupiter. thea,the nurse CAPSA. (Lai.) Boxes for containing portablearticles of value in the Roman period, and also for written rolls. See SCRINIUM. CAR. A war-chariot

triumphal chariot

(seeCURRUS) (see QUADRIGA

the

; or DE-

on CEMJUGAS.) They were and asions O"i highly decorated,

latter

modelled for

in bronze the

and

marble

as

enrichments

temple or triumphal arch,where remained of the victories as trophies

donors.
are

they
of the theon Pancient ancars

The

divinities of the Romish

CAOUTCHOUC. India-rubber. CAP-A-PIE.

from head

The

native

name

of

frequentlyrepresentedin
in such animals
or

See that word. "armed (Fr.) Literally, drawn

and paintings seated sculpture

by

birds

as

were

Thus, Juno is drawn in a The complete CAPARISON. Venus car trappings by peacocks, by doves,Minerva of a war-horse. by owls, Cybele by serpents, Apollo by CAPITAL. The ornamental summit of "c. The word CAR has in modern griffins, See ACANTHUS. The earliest a column. times been almost entirelyrestricted to ornamental form is exhibited in our cut those of an ornamental and triumphal on tects, exhibited in p. 3, as used by ancient Egyptianarchikind, as public pageantry, in who also adopted the lotus flower, the theatre, "c.* and the head of the goddessIsis to decorate CARBINE. A short gun with a wheel architects confined capitals.The Roman lock,introduced in the armies of the latter themselves to five: the Tuscan, Doric, half of the sixteenth century. Its original and Composite. Ionic, Corinthian, is carabine, which name Meyrick thinks
to foot."

sacred to each.

CAPPAGH
earth coloured

BROWN. oxide

bituminous
*

iron, which
rich brown

of manganese and by yields pigments of various of which

are

In

to

is common Ireland, however, the word travelling carriage. In England it is restricted for goods and to a heavy waggon chandize meralone.

two colours,

dis-

98 have been derived from the stance circum-

OAK.
to ascend

may in
are

into it to
to

of its
war

being first used by marines galleystermed carabs. Infantry

termed carabineers. of
a

the

and sails,

look out,'to manage dischargemissiles.

"

'

hence

CARBUNCLE.
found colour, with valued

A gem in the East

deep
in

red

Indies

pany com-

It was much stone. ferruginous by the ancient Greeks,who termed A jewelled lace, neck(Jte/.)
as

it anthrax.

CABCANET.
such for

the

Venetians

were

brated celefifteenth

manufacturing

in the

century.

CARCHESIUM,
The
name

CAHCHESION.

(Or.)

antique drinkingvessel, and also of the gobletpeculiar to Bacchus, found sometimes on numerous antiques, in the ancient in his own as hand, sentations reprein which the god is clothed and at the Bacchic bearded; and sometimes
an

of

GAUD.
or more

A thick substance

made

of two

and

made

layersof paper, pasted together, solid by passingunder a powerful

press. CARD-BOARD.

Layersof

thicker togetherconsiderably of card, and consisting until

a

paper than

pasted
nary ordisheets

board-like

substance

many is obtained.

(CAKTES-A-JOUER, Fr., SPIELof Ger.) The earlymanufacture KARTEN, forms an playing-cards important era in the history of the arts of engraving and printing. They were probablyintroduced
CARDS from the East about the

middle
been

of the known first is

count, ac-

fourteenth foot ; it is generally wider than it is deep,smaller

a

century; f having
two

feasts.

The

carchesium

has

shallow

in China

centuries
of

before.

The
use

notice positive the

their French

European

rising 1393,of a pack made by Jacquemin edge, and reaching to the in religious of Charles ceremonies Gringonneur for the amusement proves who had lost his it to have been one of the oldest forms of reason VI., by a coup-desoleil. These cards,from the price paid goblets.* That part of the mast, in ancient ships, for them, were most probablypainted by immediately above the yards, answering hand. The either were ordinary ones to the main-top of modern it bore as ships, high over its use foot,
the
*

towards

the centre, and with handles

entry in the

treasurer's

some

resemblance
CAKCHESIUM.

to

was drinking-cup,

Fig.

represents
a

one

of the

most

ancient

kind, from
t The

also called

The

sailors used

painting at Thebes. earliest representation of

cards Roman
occurs

royal party

playing Fig. 1 represent! one, adorned with Bacchic the Simple to the figures, given by Charles Paris. Abbe/ of St. Denis, near
*

at

in

du Roy Add., MS. 12,288, it has been engraved in Singer's Reteardtet into the History of Playingcar

in the

illuminated ing drawMeliadtu. Brit. Mus.

an

ill, p. 68.

CAB. In the engraved on wood. now examples preserved,which of be as earlya date as the year appear to 1440, it is evident that the figures were executed by means of a stencil.* That the earliest wood-engravings were used in

"tenrillod
earliest

or

A genera, represented falsely. and of the mechanism knowledge forms, of the figure, a quickness of hand, keen and a knowledge of character observation, ence (more or less profound),and of the influof the passions upon mankind, are
must not

be

of

the manufacture writers have the

use

is also clear ; and

so

some

to the indispensable

caricaturist.
as

Usually
with of
a

gone

far

as

to

that assert, about

caricatures pen kind

or
are

appear

if executed works

of cards led to the art,t the earlier which

are certainly on

pencil; indeed,all
best when hit off

the

specimensof
a

and rapidly,
same

par with
a

the rude of cards. and

outline of the The modern

in

pack

figures copiedby the engraver style. POLITICAL cards,

the

in the

ing dashcan

CARICATURE

both

in costume

style, preserve
sixteenth

onlyexist
and

in free states, and

although in

reminiscences

of the

century. France

tirical Italyoccasionally deeplysa-

productions appear, yet it is only in caricature is looked England that political either as provokingmirth upon as harmless, the other colours of the court cards from or and vanity. The checking arrogance of names each a series of blocks or Cruikshank, and H.B. Gilray, delivering stones, tint the colour sufficient to establish an Engone are (Doyle), deposited by means lish ; or school of caricature. of stencil-plates. Caricatures employ CARICATURE to illustrate their satirical inscriptions (Fr.), CARICATURA from (Ital.) A satirical image, or extravagant meaning ; these are placed as issuing the mouths the of in which the features of as representation, figures ; or, tions, inscripsometimes the physiognomy,the expression of the convey a pun. CARMINE. A beautiful red pigment, the natural defects and habits of passions, the body of the person prepared from the cochineal insect; in representedare colour it forms the nearest whence results a grotesque exaggerated, approach to the red of the prismatic and overchargedfigure. It is a very anspectrum. It is very useful in water-colour cieiit art, and but cannot in the was painting, indulged by be in oil. There is a CARMINE depended upon Egyptians. There is extant a paintingby these antiqueartists, cats attacking prepared from madder, but, like all representing it cannot be regardedas rat's castle, vegetable colours, a as a on burlesque Burnt carmine is a pigment tactics. Several have been found permanent. military of a rich purple colour,very useful in the walls of Herculaneum, which give on absurd turn to ancient myths, or depict miniature painting.* an CARNATION animals and grotesque figures CARNAGIONE (Jr.), (Ital.) engaged in The flesh-tints in painting are the business of men. termed The illuminators of The study of the naked human manuscriptsin the middle ages frequently CARNATIONS. form is of in this course the in books to indulged even practice, necessary delineation of devotion ; and of which Leonardo da Vinci figure, ought, proper if possible, amused himself with depicting heads of to be free from clothing, so that
manufactured in oil-colours They are now by the aid of lithographic printing ; or the outline is printedfrom a copper plate, and the most ia to bizarre character. what the CARICATURE the flesh and natural
structure

may

be

beauty of a pictureis reduced to a minimum, if the artist, from prudery, poetry ; every appearance of effort or care is carefully evade the free the development of nature. excluded, although objects painting epigram
is to Carnations Speculations on the History of Playing-cards, by \V. A. Chatto, p. 83. + See A Treatise on Wood-engravingi, ffit*oricai and Practical,by W. A. Chatto, p. 58.
*

visible ; the

are

of the greatestimportance
of

Facts

and

in

heathen mythical representations,

*

See

Art-

Journal, March,

'S5G.

100 for Christian, has free and The in these

CAB.
the painter by subjects
for artistic colouring.

the

senate

to

use

as

lege, priviparticular
she thus
morated. comme-

ample

The roof is supportedby statues, painting enriched by sculptured of the sides consider his choice and must panels. ments, pigcarefully since they are not all equallyserviceable, sively extenCARPENTA, or covered carts,were used by the Britons and other northern either in picturesque effect or climate whose do not rendered that in chemical action ; those which nations, with them which a blend must be replacedby others which but was a necessity detriment to each without be mixed can luxury in Italy. Such carriageswere, and unlike their other. The local colours should be given however, homely in style, vermilion to with the ochres in preference royal prototypes, being merely country j flesh the shadow* with ultramarine with mixed green In painting be laid
on

scope student of

and

which

honour

ronese carts,covered ashes ; VeCARPET. asphaltum is

with A

leather

or

sail-cloth.

good.
should

flesh,the

pigments
the

thick woollen
more

of covering for the floor, stuff;or for tables, "c., of a

texture.

thick and

pasty, as

delicate

Its manufacture

this in the luxurious in-door life of originated any largesurface requires the East, and Turkey carpets were in order to produce a good effect. treatment among If two largepicturesbe painted, with rarities imported from the costly thence one thick and the other with thin colours, the by the mediaeval merchants. Its European former will have a much commenced in the Low Counmanufacture tries more picturesque effect and greater rounding than the other, Brussels and achieved a ultimately ; if the latter be more executed.* bility even high reputationfor the beauty and duracarefully of colouring of its carpets. Venetian

carpetswere
ster Kidderminchief

(Lai.) A covered twowheeled carriagedrawn by two horses or mules, and capableof containing two or
three persons. Its chief
use was

CARPENTUM.

of less

pretendingcharacter.
"Wilton
are
our

kinds,as

to convey

original /ora^"-named of English manunow facture. carpets are really For of colour, and disposition calls varietyof design,this manufacture
Brussels and other forth Some
an

and

abundance

of artistic invention.

French and

the carpets (particularly D'Aubusson

mirable adare fabrics) Art.* specimens of ornamental CARTOON CARTONE Stout (Jr.), (Ital.) hence the term came paper and pasteboard, to be appliedby the Italians to the drawings and In the sketches made
on

Gobelins

this material.

the Roman
a

ladies in festal processions, as and in process of 'particular distinction, time by private persons on journeys. Our engraving is copiedfrom a medal of Agrippina, and exhibits a carpentum of the most enriched form,which she was allowed
*

language of Art, CARTOONS are sketches of figuresor carefully groups drawn the size or thickness pasteboard, upon of which depends upon the artist's used in They are principally purpose. fresco ; the design is piercedin the prominent outlines with pin-holes. "When they
are

fastened with

mortar, they arc powdered which, passing charcoal-dust,

refer of
to

to the

We

must

the

The

Art

and

surttt

of Painting restored to tit simplest Principle, by L. Hundertpfund.

digue, vols. i. and

this branch

ii., for

industrial

Encydopedie Methofull exposition of Art, accompanied by

a

Loiidon. 1849.

elucidatory engravings.

CAS" formed of metal

were

CAT. CASTING.

When, in Art, the casting The helmet, so CASQUE. spoken of, it alludes to that How of the main in the fifteenth century, was or distinguished general disposition lines which of a visor or these by the absence from producesthe greatest impression the eye, and which beaver for the coveringof the face. on requiresas much CASQUETEL. thought and talent as the designing (Fr.) A small steel cap the of that they may also appear so without beaver or figure, "r visor, open helmdt,
termed in Latin
cas-

hence gides,

termed

is of draperies

the result of natural of laborious is the mould. CASULA.

accident In metallic the

rather than
ing Arts, cast-

study. taking of

subjectfrom
cloak
worn

the

(Lat.) A

by
a

the

peasantry of Home, of thick coarse and furnished with a hood, as

rials, matetection pro-

againstthe
CATACOMBS. tat

weather.

See BIRRUS.

having

umbril projecting the neck

and flexible In the

to plates

cover

behind.

reign of Henry VI., they had oreillets or round the ears, and or oval,over plates, sometimes a splxe crowned the summit, called a charnei, crenel. The oreillets or also had sometimes from spikesprojecting
their centres.

Underground burialstone dead,originally ries, quarRome and at as Naples. They contain of inscriptions a vast number of the earliest Christian few sculptures some era, and valuable to the archasologist. They are
for the places all of great interest
as

memorials

of

the

early
which made.*

church
most

and

its observances, from may be

important deductions
A
or

CASSOCK.
down the about the waist also

loose

coat

buttoned

sometimes brought tighter front, a by girdle. The term was but the

CATALOGUE. in
a

list of works
an

of Art

gallery

collection ;
of
a an

enumeration
a

appliedto a counsellor's gown, restricted to that worn by ultimately

clergy.
CASSOLETTE.

of the works

or artist,

systematic
Such
meration enu-

list of those of
as catalogues

school
not

or

schools.
to

are names

confined of
works

the

(Fr.) A box or case to emit perfumes ; with a perforatedlid, of hence the openings for the emission termed. are scent from a censor similarly CAST. Any work of Art produced from used by the nations much It was a mould. of antiquityin multiplying useful works (seeCELT), or in producingsmall statues of is now term the goop (seeLARES). The to works made from a mould usually applied in The art of CASTING in plaster of Paris.
metals is
more

of

and

artists

termed properly Turreted

FOUNDING.

CASTELLATED.

like

the

alone, but which describe their subjects termed catalogues raise/wits. are styles, CATAPULT. chine, (Lot.) A warlike maused anciently in battle for the projection of heavy stones,javelins, "c., in a siege. They varied greatlyin size and sometimes discharging enormous power, by a similar machinery, on a gijavelins gantic to that adopted in the crossscale, bow was used, ; at other times,percussion where the is charged disas in our arrow example, of the of recoil by means a beam lass. dragged back by ropes managed by a windIn the Roman sieges,they were constantlyused ; and Josephus narrates
and
* Maitland's Church in the Catacombi, See IconoAringhi's Roma Subterranea, Didron's in yraphie Chretienne, and the article TKINITI

walls of

castle in
our

or

fortified town,

as

presented re-

cut.*
BATTLEMENT.

Sec

this

dictionary.

CAT" in projecting missiles their great power which could destroy many persons at one blow.

CAV.
his
"

108
as Pharsatta,

translated

by
the

Rowe

;"

N-r

sudden and

could

they change
moves

their

erring

They
Lucan

were

very cumbrous has well described

to

nage. ma-

*im,
J-ow irame."

them

in

unwieldy

cumbrous

CATHEDRA. Greeks female and

use,

The

chair portable

of the
to

Other

Romans, little differing

devoted originally in form The

puting compositionsrepresent her "disThe with the fifty philosophers." has been

from

"

Vision of St. Catherine"

painted

the modern

article of furniture.

less frequently than losopher's phiher life. There name, of the of which
are

the other incidents of other saints of this

are

from which he delivered chair, took the same orations, name, which in later times was adopted for the and pulpit,and thence rostrum to the chair in which the earlyChristian bishop his learned

the best known

rine Cathe-

eat; from
churches
so

which

latter circumstance
were ex

the
as thedrals, ca-

holding Bologna,who is represented Jesus; Catherine of Sweden, and leads who bears the insignia of royalty, whose of Sienna, on a hind; Catherine
infant hands which
a are seen

furnished the term

most

known cathedra

the

marks

of

the who

nails
ries car-

and the designate in science

or

used to

pierced the
crucifix and I A.
worn

Saviour,and
wears
a

conclusive

arguments
felt the

ring.
broad-brimmed

theology.
ST.,
OP

C A US ALEXANDRIA.

(Gr.)
the

CATHERINE,
The schools. The
;

and patron saint of philosophy

Macedonian is

innumerable

picturesof her are almost as patron, saint, or martyr,

are a

by kings. It represented in the

cut, which
from The
a

hat,

annexed

is

her attributes with

broken

wheel

set round

copied
vase.

fictile Roman

and a sword,both instruments knives, cording martyrdom. After her death,acto the legend, her body was ported transSinai.* Another by angels to Mount class of pictures in which this saint is a principal is that representing figure, her "mystic marriage" with Christ,of which among the best known is the picture in the gallery of the Louvre,by Correggio. of her
*

sailors generally ed adoptdoor but, as an outcovering,it was restricted to no particular class. CAVETTO. A (Ital.) concave

it ;

ing mould-

used in architecture.

kind

This

has been

made

the

subject of

very

btant"il picture by Mucke, familiarly known by an excellent lithographic engraving.

(Itul.)A peculiar practised by the ancient t he Egyptian artists, highest surface of which level with was the only plane the of originalatone, the rounded Bides
of relievo

CAVO-

RELIEVO.

104 of the

CEC"

CEL. word
was

tgures being

cut

into

the
an

rial, mateeffect

capriciously applied by
of Louis of the
one

the ladie"

until

of the
name

court

le Grand, after the

CECILIA, ST. The supposed inventress of the organ ; she suffered martyrdom by being plungedinto oil. She is sometimes a vessel of boiling depicted with a gash in her neck, and but more frequently standingin a cauldron, holding a model of an organ, and turning to her head towards heaven, as if listening the famous In the music of the spheres. picture of Carlo Dolce, in the Dresden she is represented as playing Gallery, upon the organ, her attitude expressing maidenly reeded. Its form is shown in the annexed grace, and her face heavenly inspiration. woodcut. to The sanctuary for a CELLJE. At Bologna is a "St. Cecilia listening (ZaO of the the heavenlymusic," by Raffaelle, one statue of a deity in a temple ; it was of such has also painted most sacred his finest works. Rubens and portion private graving enwell known a Cecilia, by the masterly buildings. In the church of St. CELT. A genericterm used for a great of Bolswert. of at Bologna, is a large fresco Cecilia, varietyof chisels and adzes of bronzo or tions nafrom the lifeof this saint, hard stone used by the semi-barbaric by Francia scenes is derived and his pupils, of antiquity. The name which, togetherwith the the ancient Latin word for of her marriage and burial, from " celtes," representation his of hand alone,forms one and France, a chisel. In England, Ireland, by his own the fame of remarkable most productions, they are discovered in great quantities, them in which led Raffaelle to paint the picture together with moulds for casting him.* it and send to mentioned have been metal and to seem above, extensively ; with many a favourite one The subject used by northern nations. was of the old painters. CELTIC. That which belongsto, or is CELADON. A term originally applied characteristic of,the northern tribes. of colour upon pieces erected to the soft sea-green CENOTAPH. (Or.) A monument old Oriental porcelain. Menage says the but not to a deceased containing person, the remains. were c enotaphs Originally St. " of Cecilia beautiful statue A very could raised those whose bones for Stefano Maderno, only executed Dead," by Lying representing the body in the attitude in which at sea not be found, who had perished "c.,
and
"

characters of principal This the once-famous Roman ce of Astrea. to has since been appliedin France term all tinted porcelain, colour it of whatever put upon the clay wet, and may be, when scribe burnt in at the first baking,which process used to determ softness to the colour.* it is intaglio- givesa peculiar CELEBE. Our cut relievato. (Gr.) A vase, found chiefly in the name Etruria, distinguished by its peculiarly represents the or of are Egyptian shaped handles, which pillared, III. Amunoph king thus sculptured. patroness of music,

something like the impression given seal in by a concave wax was produced. The general more

of

dedicated to this found, is in the church was and engraved in it is described taint at Rome , Pir Charles Bcll'i Anatomy of Expression.
It

"

Marryatt

I/ittoryof Pottery ana.

Foraltnn,

CEX"
or

CER. of
to
men a

105 he commanded

to

one

who The

town.

tomb

died far away from his native built by a man during his and
meet

varied from

thirty

hundred.

life-time for himself

a

familywas
with these

called
tions erec-

CENOTAPH.

We

also in the middle

being placedin churches

CENSER. A

ages, SARCOPHAGI in remembrance

of those buried elsewhere. sacred vessel for

A Greek term applied to plastic arts, includingvases, bassi-reand potteryin general, from lievi, cornices, the most delicate china to the coarsest clay CERBERUS. The triple-headeddog the
.

CERAMIC.

burning

which

the ancients fabled to be

the

dian guar-

perfumes.
CENTAUR.

See THURIBLE. Fabulous ancient led

a

beingsfrequently
Art. rude

of the gates of hell. CERE-CLOTH. A cloth saturated with

wax,

representedin
believed
to

They
and

were

and

used for
a

a consecrated enveloping

have

life, originally among

forests of
:

the

mountains

savage and in Arcadia

or altar-stone,

dead

CERIOLARIA. which
CANDELABRA

body. (Lat.\ A
are

name

under
tioned men-

and Thessaly,

afterwards

sometimes

in Roman having the head, arms, and trunk of inscriptions. CEROPLASTIC. a human body joinedto the body and legs (Lat.) The art of of a horse,just above the chest, It was which is modelling in wax. by practised the most ancient mode in of representing the Greeks and the Romans particularly them ; and afterwards the entire body and In excavations taken underportraiture. recent in the sepulchres basadded. The at Naples the faces legs of the horse was reliefs of the battle of the Centaurs and and heads in of
wax.

the

deceased The
art of

were

found

constructing anatomical in wax Temple of Apollo,at Phipi-eparations originated at Bologna in the earlyhalf of the sevengaleiain Arcadia,are illustrations of the teenth employment of this monster in ancient Art ; extensively century, and is now in museums Greek vases, and of morbid anatomy ; occur on practised they frequently the finest in England being at Guy's Hospital, in the Pompeian paintings. The union of the human Southwark. body with that of the horse C EROSTROTUM, the myor CESTROTCM. (hippocentaur)*probably was (Lot.) thical A kind of encaustic painting mode of delineating the firsthorsemen or ivory upon in which of the Thessalonians, the lines of the and their mashorn, tery design burnt-in with the OESTRUM, in riding were and wax wards after; female centaurs were invented; and then was designed introduced in the furrows made by the onocentaurs, beinghalf human half asinine ; heated instrument. and bucentaurs CERUSE, commonly called "WHITE(sometimes termed taurois carbonate which the basis of half a were of lead, centaurs), human, the LEAD, white oil-paint. It is also called flakehinder half being the body of an ox. An officerof the Roman white, krems, Nottingham white, "c. CENTURION, whose doubled that of nary ordiAlthough used to a greater extent as a an army pay soldier. He was like all known letters pigment than any other material, on by the crest of his helmet ; and may be disother preparations of lead, it is easily tinguished acted upon in antique sculptureas carryby exhalations from sewers, ing staff in his hand, with which a rod or coals, "c., containing hydrogen, sulphureted he might punish his men which its white he had also the rapidly destroy ; of remittingservices in soldiers colour,frequentlychanging it to a dull privilege leaden hue. It is not prudent to mix it the payment of a fine by them. on He with VERMILION, elected from the body he afterwards was or any other pigment the the number ruled, containingsulphur. It has latelybeen by military tribunes; proposed to substitute the white oxide of
on

Lapithae,
from

the frieze in the British Museum,

modelled

the

See

cut

illustrative of that word

zinc

as

permanent white pigment.

106

CES"

CHA. and striped frequently colours. but in It is seldom clouded found with
other

(Lat,)GBAPHIS (Or.) The used in the style (vericulum) or spatula two kinds of encaustic paintingpractised and ivory enwax caustic. by the ancients, viz., When adorn their to they began third kind of a war-shipswith paintings, encaustic painting in which was introduced, the colours were melted by the aid of heat, and appliedwith a brush. The CESTECM made of ivory, "was at pointed one end,and
flat at the other. CESTUS. round

CESTSUM

crystalised.
a

irregularmasses kidney-shaped,
CHALCEDONY

Common bluish

is of other

uniform

kinds,heliotrope, grey; dine, plasma, onyx, sardonyx,sarchrysoprase, and carnelian, are distinguished by
their colours.
AGATE

the

is

mixture

of

chalcedony and
were

varieties of

quartz,often
of Art. different
account

tinted. beautifully

Chalcedony and agate

used for seals and other works of the

(Lot.) Thongs
and
arms,
worn

of

leather

Cameos,
of their

the hands

for offence render

and

by boxers to defence,
blows
cestus
more
was

sorts of onyx,
numerous

were

former,and of the on preferred, layers.

A modern

their The

CHALCOGRAPHY.

term

for

powerful.
introduced
were

engraving
the Greek
or

when

athletics

on copper, compounded from to chalkos, copper, and graplio,

generally practised, cut,

the
a

incise lines.

The

term

can

perly pro-

and
was

name

is Roman.

It than and

be

to copper applied

engraving only ;

stronger defence
; the

the himantes Greeks of

of the ancient

simple thongs
still used

leather

were

engraving on steel or zinc must not, graphy. chalcoas happens, be designated For zinc engraving we have the spuriousterm ZINCOGRAPHY.
as

often

in occasionally in

nisto, and
the blows than kinds leather with

were

boxing, and the exercises of the Agobecause called melichai,

were

CHALICE.

A vessel used in the the wine.

mental sacra-

service to contain form has

The in

undergone
ages,

many

variations

they gave those of the cestus.

of
are
or

less formidable There the

are

different its

always

ever, preserving,howCHALICES
are

many

cup-like shape.

cestus; in some,

lead

thongs of loaded with nails, or studded metal iron ; sometimes rings

in our as represented fist, which bles resemengraving from the antique, the modern quoit,and which inflicted times somethe most blows,and were frightful surrounded the

termed appropriately
The
to the Roman

"

ers." limb-break-

barbarism

which

character

always clung throughout every

and period of the historyof that people, stance inis in no their of career, every jihase
more

than repulsive

when

seen

thus

in their amusements. depicted disgustingly Works

cestus

commonly of silver, A kind of quartz, either whole or partlygiltand jewelled. CHALCEDONY. They have sometimes been made of crystal, bluish of white, but semi-transparent, a and agate, but these materials are glass, Piroli Etrvtehi See account of their brittle now on Inghirami'8 Hfonumenti prohibited, and Piranesi's Tassie'a Antifhiia (TErcolano; curious and elegant Some nature. very fierret Gracfetj Clarac'? Matte de Sculpt, one. are CHAJ.TOE8 a mod. preservedin publicand primade of
more
"
,

abound, in is represented.*
of ancient Art

which

the but gold,

CHA.
rate

107

collections.*
of

The

CHALICE

is

the the
a

attribute

many
known

saints.

St. John from

to

Evangelistis

by
a

one

which

Meyrick for the protections sians used by the Perfield.* and of but ancient their Greeks

or says that frontals, horse's head, had been

serpent issues,in allusion

driven the devil from that form. CHALK. of
an

cup of

having poisonunder

his

time,
earliest

An

burning
which

opaque into many

to

white lime.

rope in Euearthy carbonate of lime, application be converted to seems colour, by It is the basis upon the
ment commence-

vegetable colours are form pigments, such

has
a

pitated precias a

of

the

teenth fif-

the

century.
to

PINKS.

Chalk but it is

been

used

as

ment, They pigiron.

bad

drier. the

KED

CHALK

appear at first have been flat

extending piecesof steel, restricted the from originally red forehead to beyond in its colour to white, black, and high lights the nostrils of the drawing chalk, with which tinted on were breadth the whole way ; placed deep horse,of the same paper, and the red but shadows delineated, being genethey very soon acquiredthe form they rally used for marking outlines. Latterly, afterwards retained. Their name, champindicative of their appropriaseems drawing chalks of every colour are used, frein, tion of crayons, and are known to the field of battle, by the name and was rupted cordelicate tone to porand impart a peculiar afterward into shasoon traiture. cAanfro-n, A very soft effect is produced fron,and shafferoon, in this art, the ground tint being frequently CHAMP-LEVE". easily (Jh) -A. process adopted rubbed in by by the earlyenamellers in producing their a of their work, stump, and the positive platesfor the foundation ed and which consisted in so cutting down, drawing hatch-

is

clay

coloured
CHALK

by

oxide

of

DRAWING

was

in
of

the

direction

the

lines

expressing
forms ; but
times some-

ment copper, that the outline of the ornaother subject to be represented or

general
such

should

form

band

between

the

enamel

softness ends

ably objectionThe the

in tameness. CHAMFER.

angle or slope of
sides of
a

window-

lowed be holplateconsequently thus It took reception. the place of the earlier mode of affixing thin lines of filligree to the plateas a separation to each tint,and which might shift or alter in the firing or fusing of the and colours,
out

the

for their

or steeple, sill,obelisk, as our

work.

exhibited

at

in

CHANCEL.
at the east

That end where

part of the church

the altar is countries

engraving.

placed,

CHAMFRON,
Pieces of leather

or
or a

CHAMP-FREIN.

(Fr.)
to

and

which

in Catholic

is sacred

of steel used plates horse in the

the face of protect

battle-

being railed oft clergywho officiate, from cancelli or lattice-work, originally by

to the

which
* See Shaw's Encyclopiediaof Ornamentt; and Pugin's Glouary of Ecclesiastical Ornament the ordinary forms Cottume. Our cut exhibits

the

name

is derived. A small

CHANTRY". endowed
to say
*

chapel or
of
a

altar,

for the maintenance

masses

priest,

of the chalice in the middle ages. of a priest in Wensley brass a copied from The 1360. seA.D. Church, Yorkshire, about at Broxburne, C'unl from yrpilfrr memorial a
A.D

The

first is

for the soul of the founder.

ia
tat

the

made Our engraving is copied from one sixteenth and preservedin century,
at

UGft.

armoury

Goodrich

Court.

108 CHAPE. The cross-bar at the handle of

CHA.

figure in general, of the thought a or importantsubjects the of and since sculptor, painter dagger. upon these A smaller kind CHAPEL. of church, peculiaritiesand differences depend all the of their compositions. Each its plan being square, and never cruciform. significance In connection with palacesand mansions, genus, each family of animals,has also its character. however So also such buildings, generaland particular large and imposing, the in inanimate of termed It nature sometimes are productions chapels. and meadows, which took tbe form of an trees, rocks, fields, apsidalexcrescence in well from the aisles of a church, or was a s railed as in appearance, reality cording acvary the to off from the body of the building internally, climate, season, time of day, and had its own altar, "c., being accidental condition of the sky, and also dedicated to a particular saint. accordingto the modifications they receive of man, the effect of time, or at the hands CHAPELLE-DE-FER. (/"".)The iron by the result of natural accidents. If all flat-toppedhelmet these things,observed with sagacity and worn by knights in junction study
of the blade and sword the most
"

of the

human

the twelfth century, and depicted frequently

on

selected

with in
a

taste,are
we picture,

their

numental mo-

the hare

trees,the
character.

faithfully sented repremals, say that the anirocks of the picture

In Art, the term particular or style

effigies ;
it
was

good

the

rudest

CHARACTERISTIC.
is used
manner

form of
went

helmet,and
of
use

to denote

the

out

in
tury.* cen-

of

master.

the

following

CHARCOAL wood in close

prepared by burning after burying the or vessels,

in
a

is

CHAPERON.

substance

in sand

covered

crucible,

exposingit to great heat in a furnace. The woods best adapted for making A garland of CHAPLET. CKAYONS, the head ; a funeral garland are preparationsof charcoals of ; a sculptured which carried round box and willow; the foliated ornament a pillar, different kinds, are former in dense architecture. hard crayon, the produces a "c., of exsoft and friable one. pression, latter a CHARACTER. Any peculiarity CHARCOAL which is indicative BLACKS or of both animal are feature, style, and vegetableorigin; consisting of any person or thing represented of burnt in the Arts, and which stamps the work ivory,bones, vine-twigs, peachtruth. That either with individuality or stones, nut and almond-shells, the condensed which each species of being smoke of resin,"c. distinguishes The blacks in each genus, and each individual of each from vegetable substances are usuallv of a In character consists of the blue tint when mixed with white. species. man, form of the body, stature, and gait, which CHARGED. used in the same Generally him from other animals. In as distinguish sense when over-charged appliedto any work of Art. Thus mankind, the natural or accidental peculiarities any charged outline from sex, temperament, is an exaggerated one ; but " painted resulting with a the exercise of the passions, charged brush" age, climate, only alludes to that foil the position of the individual in the social styletermed by the Italians inipasto. his and mode of living. These peCHASING. scale, (C.ELATURA,Lat.) The culiarities and differences are, after the art of embossing on metal, by which the design is punched out from behind,and Our cut represents the chapelle-de-fer on or with sharptools, CHASED sculptured as an effigyof the twelfth century, in the Temple

(Fr.) A

hood

for the

head, or

small cap. flowers for

"

Thunh.

London

gravers, "c

TV

metals

CHASED usually

CHE-CHI.
the dpolto Belvidere, I1*-".? or of Baffaelle, are figuraiion of and painting. sculpture CHENISCUS. (Or.) In the TransTheir forms
are

known Old

by the
dise, Para-

chef-d'oeuvre* poetical writings of the They appear first as guardians of

works of
cient an-

Art, ships are

seen

porters
Testament. whence
our

firstparents were
a

expelled
hovah Jethe in

by

CHERUB

with

with ornamental prows,

rested
to

between the
cover

flaming sword. the wings of

shaped
a

cherubim the

on

of the ark ; and

represent the
and
or

neck of other

bird; this
called and
was

of Ezekiel they are represented history wings, two of which covered the aquatic body and drew the chariot of the Lord archy through the air. In the heavenly hierpart was
goose,

head

with four

CHENISCUS,

the cherubim*

form

one

of the three

constructed and other times, Some-

high angel choirs

and

of bronze materials.

CHERUBIM, SERAPHIM, which constitute the first and ANGELS, to upper order of angels; they rank next
"

but the
CHENISCUS

rarely,
is

the

SERAPHIM.

affixed to the stern of

^_

(JV.) A simpleornament, of short lines joining at angles consisting

CHEVRON. and which may be considered
as

ship.

The

cus-

the basis of

torn

descended

to

decorative upon the

the

eleventh
find Danish

and and

earliest

it appears as design,inasmuch Egyptian monuments,

twelfth centuries, as
Saxon

we

rations, with similar decoshipsrepresented and drawings of in the sculptures Ancient manuscripts.

and

also in the most

ancient
occurs

ornamental

CHERUBIM.

In

Christian

Art,

works

of all nations ; it

extensive!}

in those of savage life ; thus the South Sea American the North Indians, Islanders,

"c., use

it

extensively.
portant (Ita.) That imwhich relates to painting The aim of

CHIARO-OSCURO.

part of

lightand

shade, f

paintingi"

the plentitude of knowledge signifies represented young, ; they are their faces and feet, having four wings to cover of fire, of a bright red and -tanding on wheels love, colour, to set forth the intensity of divine in reference to the vision of the prophet Ezekiel. An cannot adequately represent their spiritual therefore and rapid movements, they agency
*

Cherubim
and

wisdom

are

drawn

as

the ancient

Persians

drew

Onnuz,

to represent their god as a pure who, unable by a halfbeing of light,implied his nature figure ending in a winged body, sweeping P. Cornelius, in his picture through the air.

of

the

"

Creation

"

at

Munich,
:

makes

their

bodies

terminate

in

wings

in it the cherubim

support
uses

t the term

wards the the Almighty, toglobe, which whom love, they look with reverential as a footstool. acceptation of According to the common

in the
not

higher class

of

angels,the

nearest
are

to the

means

language of Art, CBIABO-OSCUEO effects produced only the mutable

shade,
but alto the

by light and
differences
in

permanent

throne of God, of which

they

the sup-

brightness and

darkness.

CHI.
to form
a

Ill
on

picture by

means

of

lightand

seen frequently

the

modillions executed

and in

shade,and by colours and their gradations; this the more trulypaintingaccomplishes will artistic it be. the more Corregend, famous for their are gio and Eembrandt
CHIARO-OSCURO.

of capitals

architectural works and twelfth

the eleventh

and centuries, sixteenth

turies. cen-

again in
CHINA.

the fifteenth and

Potteryformed

of

CHILLED
a

(CHANCISSURE, -FV.)When
appears that has been picture
or

introduced originally paste, from

to

transparent Europe
tised pracPORCELAIN.

cloudiness of
a

dimness

on

the

face sur-

China, where
from
a

the art has

been

varnished,

remote

period. See
A

it is called BLOOMING, has CHILLED. from presence the surface of the the of

and This

we

nish say the vardefect arises

CHINESE

PAPER.

fine absorbent

either on moisture, tint,manufactured paper of a yellowish in the brush, in China or used and picture, from vegetablefibre, be varnish and the can in itself, easily or for proving engraved plates. It is now avoided by making the former thoroughly generally termed INDIA PAPER. (See that dry,and the latter hot before it is applied. word.) CHIMJSRA. ster (Or.) A misshapen monAn WHITE. CHINESE empirical of Grecian myth, described by Homer name given to the white oxide of zinc,a introduced into valuable pigment recently the Arts as a substitute for the preparations It is littleliable to change, of white lead. either by atmosphericaction or by mixture with other pigments. Its only defect appears of body,as compared to be a want with white lead. The
outer

CHIMERE.

dress of of black

testant Pro-

bishop. It
without the sleeves, belonging to

is made wide the

satin,

lawn lawn

sleeves properly rochette neath. be-

CHIRODOTA.

(6V.)

kind of tunio

as

having a
a

lion's

the tail of

in Art the back

body,and head, a goat's The CHIM^ERA dragon. pears apas a lion, except that out of
the head and neck of
a

grows

of it are found 'and gigantic carvings goat,

on

rocks in Asia the native

Minor, accordingto

mer Ho-

There

are

country of the monster.* small antique stainnumerable tues

chimaera

of whom
one

CHIM^EILE

the

of the most

Bellerophon,by of which killed, remarkable is -inthe Uffigi

and
was

palaceat
CHIM/KKA

Florence. is
a

In Christian Art, the of

symbol

cunning.

It is

"

Charles
In

of these has been brought by Sir Fellowes to this country, and deposited the British Museum, from which if cut cur

One

Infrared.

with

worn long sleeves,

sometimes

by

the

112 and Trojitns, but

worn

CHI" in generally, the Greeks they

; the
was

CHI,. times
worn

Asia
were

Minor;
seldom of

long,
The
CHITON

but

with
of

the

former
was

among

people,after
shorter. had two

the time

Pericles,it

by
show

males

remains

of works
worn

worn

by

freemen

Art

that it
was

commonly
an

by

females

;* it

considered

effeminate

garment with
much considered
a

the

Romans, partaking too

of the CANDYS, and

of the character

reproach to wear, except in refined materials by ladies ; and in coarser made of two women was pieces of stuff materials by country boors as a protection sewn and fastened the shoulders on together, all of kinds weather. sleeves Long against by clasps. In Sparta it was not sewn the but only fastened, and had being thought unbecoming to men. sides, up CHISEL. The cutting tool of a sculpsleeves. The to have tor CHITON no appears work wellof his hence as brown. "Women been we or speak generallygrey ; of a fond of dress had saffron-coloured clothing chiseled;and by a further remove, ; and the material (cotton fine linen)was or living face, that if the features be well embroidered with stars, or or expressed,they are Jinely- striped, delicately figured, chisekd. "c. "With to statues, we flowers, regard The under CHITON, ress, need that remark garment (ffr.) Artemis,as a huntonly the to TUNIC of the Greeks, corresponding the CHITON, which wears a girdle over of the Romans, mentioned as is fastened on the shoulders and falls in early as cloth. of woollen made the bosom. Pallas Athene folds over often Homer; it was called After the Greek double the to a migration it was wears reaching CHITON, and leaving the arms free. On the feet,
statues

that of workmen and slaves sleeves, when A worn only girdle(called, by when the zoma), was required men, ment garwas long, but that of the priests for not was girded. The Doric CHITON
one.

of Amazons

the

CHITON

is sleeveless,

left

claspedup in two places, leavingthe breast uncovered, and drawn ficiently up sufto show
even

above

the knee.* Greek Athens Greece

a

CHLAMTS. ("?r.) An ancient riding-dress, broughtby Ephebes to from Thessaly, the province of
most

celebrated

for horses.

It

was

light

and
were

the cloak, freely-flowing fastened It

on

ends of which

or by a clasp as long points hung far as the thigh, and was mented ornarichly with purple and gold, having small of precious pendant weights, sometimes make it hang at the to metal, corners, the most it was picturesque gracefully ; and was a and elegant of antique cloaks, It more elegantform of the HiMATioN.f of solicitude with the wearer, was an object

the shoulder with

two

buckle.

while chitoniscos,
or

HIMATION

chlanis.
was

The

lightloose garment also called chlania,or was Doric CHITON, worn by men,
the

who
ensure

its adjusted

folds in various It
was

ways

to

the best effect.

peculiarly

characteristic of the ancient Greeks, who, in

*

short and and

nians of wool ; that of the Atheearlier in of lonians, linen; copied from

it is Been
on
a

The

cut

chiton, without
chiton, with

or represents the Doric sleeves,and the Tonic

short
cr

long

"

Our

cut where

is

bas-relief

in Mont-

faucon,

German. suppliant

j See

cut

sleeves. to that word.

CHO. di"ss
as

Ill border of

in all other matters, showed When the fibula was taste. the CHLAMTS

summate conclasped un-

simple ornament
our

and
cut.
a

pendant
where
name

exhibited in as ffutttt, CHOIR. the That service is sung. from the singers;
"

hung
or on

on

the left arm,

as a

part of

church its

as

with Hermes
as

served

kind

of

It takes

shield, Poseidon,
his fastened
arm on

the old
CHLAMTS.

coins, tects proIt is

angels being
basis of the in the

termed

with the

the

the

choir." heavenly
The it
occurs

in

tues rightshoulder,in the staand the heroic Ephebes, of Theseus the breast attitude, covering wrestling

CHONDRIN. of
as cartilage

tissue

ribs, nose,

and

the enveloping raised.

are
even

somewhat and

left arm, which is The figures of Heracles

"c. ; it is obtained from them, like GELATINE which to or it is GLUE, analogousin many of its properties ; but unlike
TINE GELA-

Hermes

quite
below

covered

by

the

CHLAMTS,

the

body, whence
the hand right and

is proper, CHONDRIN and acids,the salts of lead, this

by precipitated
ALUM.

Upon
the in
so-

the Hermes'
lies on

tapers; * pillar

peculiarproperty
KALSOMINE MEDIUM

is based

the breast under

the CHLAMTS,

called the

TEMPERA, animal alum into

which

glue (chondrin) is
a

converted

by

horny substance.
or

insoluble in water.

6HOPINE.
uied Asiatic

A high shoe (Ital.) and

clog

by by women, ladies in the sixteenth century, from whence

Venetian

it

was

introduced to England, and

the ladies here. reign among by Shakspereand the writers
soon

had

brief named

It it of his

but ceased period, CHORAGIC the left arm, covered to the wrist,hangs by the side ; in the centre of the breast
monuments

after it. The small

MONUMENTS.
to which
we

apply

this term

depends a lion's claw

the scarf. CHLAMTS, In when the

at

the

opening

of

originated in the time of Pericles,

who built
an

Hermes'

statues,the

Odeon

the right fastened on contests, not of from the neck. triangle The of much single CHLAMTS was persons, but susceptible choruses. The of with Asiatic decoration, ceived reand, nations, forms shoulder,
a

at Athens

cal for musi-

it

profusely ; for
The

actors

it

was

also it of and

richest and most

man

spectable rewas

decorated. richly
a

youths wore

rich

hunters soldiersof scarlet, tint, of sober unobtrusive

seen

chosen

from the ten

men elderly

colours.

Athenian

tribes,as
make

But it is seldom

without

its

graceful choragus, to
the

"

See

H"ME".

rangements, arnecessary in return for which

distinr
I

114

CHH.

German churches the symbol of the as defraythe expenses. If Ms had from heathenism chorus were he also the transition anity, Christito victorious, erected but principally in accordance with rightof placingupon a monument the ancient superstitious belief alluded to at his own was cost, the tripod,which given as a prize. The rich citizens whose by Erasmus, in his Praise of Folly,which chorus conquered in these contests,displayed induced peopleto suppose, that the day on which they should see a figure of this saint, ments, great splendourin their monuwhich that at with a violent so were they should neither meet numerous, Athens there was formed entirely death, die without confession. The incidents a street nor of the Tripods."* in the life of this saint chosen for of them, called the "Street illustration by painters, consist of the passage CHRISM. The consecrated oil used in of the river, the conversion of the heathen at Samos, and his martyrdom. the Roman Catholic Church. CHRISMATORT. CHROMATYPE. A vesA photographicprosel cess, the chrism invented to contain Mr. Robert Hunt, into by and

tion he had to

holy

oils.

child

which
an

the bi-chromate

of

potashenters

as

dying

before

fuller tation accepin the church than

active

agent.
for

It

is not

particularly
cimens spemore

sensitive ; but
or

copying botanical
be

baptismal oils gave, was hence ancientlycalled

chrisomer.

beautiful CHROME

engravings, nothing can or obtained. easily

GREEN.

A beautiful

dark-

CHRISTINA, this saint, who are a year 300,

In

ST. suffered

The

attribvtes

of

millstone

martyrdom in the and by her side,

a

green pigment, prepared from the oxide of chromium. Different shades of this pigment
are

used Mixed

in

porcelain and
Prussian is called

in

oiland nabar. cin-

arrow;

sometimes

also

knife and and

painting.
chrome

with

blue

palm the arrow is the only as martyr. When it is difficult to distinguish her attribute,
crown

the pairof pincers ; also,

yellow it
RED.

green

CHROME
at

The
name

from abound

St. Ursula.

Pictures

of this saint

present by this

pigment known is not prepared

tion preparaCHROME name

in central and
at

northern and
at

Venice,

from Italy, ticularly parBolsena, of

RED

chrome, but
of
was

is

beautiful The

RED

LEAD.

which

cityshe is the patroness. ST. We CHRISTOPHER, frequently

with this saint in old woodcuts
; he
as a represented giant,his staff being stem of a large tree,and he is carrying

meet

is

the

the infant Jesus

a

on

his shoulders

across

in by speculators, order to secure a good sale and a high is an oxide of lead, while price.RED LEAD is chromate CHROME which RED a of lead, is a durable pigment, and admissible in oil-painting.
to

given

it

river.

This

was

favourite middle the

with subject the of

CHROME

YELLOW.

The

most

sonous poito be

the

artists of the

saint is

placed in

ages, and side entrances

of the chrome

pigments, and
with white

in oil-painting entirely rejected : it durable. When

to
a

is

not

mixed

lead,

"

fine
of

specimen still exists in the monument travelLysicrates, mentioned by older lers

the name and which of
is
"

it turns
a

water-colour

and as dirtygrey. By itself, pigment, it is less objectionable. An

on inscription

undfir

I.anthem

of

thenes," Demos-

A engraved abnvn. second stillexistingat Athens, is the monument, is very Thrasyllo", which simple, being hewn in the rock, and serving as the front to a cave. It bear* two tripods, that of Thrasyllos, and that won took by his son, who advantage of his father'* monument, being neither rich nor " proper choragus, but having superintended a chorus
at

CHRONOGRAM.

monuments,
an

coins,and words, and

books,which, by
from

arrangement
the

of letters selected

the expense

of the state.

representedon a larger used scale, gave a date also. It was jr. their later works, and by the Romans
among

CHR-CIB.
Tas

115

naissance its colour approached to the resuscitated by the learned of the Reas proportion tint of
a

used on period. It was much will be best medals. Its rulingprinciple understood by the following one, made from Duke the of
name

seed

beginning to sprout.*
A term for
a

.; ;,t

CHRYSOLITE.
green

kind

of

of

first George Villiers,

:
"

or yellow topaz, which hold* jasper within it. Its name is glittering particles

Buckingham
DVX.

derived

from

two

Greek
stone.

words, chruso*,
It
was

GEORoIVs.

BVCK.INGAMLE.

gold, and
used

a lithos,

muck

these large numeral we letters, Selecting : obtain the date 1628,thus expressed
"

by

the

ancients

and

enriched

for gem engraving, ornamental works,precioua Held in the hand of a. sacred

MDCXVVVIIL,
and which which he
commemorates
was

cups, "c. CHURCH.

the

year

in
at

murdered

by Felton,

; in

tion indicates patronage or foundafigure, that or a monastery a lay figure,

Portsmouth. CHRYSELEPHANTINE.
gious (Gr.) Reli-

alludes to its foundation CIBORIUM. with

exclusively.

nonymous (Lat.,pi.CIBOKIA.) SyBERNACLE, TA-

images of gold and ivory. These, the earliest images of the gods in Greece, of wood, gilt or inlaid with ivory, were the heads, derived ACROLITES, whence were which of feet of and were marble, arms, the body still of wood, inlaid with ivory, or quite covered with gold. From this the chryselephantine statues, of arose of wood, covered which the foundation was with ivory or gold,with draperyand hair of gold,chased,and the rest of thin plates of ivory worked in a of the exterior was and with the the file, scraper patternby of The ivoryportion help of isinglass. and these works belongs to SCULPTCRE, art ; they were the gold part to TOREUTIC marble as long in favour as temple statues,
and brass
were

sacramentor house, God? s-house, the terms holy -roof; for the richly-adorned

pyramidalstructure
the which The

in

high
the
CIBORIUM

choir, in Host is kept.

is often addition
to

merely an
the then
a

and high altar, SYNEDOCHE, cut.f In

is
as

in
the

our

the

earlyChristian
CIBORIUM

times,
was

to merely a protection the altar-tible, first a TABERNACLE,

BALDACHIN

used for

common

purposes.
GREEN-.

then
over

CHRYSOCOLLA The Greek from

term

GOLD ("?"".), for

a

the
NOPY CA-

one

copper beautiful of the most

GREEN.

pigment prepared and VERDITER), (GREEN

green

of altar,

which
at

the

used

solemn under
of of Is
we

ancient

ARMENIAN

It

was

greens, obtained by and green

and processions
*

varieties of grinding carbonate the blue

MALACHITE

Pliny's
as

account account

CHRTSOCOLLA

as

fused con-

his

of copper, also by vitriol of Cyprus

a

decomposing

CEBULEUM;

learn

thus

much

of (sulphate

native oxide

copper) as
copper ore. colour with
GREEN

secondaryform of dissolved This pigment is identical in

our

passed originally blue, perhaps

copper,
were

a it,that real chrysocolla was of copper, but that those pigments under the same which, though name,

from

clay-coloured with
by
a

rendered

green

yellow

table vege-

different shades

of

TAIN MOUN-

Armenia
copper

; the best was second kind

brought
was

from
near

found
;

The herb Mum fect. produced this efIt was of two sorts : the one preserved as also a as paste, the other a liquid. It was termed crobitis.

acid.

mines

in Macedonia

the

third,
in

t The
these, the
most

most to

splendid
was

CIBORIA

are

those of
no

ancient
in

German
tlie

Art;
cathedral exists

the

longing befinest of

m"st valuable, was brought from Spain CHRYSOCOLLA (called by ancient valued in was or painters pea grass green)

and

which

preceding
remarkable
over

century,
CIBOKIA

The

Cologne longer. in Italy are the

tabernacle

the

high

alUr

of St. Paul's, at

116 which the

us.
wears priest

CIC" the stillreminds casula,

was

CIN. mausoleums afford kind

so were

of the

rich,who
rite.

alone

could

The

CIBORICM

generally
is above

expensivea
either

Urns

of this

supportedby
altar which made
;

four

and pillars,
were pillars

the

between
were

the

curtains, formed

of

clay,or
or

their

opened only while believers but closed in the offerings,

CINGULUM.
waist of male nations of

sculptured in marble, glass. See URN. (lat.) A girdle for the female,and worn by the
of metal
zone worn

or infidels. CIBOpresence of catechumens the vessel in which also signifies urcic a

antiquity ; a
See ZONE.

by

soldiers.

blessed Eucharist resembles nearly cover, from which

a

is reserved.
CHALICE

In
an

form

it

CINNABAR red

(CINNABARI, Gr.) The

tive na-

with

arched

it derives its name.*

CICEHONE.
and the person who shows and and and
KONK

(Jto/.)The title given to acts as a guide to strangers,

to explains

them which A and

the

riosities cu-

cinnabar, GKEEN). One of the red pigments called also by known to the ancients, Plinyand Vitruvius MINIUM; supposed to
see

of mercury. sulphuret is factitious cinnabar (forgreen CHROME

Vermilion

with antiquities abound.

Italy
CICE-

be

identical with

the

modern

VERMILION

other countries
must

good

of bisulphuret (the found frequently The Roman

s

mercury),aud
in appears

the most

possess accurate

extensive

antique paintings.
to have

knowledge,and
"while

archaeologists distinguished many this office, have undertaken which,

cinnabar
BLOOD

been

DRAGON'

servingothers,affords them also an tions of making repeatedexaminaopportunity and of the works of Art, enabling with their familiarity them to increase
them. CIDARIS. A

draco),a (pterocarpus resin obtained from various species of the calamus found in the palm, Canary Isles.
It is

beyond
the term

doubt

that

the Greeks

plied ap-

ing meangenerally CINNABARI, cinnabar,to this resin. Cinnabar, as

nochrome helmet, well as dragon's blood,was used in mothe afterwards by ruddle, painting; PiLEU8,f that of Sinopia,was Asiatic soldiers. A similar circular pointed especially preferred, also worn helmet was by the Anglo-Saxons because its colour was less dazzling. The ancients attached the idea of the majestic and Normans. J leathern belt and CINCTOKIUM. A therefore they holy to CINXABAR, (Lat.) the which the swords with it the statues of round to worn painted waist, Pan, as well those of as on worn feast-days Jupiter by the officers of the Koman Capitoarmy

pointedcap
and

or

shapedlike the

worn

were

tombs, upon and also for uncial letters in writing, which was down over worn URNS such urns The Byzantine emperors CINERARY as to recent times. were is said in the as were preferred signing with it, appropriated by the nations of antiquityto contain the ashes of the dead after sixth synod, imperatorper cinnabarium. for walls,on which they had been burnt in the funeral pile. Its general use was the of inscribed with the much in which names was were places spent: They money and whose remains it they held,|| were damp and exposed to the weather persons in niches in the family became unless protected were black, by encaustic deposited
BALTEUS, the rightshoulder.
a even

their swords

suspended.}The common suspended from

men

wore

linus

aud

JupiterTriumphans.
gold,marble, and

It

waa

used

wax.*
Rome, that in the cathedral at Milan, and that See AGINCOCBT, of the Lateran." in the church ,le FArt, Sculpt, tab. 13, 23, 26, 36. Hutoire " Pugin's Glouary of Ecclesiastical Ornament
mad Cottumt.
cut to to

t See

that

word.

i See
5
j
-tK see

cut CUt
cut

HAUBERK.
I'ALCDAMENTCJI. UKN.

tO
to

dear, it was provided by the Being very custom painters profited to r, by which the brush enrich themselves ; they took very full of the pigment, and rinsed it in their waterpails,and good cinnabar, being very heavy the perquisite tank to the bottom, and became of the artist. Also, to spare the cinnabar, they
"

buildt

laid a ground of syricum under

it.

IW

CIS"

CLA. of apparently Italian workman

cred sacontainingseven one dolphins temple, and the other to Neptune, seven eggs

sacred to Castor and of the chariots and and it

an were

Pollux. the
to
same

The in
a

courses

was

customary

take

number, dolphin

scripti
ship.*
the

CISTOPHORI.

(ffr.)The

bearers of

mystic baskets
at Athens.

in the Panathenaic Several

tivals fes-

of each egg away on the completion the that spectators might keep race, so of the sport. The right-hand part count of the other
area

in

was starting

wider

than

the
start

so side, and abreast,

that the chariots there and

was was a

might

examples occur Elgin Marbles, which delineate the processionat the Great Feast of Minerva in that city, and \vliichoriginally decorated the Acropolis there. CITADEL. A fortress on a hill to guard
in the
a

ditch

all round

city. See
C1THARA.

ACROPOLIS. A ((?"".) musical ment instru-

between

them

the

spectators. The centre, on

the

emperor's seat
same were

in the

somewhat the

resembling a guitar,of

side. Besides

sham fights horse-races, exhibited,gladiatorial shows, and

greatest

antiquity, being

mentioned

combats occasions

of wild beasts ; on certain solemn the circus was decorated with additional and obelisks. altars, statues, Here

flocked the idle and

so

of all kinds, pleasure-takers

were

addicted passionately Romans

to the

the

cient an-

sports of the

circus,
that and

"that

Juvenal
el

has

remarked quaintly

panein shows

circeuses

(doles of

bread

by

Homer. of
a

It is

seen

in depicted,

the

in the

things they
all that
some

could

the only two circus)were not dispensewith, and Wherever

classes cared for. their victorious

they
set

carried
a

armies,

or

performer upon Egyptian and and was by the played with a plectrum of wood or or fingers, in where itis as our metal, presented reengraving,
other monuments,f affixed to the neck of the instrument

hands

founded about

the earliest city,

was a

erection public lowed if only holup in out withone

from

the
no

earth,and
one.

even circus, thrown or hill-side, important station was

by
the ancient

cord.

The

modern of

guitar ia
this very for

legitimate descendant
instrument.
shade in

In
at

this country there

is

of

CLATR-OBSCURE.

the

kind

Dorchester,another

at

Silof

lightand
CLAVA. with

(JV.) A painting. See

term

OSCURO. CHIAR-

"c. at Richborough, chester,

CISELURE.

(JV.)
metal

The

process

chasing. Chased
CISTA. called

castings. The box. Chest, (Lat.)

bronzed mirrors

club studded A military (Zrt".) borne by as or a simple club spikes,

so-

Hercules.

mysticchests found

in the Etruscan the

a

CLAVUS.
Romans. broad The

(Lat.)A

distinctive band

of

are Necropolis

boxes,in which

colour purple

beautiful bronze

enriched (patera),

worn upon the tunic of the Senators wore it as a single

by engraving,as well as other ornamental were vessels, kept. The chests themselves are They are wrongly called graven. of mythic not being objects eist"e mysticee, supposed. worship as earlyarchaeologists in and now at Preneste, The CISTA found the CotttgioRomano, is of surpassing

down perpendicular stripe termed order

wore

the centre then

of the tunic in front of the it

was

and breast, The

clavus latus. it J
as
a narrower

trian equesdouble

Sec

Muller

and

Osterley'sMonuments

of

Ancient

Art, tab. 61, No. 309.

beauty;
of

on

it is

the represented in
a

dition expethe in-

t Our
at

the Argonauts of Grecian

style not

cut is copied from an Egyptian painting Thebes, engraved by Rossellini exhibits ou" % See cut to DALMATIC, which
.

unworthy

Art, but by

of this kind.

CLA" and descendingfrom each shoulder, stripe, It was clavus augmtus. termed ally originconfined
to

CL1.
water

lift is

it forms
use.
are

sufficiently evaporatedtherefrom, for the workman's doughy mass

most

these

two
as a

orders ; but
mere
ment orna-

The those

ancient from

kind of the baked

eventually
in modern
some

was

adopted
later

formed

clayvessels rough native

in

the

days
as

of

Rome. Church

The is

plasticmaterial,and
Such
were

the

sun.

stole of the Catholic writers considered

a

by
of

the the

bricks

manufactured

in

descendant

Egypt by
earliest the Arts ;

this ancient distinction.

vases

Israelites ; and such the discovered in that cradle of

as

CLASSIC.
finest works modern

The of

term

appliedto
or a

the such

as

well

in the tumuli

of the

antique Art,
preserve modern entirely
as

to

Aboriginesof the British Islands.*

CLEARNESS. consists and the in A in quality Art which

imitations An

similar work

character.

is,

however, termed
achieves
a

classic when

it

fully success-

contact
manner

arranging the juxta-position of colours, and tones,in tints,

best calculated
on a

CLASSIFIED.
or

high position. A catalogue of

to realize

lery gal-

good generalharmony
ST.

broad

scale.f
adjutor co-

collection is said to be

classified CLEMENT,

The

follower and

its contents, of the ApostlePaul,and the patron simply notify has the or schools. saint of the blacksmiths. He but arranges them into subjects his symbol, In general histories of Art, its professors anchor as J alluding to his to also into the countries, martyrdom by being precipitated according are classified chosen by them, with an anchor about his neck. H4 or sea subjects schools, styles, when it does not for the exertion CLAY. of their talent. peculiar
CLAY

is sometimes tiara and

as represented

pope

with

MODELLING used

is

an

nous alumi-

pontificals.
The church which
or

body plastic
other artists to and

embody

their

and by sculptors conceptions, As it is liable

to

CLERESTORY. windows in
a

upper appear the arches

row

of

above which

aid their future work.

to crack in

drying,it is necessary
to

damp
cloths

the roof of the nave, supportit.

it
over

and continually, the work

throw when

wet

CLICHE.
die in
a mass or

(JV.)
of melted

The tin

of impression
or

modelled
on

the artist is
CLAY

fusible metal. make

not

employed

it.

PORCELAIN

is

Medallists

die-sinkers

employ it to

of granite proofsof their work, to judge the effect, decomposition freed from foreign and stage of progress of their work before and when and felspar, The term CLICHE is matter, is infusible in the kiln,and perfectly the die is hardened. the French its silica giving it also applied white in colour, casts to stereotype derived from the

transparency, which
it contains POTTER'S obtained generally after in
CLAY

mixes

with

mina the alu-

nearly equalquantities.*
is of
coarser

from woodcuts. CLIPEUS.

worn

(Or.)
and

The

nature,
and flints

by

the Greeks

Romans

large shield (see cut,

the former of formed

from

Dorsetshire with

p.

42),which
covered

originatedwith
was

Devonshire,and mixed undergoing

a

This mixture

is termed

ground purifying process. the and when slip,

people,and
wicker

sometimes
ox

with
most

hides
or

(which was
sword
;
or

imperviousto
and bound

thrusts with

cuts),
structed con-

round

metal

in England is clay obtained that procured from the granite districts in the of England, and its average west composition is
*

The

finest

of entirely
"

hammered

bronze.

It

as

follows"
Silica Alumina Iron Lime
46.00

40.00 27 43 SO

Wiltshire. Ancient clearness by J. B. Fane, the eminent artist, in the. 4 rf Canton for September, " menclature NoThe 1843. of a scries on It forms one of Pictorial Art," allof which are of See

Sir R. C. Hoare's
paper
on

t See

Magnesia
Water

and

Alkali

12.80
.
.

as exponents of practicaland theoretic views of an important kind, difficult done here. in treatment, but satisfactorily

exceeding value

100.00

t See

ANCUOB.

120
was across over

CLO-COG.

suppoited by
the the
centre

belt the

which

of

under

passed side,and

it i although,when imperfectly prepared, ing colouris the to change.* COBALT subject

matter

soldier's arm, a stripof twisted fastened cloth passing round the inner surface,
at certain

of SMALTS.+

and intervals,
for

forming
was

series of handles the

the the

convenience shield

of held.

GREEN (RINMAXX'S GREEN, ZIXOBEU, Gcr.) A preparationof the green colour of which is due to cobalt, Guux the presence of iron in oil and water. COCHINEAL. in the form
one :

COBALT

however soldier,

it works

well

both

See cut to ANTYX. CLOISTER. round

or

An court

the inner

open of a

piazza running house, religious

or

(JFV.) A
of
a

dried

insect

small round

grain,flat on

adjoining a
sometimes

cathedral in the

church air.

for It

sheltered
was

exercises

open

provided with

lavatories

washing before or after meals, the leading from it. A dining hall generally termed a cloister monastery was frequently this writers from importantfeature by early
for
of its plan.

either red, brown, powdered with side, This splendid white, or blackish brown. material is soluble in water, and colouring is used for making the red lake pigments
known

by

the

names
:

and
are

other lakes
vague,
as

the

Florentine CAUMIXE, of these lakes names lakes

are

substituted attribute of the

Brazil-wood many for COCHIXEAL LAKES. This bird is

CLUB.

An

martyrdom held

COCK. emblem and from

by

St. James

Less, St. Eusebius,St.

THE COAX Roman ROBE. A

of watchfulness
a

Fabian, St. Boniface,"c."

COA VESTIS.
worn

placed on
A

very the summit

act

regarded as the and vigilance ; earlyperiodits image was

of church of
crosses.

garment
and girls, of texture and
wearers

by chiefly
women as

dancing

COCK,

in the

crowing, is
of
our

duced introLord's

other
so

addicted to
to be

pleasure,
of the

among

the

emblems

fine

nearly transparent,
the forms

in passion, It is also of

allusion to the sin of St. Peter. the emblem

were

through seen. easily

COATin

ARMOUR.

which general,

the usage of the of noble families

gowns

of St. Peter,and versal vigilancein general; hence its unifor heraldry A term adoption in the popular form of is obviously that qualification. adoptedfrom ancient knightsand ladies COCKATRICE. A fabulous tion combinato embroider

which

their outward the this

arms means

of cock s'n

and

dragon, emblematic
an

of

and

tabards

with

and generally; A small and

attribute

of St.

allotted to their families.

By
on

Vitus. of COFFER. used for covered box

or

they
could

were

always
be
cut

known ; and the

occasions

chest

ceremonial public

always soldiery. See

Prince, p. 43.
COBALT
is
a

knights in war by their distinguished

of Edward the Black

BLUE.

This

beautiful and

compound
the
no

of alumina It
was

ment pigphosphate
in

jewels, generally money sometimes with carved, and ornamented or enamelled goldand jewels, plates.They used by ladies in the middle were ages ; and by the Church for the security of altarof largesize. "c., when they were plate,
COGNIZANCE.
worn

of cobalt, f

discovered

(Fr.)The family badge

a

1802

by

French
to

chemist doubt

Thenard.

by

the retainers of

noble

house, or

There is

reason

its durability,soldiers in the field.

"

See BADGE.

See

Art

Journal,
of

also for much other examples, and the subject of saints on general information the excellent and their emblems, tion compilasee
*

For

t The
hands with
a

quality

this

Sept., 1849. pigment

some

varies

in the

of different

makers,

being tinged

of the

Rev.

F. C. Husenbeth.
so

finest
a a

t Cobalt
oxide

possesses will

remarkable
a

power

in

colouring glass,that
of cobalt tint thereto.

I -20.000th of

grain of the
visible
blue

impart

very

red hue, forming a violet colour. The have met specimens we with, approachIng in puri'y of hue to ultramarine, were pared preHue Neuf Breda, No. G, by M. Kdouard. conscientious and i'aris, a most, trustworthy manufacturer
or artists'

pigment*.

COG"

COL.
at
an

COGNOSCENTI.
a teoshig

poskuowlege of the essential beauties of Art.

(Hal.)

Persons

of

work

COINTOISE. from the

(Fr.) The

scarf

pendant
a

of upper part of the helmet which varied in length,sometimes kiiight,

at only falling

the

back of the head

and the

nei:k.*

It

was

frequently jagged at
the heraldic

edges and
is the COLLAR.

cut into the form

of leaves,and

who occasionally elate, directed them (thus Nicolo Pisano,who died in 1273,studied ancient sarcophagi) ; but the world in genenil diatheir claims, until Lorenzo rcgarded di between 1472 Medici, 92, brought the weight of his taste and judgment into the field of research, and set vigorously to the task of restoring to lightthe lost Art of their attention toward
"

earlier

of origin
An

mantling.-^
worn

as antiquity,

the safest test

for the vital

heraldic distinction

by
of

knight of a military Order,as a badge his brotherhood,and containing the

and emblem of that Order. The the Golden Garter,

own day. He collected largely busts,statues, but especially and gems; he was encouraged by the applause of the

taste

of his

motto

greatest minds
and

of his

own

great era.
were

phael Rasiastic enthu-

collar of the
are

Fleece, "c.,
in
to

Michael

Angelo

insfcinces.

in their endeavours A selection of works The former

at resuscitation.

COLLECTION.

painting and form a gallery,

or

not sculpture

largeenough
The word

the entire of ancient the

distributed

in various

proposeda plan for exhuming Rome, and restoring works of Art beneath iU long-buried
the well-known the latter
most

apartments of

mansion.

is,

surface ; and which formed of the

antique torso,
sion possesa

to prints, ever whathowever, always applied the quantitymay be. OF ART. COLLECTIONS Though the and ancients collected statuary, pictures, date the more gular refairly vases, J we cannot and galleries of Art to a museums
more

cherished

proof of his full and equal appreciation of their truth, grandeur,and value. Poggius,who died in 1459, only knew about five antique
statues

is artist,

in Rome

; but

at the

close of the

remote

era

than

the middle which

was

of the

fourteenth filled with

fourteenth century, from

its close
an

periodtill
kindled
to

emulation

being
the from

that

were palaces century the collection them, principal of the Medici. Among their numerous

of antique Art. possess the noble mementos The of Petrarch led poetic appreciation

treasures

was

the the

"

statue

which which the

enchants is known

world,"

Venus

collecting coins,as well for their artistic beauty as for their historic interest; Cola Rieuzi having the honour of attention to their claims as early recalling
to
as

his

all other

antiquesof
name

goddessby
of

the addition of the The Lorenzo di

taste

of this noble family. perseverance

and

1347.

Antiques were
find
some

never

we disregarded;

few

" termed the Medici,so justly stimulated all Magnificent," patrons of entirely and the of Rome were again palaces students, Art,

decorated
See cut to HERALDIC CXEST. t See that word. J The celebrated most antique collection WM that formed by Verres and described by Cicero. He notes that it contained beautiful tures picmany of a costly kind ; statues of Jupiter. Diana. Sappho, "c., of grand size, both in stone and bronze ; an Apollo by Myron, and a Hercules,
*

with

the ancient
was

statuary which
inhabitants.

had The

delighted its
as

Papal collection
well
a as

formed, and
on

Julius II.

Leo X. carried

their researches
museum

with

zeal that gave

a

the

of the all other tions collecwould

seums mu-

Vatican

prominent place over

To
"

collections.

name

the

other

by

the

hung they
The

Praxia Cupid by teles, great master; "c. Within the walls of the gallery rich tapestries with borders of golJ : and further adorned were sumptuously with
same

of Art in be to describe

the Eternal

City"

its varied

and palaces

painting and

gilding of
.

an

ornamental

kind.

; suffice it to say it is the studio of the world,as importantand pre-eminent

collection also comprised a splendid series of vases, in precious metals, some patera, "c

for its Art-treasures its political power.

as

it was

for anciently

ifoocratod with costly

gauis.

cou The
taste

awakened

in

Borne

spread
and

collection

at

Paris

the

finest works

ot

"lowly, but
among classes
our own

Europe ; surely,over nobility and the educated "collecting"became a passion.In

the

painting and
where of war." Some

he could sculpture
were

his armies

obtain, as "spoils victorious,

remain
;

few

but

at

his

country, the Earl

the earliest and the

of Arundel

was

"ami"ng

most

enthusiastic of his in

fall the greater part were returned to the from which he had carried them. museums In 1814 Ceres there the colossal might be seen Pentelicon (in marble) which once the rotunda of the
museum

"of

and collectors;

remains the civil

war by gatherings(scattered The Pembroke at Oxford.* England) are now at Wilton now House, collection, near Salisbury ; the Worsley Marbles, at Appuldercombe,in the Isle of Wight; and other noble those at Ince-Blundell, the value attached attest general "mansions,

decorated the Vatican

at

to

these

noble

relics.

Our

universities

numbered paintings than by twenty-six bequeathed among ; Cambridge others. his J. and few Kafiaelle some tion"), Transfiguraby Disney, Esq. ; (including the grand English collection is of But twenty-four by Titian,seven by the British Museum, which, from teen fifLeonardo da Vinci,nine by Correggio, course small, has of late by Guido, being comparatively by Guercino,twenty-four be of Paul retto, Tintoto increased ten one fifteen so as rapidly Veronese, by by years Rubens the most importantin Europe. The Elgin and fifty-three by (including and Townley Marbles f are now wealth of to be studied all his finest works). The same the with in conjunction characterised other schools, and JEginitan specimens works. Marbles has those them
no

have we possess collections also ; Oxford the Arundel alreadynamed as possessing

gigantic Minerva, known the " Pallaa of Velletri;" the Apollo as "de "Belvidere," the Venus Medicis," the "Cupid and Psyche,"the " Group of Laocoon," the " Antinous of the Capitol," the " Discobolus the " Dying Gladiator," other world-renowned of Myron," and numerous
The fewer

; the

"

with the portant imas well as was one so the collection altogether Lycian Sculptures, of the Assyrians,Babyloin its sterlingqualities the nians, and Egyptians; and thus the history "gatherings" of all Europe that it was deduced through of Art can be satisfactorily which the finest or ever existed, probably The all ages from its own monuments. will exist again. ever can The Louvre in its present condition is a gradualprogress of the Art of Sculpture be traced from its cradle in ancient Egypt to most museum. important and admirable its highest others to notice : the Paris offers many gloryin ancient Athens. " the most Of all continental "Ecole des Beaux- Arts" and the "Hotel collections, while that formed was de Cluny" are of importance; the latter united, important, in the Louvre during the reign of Napoas semblage containingan unique asparticularly, That extraordinary lejn. was not a man of mediaeval antiquities, ing exhibithis expedition to Egypt, mere on soldier; great artistic fancy ; without a rival and earlier works
" "

he

carried with labours

whose

of aavans, group the enlightened world,at

a

him

quities the expense of the emperor, on the antiof this long-neglected country. In the
same

and of much elsewhere, peculiar value,as enablingthe student to realise the domestic life of a periodin French history of much historic iuterest, which,without such aid, would be obscure. singularly The
"

way,
ARUNCEL

he

secured

for the national

Musee the

d'Artillerie"
*

See t The

MARBLES,
will

reader

find

p. 51. fuller particulars of

category of
of the The
arms

ccme fairly may collection of Art, so

within

sitely exquimuch

these

collections under In this dictionary. J

See

their

respective

names

beautiful

is the ornament
armour

on

and

there exhibited. Versailles

are

the article ART, p. 45, for a fuller consideration of thtt gradual culmination of ancient

Luxembourg

and

also

taste.

great schools foi

Art-study.

COL.
But the most in of the have
at

tions, antiquecollecimportant the

usuai

enablingus to recall Greeks and Romans, are

obtained and from

life

those which

been

the exhumations and which

of

Herculaneum

Pompeii,
the

find their home Museo

when

within

walls From

the

at Naples. Borbonico,

1738,
were

deep fervour. religious Of the public collections of pictures bj the old masters in England, after the National those at Dulwich lege ColGallery, Court may divide the and Hampton the most important collections, palm.* Of private
are

executed

under

the

influence

of its

the firstimportant excavations in the lost

those of the "Stafford

made

city

of

Herculnneum,

(the

minster Marquisof Westthe " ),f Gallery

the Earl of Ellesmere, until the present time,additions have been Marquis of Hertford, here of so varied and so interesting Lord Ward, and Lord Northwick, among made
a

kind,
the

that
manners

we

are

as

fully acquainted
adoptedby cities long-buried when lived. they
domestic
use or

with

and

customs

the inhabitants
as

of these

if

we

had

visited them article of

Almost

every

by their ancient denizens luxury required has been recovered,from the simplest
article of the ladies' toilette to the
armour

merous nobility.Among the untitled are nuimportant gatherings, particularly Mr. Holford's, Mr. Munro's, Mr. Baring's, fuller detail of "c. for the a Rogers Poet, ; all of which we must refer to Dr. Waagen's plays disArt in England, a work which forcibly

the

the treasures
"

we

possess within

our

isle." sea-girt Of modern

of the soldier ; from the kitchen utensil to the ivory chair ; nothing is wanting that
was

Art,
"

our

public

collections

in

every-day

use

in

the the

cities thus

suddenlyoverflowed them has preserved

future famed
ages.

by

lava, which
of

examples ; but for one brilliant that of the Vernon Gallery," J exception, made have would Art scarcely English
possess few sufficient show of
our

for the information

to attract

attention Private

In

collection

is

interest,this peculiar without a certainly

public places.
; but

in any collectors
sarily neces-

abound

their collections

are

rival ; and the beauty and taste exhibited all its varied contents in nearly givesit a

place distinguished
Art. No

among

collections of

the most importantbeing restricted, that formed by Mr. Sheepshanks, and which includes many fine examples of the best modem painters. COLLODION
.

in the present great capital all its Art-gallery

"

age
or

is less

A solution of

gun-cotton
upon

without

more

in ether.

This

preparationspread

famed;
Vicuna and but
towns

Berlin, Brussels, Madrid, and ; the Hague being the principal

present formidable
numerous
ace

glassplatesis
the sensitive
most

Antwerp
there

minor

rivalries ; cities and

far the

employed to receive It is by surface. calotype delicate of the photographic

much

remarkable
numerous

for the

picturesthey
abroad
"

much exceeds processes ; and for portraits anythingwhich has yet been introduced. It is
so

enshrine, and
which of

churches of epithet
we

affected by rapidly

the

chemical

well deserve

the

tions Collecthe

Art," paintings which

"

whether

consider

can rays of the sun, that moving objects the be instantly phic photogradepicted upon

hang

upon

their walls,

into tablet, it enters.

the

compositionof
A

which

the

storied windows

dight," the richly

which fillthe aisles and altars, sculptures the fine or examples of antique gold and and silver work, gems chasings, which crowd the treasuries of such
we

COLOGNE
earth and
*

EARTH. violet brown

bituminous

of

durable
The

in water-colour

hue, transparent, painting.

of each their of these titles in

edifices.
museums,

For but

principal contents
described in this for
a

antiqueArt
as

our provide

it is in the sacred
at

edifices
must trace

home,

that

we

middle

ages,

and

abroad,as well study that of the its best works,

collections are future pages.

"*" See

under

that term
term

dictionary.
account

t See that collection.

detailed

of thU

124

001. A
row

COLONNADE.

of columns

porting a buildingor a roof, or or more it, and consistingof one lines of pillars termed being MOXOSTYLE, ;
when of
one

suping surround-

hundred

celebrated and the

height. Other COLOSSI antiquityaie the Minerva JupiterOlympus, works of Phidias ; Farnese Hercules, and the gigantic
in The tints in
a

feet in

row,

and

POLYSTYLE

when

of

Flora of the Belvedere. COLOUR.

many. COLORES

picture. The
The

FLORIDI. ancients
to

The the

name

given

paint
or

used

by

the

artist.

type of

by

the

expensive and

colour is found the

a

brilliant

the four hard

from pigments, as distinguished rough principal pigments of The

COLORES FLOKIDI
were

in the prismatic spectrum, discover rainbow; in which we of white

earlier times.

suppliedby the employer,and often purloined CHRYSOby the artist : they were INDICUM (indigointroduced into COLLA; Borne in the time of the Emperors) ; dria, CKHULEUM (a blue smalt made at Alexanfrom sand,saltpetre and copper) ; and wliich natural was partly CINNIBARIS, also an and partlyartificial VERMILION; Indian pigment, procured from the sap of the plerocarpus draco, called DRAGON'S called COOther pigments were BLOOD.
LORES AUSTERI.

light is capable of being decomposed into three primitive colours ; these, RED, BLUE, and YELLOW by their mixture, produce three other which are termed secondary;thus, colours, the union of red with blue yields, when in varied proportions, the different hues of mixed with yellow, purpleand violet red, yieldsorange; yellow,with blue, produces Every hue in nature is a green. of the primitive compound of two or more colours in various proportions. GREYS and BROWNS are compounds of all three of the primary colours in unequal proportions.
ray
"
"

that

whose works are results from a mixture BLACK of painter remarkable for beauty of colour. Titian, blue, red, and yellow,of equal intensity, Paul Veronese, and in equal proportions. Of material Rubens,Vandyk, Correggio, colorists. The of colours there is but one the rank in first are (pigments) TRAMARIN (ULhave schools that approachesthe purity Venetian and the Flemish of of colorists,the type in the spectrum the greatest number all the others supplied reggio, are more Corless impure ; thus we the best ; always excepting cannot as well as or red since all the founder of the Lombard obtain a are School, pigment, pure Titian. with blue to less who is by many more or or regarded equal yellow. alloyed could obtain a red and a yellow of Colour being,as well as design, If we an tial essenat the same marine, purityand transparency as ultrapart of a picture, every colorist is, less a draughtsshould need no other pigments or we the same man. time, more But experienceshows, and theory for our palette, mixture, since, by judicious that for believing, the three pigments would furnishes good reasons yieldevery tint which artiste LOCAL those these two in nature. COLOURS are qualities, many each moderate individual and in are to a degree, object, peculiar possess together eminent united t hem in from each other. found to an serve degree distinguish rarely and stillless in the COMPLEMENTARY COLOURS are posed comin the same individual, of any given colour. of the opposite* same picture. in such as BLUE, COLOSSAL. Of giganticsize,or If this colour is a primitive, colour is that of the nature. complementary composed cf any way exceeding COLOSSUS. A statue of exaggerated the other two primitive colours, viz., red, and yellow, than nature, or orange larger dimensions, ; the complementary very much colour to any secondaryis the other primitive examplesof which abound in all nations. Colossus colour thus the the the famous most was complementary ; Among to green (composed of blue and yellow), of the seven is ef Rhodes, regarded as one COLORIST. A
" " "

venders

of the

world; it

was

about

one

red, and

so

on

for the remainder.

"

UAH.-

COM. himself form, they to be acquiredonly bv his forgetting good pictorial well. A naturally are turesque in the contemplation of his subject. pictermed. It is the power is also similarly of doing this which scene we Deficient in original prize so highly COMMON-PLACE. in poetry under the term refined ideas. abstraction. For the highest laws or are in a picture sign, deCOMPARTMENTS or equally peremptory in every Art ; so in those separate are Art, that is true which, apparently plastic groups or incidents which said of music, that the was help the general design, but are paradoxical, themselves. in musician also in some does not complete degree carry the composition roof The COMPLUVIUM. but the cian." (Lat.) through, composition the musiopen of a classic house, which of the atrium the By thus treatingthe subject, slopedtoward the impluvium in its centre, artist becomes a splendidorgan, through which Nature speaks like a history which received the rain-water. to sentient The tural COMPOSITION. thus followed the general strucman : majesty out, of Rome in Rubens, and the cheerfulness arrangement of a work of Art. This of nature in Claude, are word expresses the idea of a whole created conveyed to posterity.* The second element of COMPOto this idea the SITION out of single parts,and is fixed by the given space which is In the whole whole ought to conform. be filled to harmonised too or form, and light, there ought never to be too much by colour, be necessary, and all parts must according to the laws of Art; little, then a history stood refer to one must adorning a space becomes another,being underthe of Art. This under such property f The third element relationship. only lies in the mind the of artist ; as "woman's be does not imply that every part must so co-ordinate ; some judgment is tinged by her affections," parts must be of more the artist who imbue his be and all cannot than must subject others, importance with his own will fail to animate which raises subordinate to a centre point, feelings his This canvas though every legitimate ; for, them, while it is raised by them. which is seen in natural landscape, subjectdictates the laws of its representaquality, call organism; we desire to produce it we * The artist will also try to include in his in Art,and require to \"epictures organic. plan the whok subject, whether tory, hisnature or This is valid as well in simple composo that the spectator, easilyunderstanding sition be capable or judging and it, may feeling it. in compound, which, as a comas position be aware But he must that there are kinds two of compositions, represents many of completeness and breadth, and that an object be exhausted To clear. by being made may wholes. All this, is though not attained, find the essential of an event and to or a poem, least call selves themat attempted by those who it in pictorial fiction, condense has difficulties which need not be discussed here. artists. The Those who knowledged, following is less acruled by this element are of the subject, mistake but not less important,viz., the boundaries of their Art

judgment into

said to combine

"

"

they would
or

every

COMPOSITION

consists of three one-sided

ments, make ele-

the

canvas

express

the

it exor, if connoisseurs, they pressed. see predominance in An is example of this one-sidedness paintersand connoisseurs produces three afforded of representing by the ancient manner two schools of error ; wliile the fervent working succeeding actions in one space. works left by the ancients T The that prove of these elements alone makes the together th y understood this maxim, and practised it; work and Goethe, who regarded them a living whole, and gives it that as triumphant in Art. in the proved its existence l.aocoon, which is expressedby the Latin word coinand represented this painful group as a splendid effect. The positio a quieting, satisfying It is certain ornament. that the most touching does not speak to \a from or important action artisf s subject furnishes thejirst element. the canvas ui-less treated pictorially; on the has its own law of repreEvery subject sentation,other hand, di fusion in space is possible,so as

whose

poem would

the

tory, his-

"

which

the he

artist must

clearly

to

sacrifice the
of
a

essential

understand,if
upon the
canvas.

would This

depict it truly

in favour the but

eye"

harmony

accustomed

points of the subject of colour flatteringto to it in academic works"

to

comprehensionis

re"lly derogatory

character.

COM"
noii,

CON.

127

yet every cultivated

own

man one

sees

in his

and light,
sees

no

may

of the true principles of Art,and objects cognisant that is of * can He fullyappreciatethem. say

he alone many have

rightly. A law or rule finds A thousand exemplifications. poets

of the soft shade of the lindenIs differently.

sung

tree, yet each has sung it the artist to be blamed who

givesforth
in the

the

holy memory
of his
of his hands

of his best hours

tions crea-

if' he pencil,
with the hues
"

clothes the work of his the ? feelings feelings of

nature

He

who

touches feels,
"

higher grade than the amateur, and more whose rule of nearly approachesthe artist, action he is familiar with, but does not is "one who practise. The CONNOISSEUR knows,"as opposed to the DILETTANT, who These two only " thinks that he knows." distinctions are often confounded; hence the latter, and being the most numerous hold the in what is dogmatic, sway larly popuconsidered much
to

that exhibit others ; and how can which does not proceedfrom nature who knows
not

to be

CKITICISM

in Art,

He

the

of prejudice

artists and of Art is the true friend

how

by pictures
manner,
no

which from
a

but

give that to his they become, not from his pictures, is subject,
to

itself. The of Art ; he

CONNOISSEUR

judgesof

works

from

their intrinsic

ence of the influexcellence, regardless upon the is prompt to seek out, and foster genius in recognise, and obscurity, and help its earlystruggles that position it to occupy too frequently who, pampering usurped by the pretender, the imperfect or perverted taste of the to crowd, obtains an ephemeralreputation be succeeded by future neglect. The qualities
SEUR necessary to constitute a CONNOISnatural f or are a feeling Art,a keen
"

but artist, imitate

mere1

he

Phidias

could even bias of popular names Copyist, or He or crowd. Scopas perfectly.indiscriminating of the

Excess

of individualism leads the artist to

to subject, caprice, and,in dreams,io confuse the

depict himselfinstead
sacrifice this to his allegorising action
as a own

favourite

well

as

the spectator ; but

if he

working it"with representit truthfully, and stamping it with his pictorial effect, he has composed,and his work is genius, all requisitions. completed,satisfying COMPOTIER. mental (Fr.) A shallow ornadish,in which preservedor stewed fruits are brought to table.
CONCAVE. CONCH. the Tritons The
as a

perception,and a sound study and observation he

with and the technics of method
no

judgment.
has become

By

liar famimanner

Art, the

Curved
sonorous

inwards. shell used

of various schools and masters.

or prejudices impartial.He as

horn

in of

by He has antiquerepresentationshence he
sea-gods,"c.
a

is

of See BUCCINA CONE. base. CONFESSIONAL. A

triumphs
and MUREX.

defects
an

as

well

predilections; appreciate merit*,and distinguish

can

on pyramidalfigure

circular

from a copy. The retoucJiersand original Painters his abomination. are repainters connoisseurs. seldom good general are

The seat for a priest CONSOLE. (Fr.) An ornamental "c. bracket for the support of a pierchurch,where he hears the table, confession of a penitent, PERMANENT who kneels in CONSTANT WHITE, the another recess, forming part thereof, and WHITE. A pigment prepared from water-colour communicates useful in small of barytes, through a aperture. sulphate In Flanders,such structures and possessing are great body. It is highly painting, enriched by wood carving. poisonous. very CONFIGURATION. The boundaryline in design is that governCONTINUITY ing of a figure. all parts of a w hich makes principle in the Catholic

CONFUSED.

Said
a

of

picture badly subject combine

with

to

form

composition
straction the ab-

arranged as
*nd shade

composition,or

light
is

which

would

become

imperfectby
A

badlydistributed.
(JV.) One
who

of any

thereof. portion word coined from

CONNOISSEUR.

CONTORNIATE.

cox" the lulian, contorno, the

COP. COPE.
a

or

French, eon-

An

ecctauaitical veatincnt, it originally used

the outline tour, signifying it describes have

a a

class of

of anything, medals which antique the the furrow

cloak

(which

deep circular line cut all round

a

to

was, protectthe the

and

wearer

edge,like
"urface

V-shaped
coin.

bounding
were

from of the

inclemency

of the
as

They

never

intended
on

played in and the Art discurrency, of an inferior them is generally

are

kind. their

They
reverses

and thin, alwaysof brass,

scenes

weather),worn at vespers, processions, bration during the celeof mass, by

exhibit

from have

They logichistory,"c. engraved upon monograms

CONTORTION.
unnatural kind. Violent

of the assistant mytho- some at benediction, generally clergy, and consecration,

an

the obverse. action of

other tions. funcis

an

ecclesiastical
Its form

CONTOUR.
of
a

(Jr.)

The

definite

line

exact

out withsemicircle, but sleeves, nished fur-

the ideal line or figureor other object,

formed

by position.
The of opposition varied and in

with

hood,
across

CONTRAST. forms which

is fastened

colours in painting, the or breast with a sculpture, COPM or clasp. vividly MORSE by such juxta-positionmore were ornamented with express each other's peculiarities. CONVENTIONAL. mode A peculiar and jewels embroidery in

Art, in
true

contradistinction and natural. Curved COPAIVA.

to

the

lutely abso-

OR(APFARELLS, PHREYS), wrought

CONVEX.

outward. A
an

with of turpentine

elaborate
at
a

COPAIBA, of or oleo-resin,
obtained from the West

kind amber

colour,
Brazil. and

dour, splenteenth early period. In the thircenturytheybecame the most costly

very all the ecclesiastical

Indies and

magnificent of
A

Being
into
an

destitute it from

of oxygen, it readily tracts vestment*.* atthe atmosphere, and dries COPPER.

metal

which

obtains

its

excellent

it is sometimes
VEHICLE.

varnish,for which used,as well as

pose purfor a

COPAL.
a

A hard

growing in fabricated from it by the nations of were making varnishes ; it is of a tawny and the oxides of copper As a colour, colour, vitreous, antiquity. transparent, yellow without and is nearly as have been employedfrom an early taste or smell, period. The with oxides hard as AMBER. Its combinations acids and ployed emcopal varnish, in painting from a very early peof pigments. riod, give rise to a great number is the resin dissolved in boiling The greens were well known to the Greeks, linseed oil. Turpentine will dissolve this and have been described by Theoprastus. The blues employedin the baths of Titus nish, resin, though with difficulty. Copal varall of them an oxide of copper, mixed well as amber varnish,has been as were In modern with alumina and lime. in oil times, employed as a VEHICLE extensively B runswick blue verdigris, verditer, painting.* green,
tree

the product of resin, India and Africa, used

mines worked by leable Cyprus. Its malvalue it in an properties early gave the manufacturingArt,and swords, shields, helmets,musical instruments, vases, "c.,
name

from

the extensive Greeks in

the ancient

in

" * See Materials 8e" Pugin's Glouary of Ecclesiastical Ornafor a History of Oil Painting. | ment Our Art* and Costume. engraving is cof ied by C. L. Eastlake of the ; TBEOPHILCS, Middle Merrifield's brass of a priest of the from the monumental Age*, by Ilcndrie ; Mrs ' fourteenth Ancient Practice of Oil Painting, "ccentury, as engraved by Waller
,

COP"
and emerald
or

COR.
and

129 with the of genius, inspiration finding tation copying,but in an imi-

Scheele'

green,

are

the

cipal prin-

formed greens copper ; it enters of Prussian brown also into the composition and
as Spanish ferreto,

from

satisfaction not in

littleshort of creation.

CORAL. A marine beinggreatly zoophyte, which, of bronzingpowwhen used in the manufacture removed from the water, becomes as ders. this metal is In givingcolour to glass, hard as a stone. It is of a fine red colour, of the greatest importance. It has been and will take a brightpolish. It is much for bookplates, used for small ornaments, but is not so susextensivelyused by engravers ceptible until the introduction of steel plates, of a high rank in gem-sculpture stones. as which, admittingthe action of acid much precious and in less CORBEL. A projecting more to supwearing printing freely, bracket, port has in some "when the plate column in architecwas ture. a pier, or completed, cornice, In domestic Art, it is used for carrydegreesupersededits use. It is pleasanter, ing See CONSOLE. "c. however, to the action of the burin. clocks, pier-tables,
as

well

COPPER-PLATE
art of

PRINTING. the
an

The

CORIUM.
cut

(Lat.)
into

Leathern

body

mour ar-

to paper transferring copper.

art upon

The

lines of

engraver's engraved

scale

filledwith a viscid are plate copper (orsteel) ink, which is wiped from the surface with the

sionally form, occaworn by

the

Roman A

diers. sol-

specimen is here givenfrom placed in a rolling-press, paper laid on it, and so passedunder the cylinder, Trajan's column. in the lines.* when the ink is deposited CORK. The bark of the querIndia-paper proofsare taken by layingthe liber. It is damped sheet of thin India-paper cus upon the itssurface being preused in ordinaryplate-paper, viously frequently the construction roughened by a brush, when the
a

palm

of the

hand, and

littlewhiting;

it is then

pressure

causes

sufficient adherence.

of models of buildings; in particularly ruins. When known CORN. of

as

cation multipliwork, whether statue, or engraving,by another painting, If a master hand than the original. copies call it merely a repehis own we picture, tition, which the French designate by the
COPY,
a or

in the Fine

Arts, is
a

the

imitation forms the

of

of reproduction

burned, it
SPANISH of
corn

ment pig-

BLACK. are

Ears

the attribute of Justice,

Ceres,and
and
on

also of the Goddess who Martialis,

Juno
a

term

doubktte.
most

COPIES

are

of three kinds in which

coin of

is sented repreTrebonianus Gallus

of corn in the righthand. with anxious original also the They were symbol of the year. exactitude ; in this case, the difficulty of The harvest month, September,was sented reprecopying is but slight. The second kind is OF by a maiden holding EARS CORN, where the copyistavoids exact imitation, and Ceres wore wreath of them, or cara ried but renders the original in its prinfreely cipal them in her hand, as did also the
some

the

general are
the

those

the

vitL

ears

imitates copyist

traits. in

These

COPIES,

exact

tions imita-

Roman of
com

Bonus divinity,
were

Eventus.
as a

The

ears

and colouring, are soon style seen to be apocryphalpictures. The third and most is that in important kind of COPY which the picture is imitated with the freedom of a skilful hand, but at the same time with a truthful feeling of the original,
"

lage, symbol of tiland prosperity culture, ; fruitfulness, also used find

on

and of

we

the
an

reverse
ear

of of

silver coin

Metapontis

field-mouse
to the

beside

it; the

barley,with a barley alludes

sacrifice of
mouse

For

some

account

of the

origin of the Art,

and

the

Mf

NIELLJ.

CORNET

golden ears at Delphi, Apollo Sminthios. (Fr.), CORNETA (Ital.) A

to

130

COB.
the form
arms a

flagin
upon
cornet

of
were

an

elongated square,
emblazoned. The

funeral

crowns,

of

ivy,and parsley,
crowns, at

pies. pop-

which of

The of feasts,

convivial

great

regiment obtains that name is bearing such a flag. The name doctors of the also appliedto square caps similar form of divinity, or to those of a It is derived from the worn by females.
from
same

roses,

bridal crown, of verbena ; that at the door of a house where a born

was,

The violets, myrtle, "c. suspended child

was a

male,
the

and

among w"ol of

the

Greeks,of olive for

a

for

female

among

root

as

our

word

corner,

and

used

Romans,
In

for any

articles with

CORNTJCOPLS:.

angles. (Lai.) The symbol of Plenty, Peace, and

acute

(Forother
word.1^

forms of

laurel, ivy, and parsley. that see regalCROWNS, ecclesiastical furniture,the

Concord classic

;
"

among

the

nations, held
or powers, coins

by
of

deities emblematic those

placed
alone It
was as

upon
an a

emblem. wreathed
to
flowing over-

horn, filled
with fruit and CORONA. for of
a

richest

corn.

(Lot.)
the
most

The

Eoman
or

term

honorary wreath, floral

bestowed obsidionalis, and which of a city, and wild The flowers
corona

metallic,
was

which

honourable
on was

the
queror con-

corona

the made

of

grass

from

the

field of

contest.

civica ranked

next,
term

which and

was

formed
to

of oak-leaves

given
a

the

and acorns, soldier who had saved citizen in battle. The

corona

is

appliedto

crown

or

circlet

the life of
corona

Roman
was

navalis
was

and rices, with

a

of

given for naval sermetal, the rim decorated

of the
was

series of models
corona

prows

of
to
a a

ships. The

muralis

given
with
a was

the first soldier who

scaled the walls of

was

besiegedcity,and
tastrum.

decorated those of

fceries of turrets,like The

corona

walled

of suspended from the roof or vaultingsolemn to hold tapers, on churches, lighted of which the number is reguoccasions, lated the to according solemnity of the festival. Sometimes they are formed of triple circles, arrangedpyramidally. The unarched circletof gold CORONET. and preciousstones worn by the nobility
as a

castrensis

given
and

token

of rank, different decorations

being adopted upon it as distinctions and of an enemy'scamp, outer palisades or differences; thus, a duke bears on his of with decorated coronet was quis representations eight strawberryleaves ; a marof a conthem. queror The four four triumphal crown strawberry leaves and number of both of laurel, earl double that or an gold was bay-leaves, ; pearls ; ; of pearlsonly ; and a that of a commander, who claimed honour viscount a row a of six only. for a less hazardous victory,of myrtle. baron the same, but consisting rary honoawarded CORRIDOR. The olive crown as an was (Ital.)From the Spanish sacerdotal The wreath to soldiers. A gallerysurrounding a correr, to run. of corn, of olive- wreaths, crowns were ears building. CORPORALE. "r (Ital.)The white linen required. The goitt, as circumstances

to the soldier who

first passed the vallum

COR-COS. cloth placedupon Church

which
cover
"

131 is
a

the altar in the Catholic of the and the

costume

great merit in
it must The be

an

nt artist,
to

at the
was

consecration folded conceal

a

host,
to

the

same

time

subservient

sometimes chalice
or

used

effect. pictorial with that earnest

does subject We

not meet

the

bread.

attention from

artists that have made tionary, dic-

The

expressionof
in the ancient the

oath corporal
custom

of
*

originated swearing

its importance demands.

COSTUME

solemnly on
CORSELET.

cloth." corporal

used chiefly

plate, (Fr.) A light breastparticularly by infantry, and seventeenth

a specialfeature and, in the progress have descriptive article,

in

this

of this sent preendeavoured

to refer the reader

on a

to the

best authorities titles of for the

in the sixteenth pikemen,

the few

subject.

We

subjoin the
most

centuries. CORT1LE.
the walls of A courtyard, or (Ital.) area,

of the books

valuable

constant

generalreference
so

of the artist.*
a as subject tume cos-

which, in
statues.

Italian with

decorated frequently adorned with

houses,were and frescoes,

a

To

treat of

extensive

within work

limits necessary to of the present kind,is to do no more the proper the best

CORTINA.
from whence

of Apollo, (Lot.)The tripod his oracles were promulgated. from with the circumstance of the skin of the serpent A mode Greek ing of dresswomen,

than and

it presents, suggest the great variety

pointout

sources

for further information

It took its name

being covered

Python.
CORYMBUS.
the hair

(Gr.)
among

the

represented in antique Art, frequently in statues of Venus ; which particularly

consisted in

a more may require than we account can descriptive pretendto give,for the subjectwould require volumes where have only pages we A brief generalreview will, at command. be our therefore, task,commencing with

to those who

minute

the ancient

nations.

gathering it

in

one

knot

on

See also TUTULUS, the top of the head. with which it is almost identical. COSMORAMA. from
an

Egyptian monuments giveus the earliest ancient life; and so abundant of representation
and varied
are

the

scenes we

exhibited
are

the

compound Greek, and used

of views

word
to

rived de-

by

these
means

nate desig-

their

that antique artists, conversant perfectly and modes the rule of the the is

by
the

with

exhibition

selected from

fashions who when that

of life of the

globe. quires, study of costume rethe observance the part of the artist, on of propriety in regard to the person intimate knowledge or object represented ; an their history, of countries, manners and natural productions and customs, arts, ;
the vestments
to each class ; their peculiar

various parts of the The COSTUME.

lived under

people Pharaohs,
were

Joseph
land.

and

Patriarchs

in

There

allusion to any does not meet these remarkable

a scriptural scarcely circumstance or thing that with a picturedproof in

works.

The ancient
scenes,

great
as

finement re-

of life in these visible in all the in-door in the costume

days
well

is
as

physiognomy, complexion, "c. ; arms, furniture,

conformable
to the
scene

their

ments, orna-

of characters

moving

in the

all should and

be its

of action

historical period. Many of the old masters, and not a few of the modern, have committed
some

higher circles ; an abundance of jewellery, embroidery, and rich colours is visible. that simplicity Among the poorer classes, which stillreigns in the East is remarkable,
and which restricts the dress to little more

very
;

in glaringimproprieties
we

their

costume

Veronese, while,on
Poussin is remarkable this respect. The

Paul instance may the contrary, Nicolas for his accuracy in of correct observance

Hope's Costume
;

Hvo.

Kaii-holt's

woodcuts;

of the Ancients, two vols. in England, Hvo., 600 Costume Uerbe's Coslumet franc.au, folio;

II Costumo 4to. ; Antico e Afoderno, Ferrano, Hefner, Costuinf du Moyen Age Chretien, 4to. ; Cost uinbvch fur Kiirut/er, 4to. ; Pugin'g Olostary

"

P.ugin's

Glossary of Ecclesiastical Costume.

of Ecclesiastical Ornament

and

Costume, 4to.

132 than
a

COS. choose from

w

girdled tunic,longer or shorter accordingto sex ; children going entirely

naked.* of the
same

fiir.ed history.The i*."".

uative and
,

merous nu-

"rk
r
,

devoted foreign,

The

Jews, and
era,
are

other

nations

to their A

remote

introduced
; and

in their there is in
a

occasionally and paintsculptures ings of marked sufficiency

and guish dress to distinThe

material
vases*

w/11 present an abundance of The early lor the painter's use. furnish sculpturesf
our none own

and

character them

feature

features ; and collection is second to Within from its walls

we

portant immany national

in this class. its progress

from

their delineators.

may

trace

and sculptures and the

at Beni-Hassan, paintings

of the representation of their

victories of

Sesostris and others sovereigns, supply full details on these points. Ancient Assyriahas almost miraculously revived an equal knowledge of its private well as its public life and manners, as and wars, in the greatness, its expeditions bas-reliefs exhumed years by and France. the within the last few
efforts of persevering

England
of

The
now

national possess
a

museums

both countries works of Art

"

rich series of

"pictured history" of whose relics in our this remarkable people, museums might, a few years European The included in a single case. ago, be is truthfulness of their sculptures minute of most remarkable ; the smallest portion
the
dress

infancy to maturity ; from the rude partaking largely of the vase-painting, of ancient Egypt, to grotesque archaism of the the sculptures from the Tympanum and those at .iEgina, Temple of Minerva in from the Temple of Apollo at Phigaleia the final of Greek Art triumph Arcadia,to from the Parthenon in the sculptures at Athens. It may, however, be noted,that while the earlier artists strictly represented their eye, such costumes met as constantly the later ones took the liberty occasionally their figures(particularly if of divesting of the body clothing, and male) of some the at times left the chlamys only upon

figure.jThe
Grecian Art and

close alliance ancient

between

the sian Per-

Babylonian and

and

its accessories

are

all delineated
an

be traced in the series of may discovered by Sir C. Fellowes in sculptures Asia

with
a

the utmost

care, from
are

ear-ringto
as

Minor, and
as

now

known

in

our

British

shoe-tie ; and Ancient

of the greatest value and

an

Museum

the "Xanthian

of lifein pictures Greece

to

Nineveh has left

Persepolis.f
abundance of artist in lie may
may

It is almost details here of Roman the

to
museums

of

Marbles." $ superfluousto enter into the easily-obtained examples abound in

authorities his
"

guide of representation
The
most

the modem any

scene

costume, which
of

abundant

information

be

found
but

on Egypt by Rosellini ; costly book confined to great and l.braries, the admirable digest of that son, all other works on Enypt, by Sir J. G. Wilkin-

in the this

great work
a

nothing be desired in the way of detail descriptive obof the habits,customs, religious
See the works of Sir William

Europe, and

leave

as

is

"

may

combined with his be referred to as

and entitled,Manners is vols 8vo.), and Egyptians (firstseries three abundantly illustrated with engravings. In the of this dictionary many examples may be course seen copied from Kgyptian originals t The engravings in Ker Porter's Travels are for the study of those the best old authorities in themselves visit the monuments cannot modern But the more the British Museum Mr. Layard works of M. Kotta in France, and in England, are the most scrupulously correct. cal Mr. Vaux's A'inereh and Persepolis;an Historiwho

researches there, It is amply sufficient. Customs of the Ancient

own

and the engravings by Kirk, illustrative of this subject. T Our engraving, p. 48, is
an

Hamilton, Moses, and others,

a

good example

of

early date.
t
See
as

well
BONA.

illustrative of that word ; as cut our CANEPHOBOS. DIPLOIS, ENCOMCHITON, details of "c., "c.. for further PALLA,
costume,

Greek

which

may

thus
names.

be

found

scribed de-

" by Sir

their proper Engravings of them under

have

been

Charles
of
his

Fellowes,
discoveries
on

whose
contains

published descriptive
also
an

narrative abundance modern Ionic

of information of inhabitants

the

ancient the

and The

that
as

country.
as

Sketch of Ancient Assyria and Persia ; of all that has gone cheap and excellent resume also be consulted before, may many ; it contains engravings from the sculptures there discovered.

trophy monument, sarcophagus, represents

as

well

Satrap
of

the also

costumes
seen on

the

Persians,
mosaic
at

they

are

Pompeii, called the Battle

the great of Issus.

134 eeive their share books south of attention in

COT"

COW.

picture-

press,

by

which

means

the

ink

is transferred

from the wet proof to the plain The them. to reversed obtained and Italy*generally, paper, and an impression Spain,Portugal, terranean for the use of the engraver, who may wish and the Mediwith Greece, Sicily, and the to the effect of the exact the see on have graceful district, paper able lines his delineated reversed as on they are plate. by gay dresses of its people COUP-D'OZIL. as hands. So also has Turkey, Arabia, India, (Fr.) As much be the at one and China ; f the natives of modern Egypt comprehended by eye may view. The general effect of a picture or tryman being as minutely described by our coundevoted especially
"

Lane

as

tants those of itsancient inhabiand

thus

by other pens completing the cycle of

have been
costume

pencils ;
and

group. COUTEAU-DE-CHASSE. of hunting-knives," also a fork and containing ai. the siile carried bodkin, in by gentlemen hunting,
case
"

(Fr.~)The

ancient

modern the

ing show; and satisfactorily at the of material abundance the artist who aims of his fulness at truth-

of disposition

in the delineation
Boencs.

pictured
tunic

in

the

fifteenth centuries.

and

teenth six-

COTE-HARDIE.
to tightly fitting
tts worn

the

(Fr.) body, like

The the

JUPON,

The

in the fourteenth century. by men worn by gown long tightly-fitting

a row

They were highly decorated, and it was an especialhonour, reserved for the principal gentleman of a hunting
cut
was

with ladies,
at the
same

of buttons

to the

waist, party, to
when it done
ing coverwas

up

the

deer

COTHURNUS.
for the the

period. (Lai.) reaching to foot,

COTYLISCOS. small

killed,which
much the
mony, cere-

high

with and

the middle

of

skilful
of

leg.

See BUSKIN.

pot
in
an

with other

knowledge of the mode (Gr.) A carving considered part a single a finished education.
respects
in niature. mifrom

of

handle,
like

COVERCHIEF,
A word the French

CHIEF. KERnaturalised

amphora J

couvre-chcf ; a snail * the for head the or (Fr.) covering ; mediaeval in handkerchief modern Elbow-plates more having the See ELBOW-PIECES. armour. first syllable added, by way of distinction COUNTER-PROOF the head and that that worn between on tra-proof). (conAn impression used by the hand, but producing a corrupt of an engraving obtained by term. and contradictory of the ancient The war-car COVINUS. proofupon plain layinga freshly-printed the it barbaric nations of the and and other Britons through again passing paper,
COUDIERES. shawl Roman
*

era, the wheels

of which

were

nished fur-

Manuel

de

la

Cruz's

Rerueil

de

plusieurs from clear

a a

with

to scythes,
on an

keep

off

infantry

Babillementi Espagnols; the Rev. W. Bradford's Sketches of the Country, Character, and Costume in Portugal and Sfnin; I. B. Greuze's Divers Haifltulie ; and Stackbillemeutj suicani le Costume

close attack way

and the charioteer,

through
CUCULLUS

opposingarmy.

elberg's Drawings of Grecian Costume. l"aluiinart's Costume t Octavian of Turkey; de Leon D'QJisson's Empire d'Othoman ; Count Laborde's Travels ; Malcolm's History of Persia ;
Balthazar

COWL,
whith the cold.

(Lai.)The
head and St.
to

hoods from
manded com-

protectboth
their monks

neck

St. Basil and

Anthony

Solvy.i's Costume

Mason's George Henry Alexander bj William

of ffinJostan ; Costume of China; ditto Lord Macartney'* ; and of Etruria.

wear

them, but
a

See
over

cut

to

CRESPINE,

which

Travels.

lady of the fifteenth

Cemeteries

J Dennis's Cities and

chief

century which the network

represents wearing a coverher

conceals

hair.

CRA

CRE.

13/5

used by travellers, under our word AME.VTUM, they were generally of a consisting and huntsmen. sometimes sailors, and to which a piece sole, thick, CEACKLIN. A term of leather covering the heel and side of applied to a certain of china,the glaze over which the foot was species attached, through the apertures has been purposelycracked all over in the made in the edges of which passed kiln
as a

decoration. The

the

amentum,
the that
"

or

strap,which
the
wearer.

secured He

it

CRACOWES.

long,pointedshoes, with upturned

toes,which
first worn fourteenth
at
were

across

instep of
it
was

siders con-

of the

properlycharacteristic Greek national costume, was adopted

considered
worn

in the
tury, cen-

sexes, and to be foot-covering and with the when the

by

both

the proper the

with

pallium
of

Cracow,
rope. Euwere

chlamys."
and

in Consequently,
works

and

afterwards

fictile vases
are figures

other

Art,

in generally

clad in the above-named

not
as bare-footed, are

They
so

garments, and
heroic

in the tected pro-

long by

as

to to

be the

their feet style, of by coverings

a

commonly
network

secured knee

similar
A

description.
to confine

chains.*

CRESPINE.

(Fr.)
the
cients, an-

CRATER.

the hair of ladies. It with originated of the

(Or.) Literally,
mixing
Jars of
a

vessels. capacious in wine

ciilniticu

and in the middle

appears
ages,

kind,
which the

for the

use

of the in the

being brought
at
were

for banquets

taking all forms, and mixed at was bearingmany names, "c. table with water as treason, dorelot, Our pied specimen is coguests" the pure wine the effigyof Lady Berkeley from amphorco, and placed of service of guests, who (temp. Henry IV.), in the church
in smaller vessels.

helped from them

and

Gloucestershire. Wotton-under-Edge, CREST.

summit of The met. helfeathers
or

See ARYSTEUES

CYATHUS.

mdge

on

the

a PASTILLE CRAYONS, (F"\),PASSEL device A (Ger.) Cylinders of soft clay, a white, or coloured with various pigments, placed upon used for delineating wreath,originally objectsupon paper, which are usually termed chalk drawings. surmounting the

STIFTE

CBEUENCE-TABLE.
beside
was an

The

small

table

helmet.* knightly
It
over

the which on altar, placedbefore consecration.

communion

is

now

placed
(

familyarms,
punning
sion, allu-

CRENELLATED. CRENELLE.
of
a

Embattlemented.

and has sometimes

a

(Fr.)

The

embrasures

in our as tower. or engraving,the Moor's head (IM.) Light shoes or slippers, being the crest of the Moore family. in Greece, and adopted CRETA A crayon of permaLffiVIS. originating nent authors say they were of Messrs. by the Romans, some colour, the invention the same the Soccus. It is clearer than chalk, as Rich, Wolff and Son. identically in his dictionary, this is has that and softness and delicacy. more however, says like that engraved CREWETTS. Small vessels of glass and they were incorrect, o\

battlement

CREPIUA.

* Our is copied from cut period in the British Museum.

MS.

of

the
"

See

cuts

to

HELMET.

136

cm"
at the

ciio.
cumstances.

metal, used
and
water

altar to hold the wine

Thus,
of

at

Westminster,
and

we

for consecration. The colour known

to
a

find

succession
; at

CRIMSON.
name

is

reduced red, of blue.

AND

by this deep tone by the

Magdalen
appear The

pomegranates College Chapel,lilies. in

roses

They
curved

only

pyramidal
ones.

and

presence CRISPIN

never lines,

in horizontal
CROSS

CRISPINIAN, STS. The tutelar saints of the shoemakers,who are sometimes represented at work at that trade,*which their legend tel'lsus they although noblyborn, to procure practised, times somesubsistence and helpthe poor, angels 1 tools he of leather. supplyingthe shoemakers,or a hide cut into thongs,are
their attributes. CRITIC. One

CROSS.

occupies a
of
our

importantplacein
sole and and universal

Christian

very Art. It is the

symbol

tion, redemp-

of the person of our Saviour ; h" is symbolised under this form ; as he is also under that of the FISH, the LION, or the
LAMB.

The

CROSS
or

is either ideal
an :

historic
one

or a

real symbolic, in the gibbet, There

cross are

in the

it is

other

attribute of

glory.

1. The speciesof CROSS. in the form of a summit, and deviations from taste racy accuout of the Old T J this is the Egyptian cross points in Testament by his acumen (fig. 6).Many ancient churches, ; or enforces merits, beauties of intention and exethe Basilicas of Constantino, cution. St. discovering especially It is the rarest of all qualificaPeter and St. Paul at Rome, are, in their tions, seldom 2. The honestlyexerted,and most ground-plan,nearlyof this form. those who have with summit cross practised by frequently ; it has four branches ; rather than judgment. this is the true cross, the cross of Jesus and temerityand pretension the Evangelists to In Art, it is particularly rare (fig. 1). This form of cross based on a knowledge is divided into two principal find good criticism^ types, which also partake of many varieties : they are of its true principles. The exact analysation of known the Greek and the Latin cross CRITICISM. as ; of the preand or censure Art, not the praise tender the first is adopted by the Greek is frequently, Oriental the second to knowledge, which Christians, by the GREEK termed and Christians the The West. but erroneously, of CROSS criticism; considered also is of four which is too generally composed equal 10, 11) (figs. faults. parts, the breadth being similar to the merely as the art of finding modelled Enrichments CROCKETTS. length.* In the LATIN CROSS (fig. 1),the such than the summit the foot is from the or arms. longer vegetable kingdom, generally which principles without
a as

analysesthe ruling guide a work of Art, and

who

four

vine

or

other
times some-

The
cross

Greek

cross

is an

ideal cross; the Latin

cross

leaves,but
animals

resembles suffered.

the real 3. The summit and the is not

and duced, intro-

Jesus

CROSS

upon which with two

images
in

are

and cross-pieces
CROSS

employed tecture gothic archito

and

with

summit When

(fig. 2).f 4. The three cross-pieces

CROSS

decorate

(fig. 3).J simpleform, and

"

retains

its

loaded with attri-

of various angles tical ecclesiasof parts such as spires,pinnacles, edifices, The forms are mullions of windows, "c. almost every kind of leaf or flower infinite, being employed for this purpose, generally with some pointed reference to local cirthe
*

The

MALTESE

CROSS

5), and (fig.

varietiesof
as

the

TKO^S

OF

jEBUSALtM

(fig. 7),are
in of

the Greek the

PAIKV-

cross.

t This
AKCH
AI.

is known
CROSS.

heraldry
the
cross

t These
as

varieties

must

be

garded re-

See

curious

instance

in Hone's

Entry -day

somewhat fantastic, yet they were was The CKOSS TBIPLE adopted by the Church. cm s" carried only before the Pope ; the DOUBLE was appropriatedto cardinals and archbishops, while the
SIMPLE CROSS was

Boot, vol.1.

left to the

buhops.

CEO.
butes the
OF THE
or

137
Catholic
"

ornaments,
OF

we

must

distinguish which, in
the
CROSS CROSS OF

CROSS THE

THE

PASSION

from The

RESURRECTION.

every turn and chapels, the

THE TRIUMPHAL

by

the

meets countries, in the roadside,

us

at

street,

cathedrals.
CROSS.

It is also called The

CROSS OP

PASSION

is

real

cross

"

the This

gibbet
is the
; it is

upon
cross

which in
common

Christ
use

suffered. in
our

RESURRECTION

is the

symbol

of the

churches

employed by paintersand

sculptors ;

and

cross; it is that put into the hands of Christ in representations of his resurtrue

rection. terminates carries

a

It is in
a

lance,the

staff of which
a

their nature and

and

forms

hare

been

given ;
that all

CROSS

instead of

pike ; it

it is somewhat

remarkable

picted those used in blazonryare Greek, and not flagor banner,upon which is dethe East at the from is from which Latin,being brought suspended cross, full consitime of the Crusades.* The deration It the point of intersection of the arms. would of this is the cross held by the paschal lamb,* it interesting subject of religious filla largevolume, f is that carried at the head
a

processions.It is not a tree, like the saltire. a cros-s potent ; Fig. 7 is also termed but a staff; the first is fig 8, a cross pottle or former ; fig.9, a cross cross of the passion, patance; fig.10 has crossletr in each limb; and the other is the cross the cross of suffering, fig.1 1 is counter-changed that is, the colour is general opposed by its opposite tint midway throughout. they art* of the same ofvict"ry; few of the heraldic These are a distinctions, it is form, but the latter is spiritualised, which are numerous. very elevated or transngured.fThere are many Oxford, See Glossary of Heraldry, 8vo The used by the Church crosses maybe which are purelyemblematic, 1847. other crosses classed conveniently as follows: raldry, 1. Altar crosses. of which have been adopted in hesome G. Marking crosses. 2. Processional. 7. Pectoral of crosses. characteristic which to names J
"

"

3.

Hoods

on

lofts.
crosses. crosses.

8.

Spire
over

crosses.

4.
"

Reliquary

9. Crosses

pendant
altars.

See

cut

to

AGNUS

DEI.

5. Consecration

t The cro"s identical with

of St. John the Baptist is nearly this, but it has not the cross
of St. Andrew in heraldry it is termed

See and

Pugin's Glossary of Ecclesiastical Ornament

Coftume. We must for
as

depicted
t Thus
" ii'

on

the banner. the cross fig.4 Is that

; but

t
a

refer
a

our

readers

to

one

entitled
on

Crudana

very
as

curious the

1 St. Patrick

point ;

well

to

dissertation work interesting

the of M.

138

CBO. Thia
on

CROSS-BO"W.
a

great improvement
was

weapon, the wooden bow, long-

ancient

Cybeleis represented) ; 6, the

crown

crown

Val-

Europe by a of steel,with was the and string peculiarhandle, of a small wheel called stretched by means bolts or arrows were rally genea gaffle.The either round, shod with iron,and were angular, or pointed. Burning materials brought
was

to

lary; 7, the mural Cruthe saders. crown ; 9, the crown

; 8, the naval

celestial.

In Christian earliest emblem. of

It

made

from Art, the crown, times,is either an attribute or It has been employed as an and victory, hence became

the
an

emblem the

symbol

of the

especial glory of martyrdom. Its

were

also

order to of
were

discharged from the bow, in set fire to buildings and machines

Those bows made

war.

whollyof
(an baNsta).*
CROSS-BOWS

iron
ruption cor-

called

BALLISTEHS

obvious

of the Latin share which the middle Art had

ages

word

The of

in the
seen

be may The into the armouries. is the bow for his amusement. which It

by

glance
V. used

most

artistic specimen inlaid with

Charles
was

ivory carved by

Albert

Durer. A
term

CROSS-HATCHING.

in

graving en-

whether to lines, applied

or

straight
form varied
at

which each other at recross gular diagonal, to increase depth obtuse angles, or

different

periods ; in early
of the
a

of shadow.

it is simply a pictures CORONA. An (Lat.~)

ornament
or

wreath it became

palm

CROWN,
the

afterwards myrtle,

coronet

and materials worn cling encirof gold and jewels.Generally, the female blems head, by kings and others as emthe symbolical crown martyrs only wear of authority ; and as a mark of honour of glory their heads. on Martyrs of the forcivil, andnavalachiovements.f opposite military, bear it in their hands, or it is sex Nine specimensof CROWNS are enumerated carried by an angel. Sometimes, as with 1 the Oriental in heraldry: crown ; 2, j St. Catherine and St. Ursula,the crown is , the triumphalor imperial the crown 3, ; both the symbol of martyrdom and their diadem ; 4, the obsidional crown ; 5, the attribute as royalprincesses. The Virgin, is the civic crown in which " crown (this Queen of Heaven," wears as a crown.
"

of various forms

No.
tie Didron, Iconographif. Chretienne, Bistoire Dieu, 4to., Paris, 1843; and the Oxford Glossary
crown

1, in

our

cut, represents the

laurel

of Heraldry, already quoted. " Two the Popes forbade

;

use

it

was

most

in

favour and
a

in

of the crossbow the time of of

Richard France fourteenth of and

Cceur It
was

de Lion used
as

Philip Augustus of
war

weapon
an

in the
a

and

fifteenth archers

centuries, when
army ; those consisted of Genoa
were

great part of the infantry of

cross-bowmen,
were

or

Venice often hired T See

particularly famous, and by foreign powers.

COBONA.

of ancient Rome, from Montfaucon. worn 2, the mural crown by Cybele, as given by Caylus. No. 3, the radiated of its ordinaryform, from a coin of crown Gordian. No. 4, the square Saxon crown, delineated in a MS. of the period, as in the Cottonian collection (Tiberius, C 6). No. 6. the crown of Edgar, from his grant to Winchester,A.D. 966 (Vespasian, A 8). No.

CRO" No. from

crown

CRU. also found in the Latin in church,

139 ancient

6,the
one

crown

of William No. No.

the

Conqueror,
worn

of his coins.

of bishops.* 7, the imperial representations

of Germany. Charlemagne. CROTALA. Pieces held in both hands

8, that
sonorous

by
wood,

of

by

and dancers,

rattled

CRUCIFIXUS CRUCIFIX, (Lot.) The of the Saviour on the representation cross, but especially that plastic one seen the on altars of Catholic churches, in the centre of which it stands, the tapers, overtopping and only removed at the elevation of the Host.
back
or altar,

Its intention

was

to lead the mind

was

to the cross, which

set up

on

the
was

in

some

convenient time of

spot. It

first known and

or

in the the

takes

place

of the It

Constantino, plainCROSS
was

struck

togetherwith
of the tune. modern

the

to fingers

the

in

the Eastern

church.

not

monly com-

measure

of the the American

They are the types protoItalian castanets and

used tillthe end of the

tury. eighthcen-

bones,and were anciently worship of Cybele. A staff surmounted CROZIER. by a archbishop. It is cross, borne before an about five feet long,hollow,and generally made of tin,giltand ornamented 1). (fig.

employedin the

It is often confounded
STAFF

with

the is

I-ASTOIIAL

of the bishop,which

milar, quitedissi-

The
"

Greek

church

never

publicly

in the acceptedit although it is named about images but used the simple quarrel It was not general in the Latin CROSS. church until the Carlovingian From era. the disciplina arcani and the earlyprohibition being made in the form of a crook were of IMAGES CROZIERS 2 and 3). The early by the Synod of Elvira (figs. terminated a of the crucifix may be by an use only (305), early simple, exceedingly referred the CROZIEK The BYZANTINE it to cross.* floriated as immediately supposed, first Christian dogma. At firstthe simple had at the top either a knob or a cross, in the form of a ~7"" cross sufficient crux imnrissa or cnpiis sometimes which was
" "

"with curved

serpents

on

both sides.

It is
bishop crozier held by ArchA.D 1397, in his effigy at Waldeby. We-tminster. Fig. 2 is of very early date, in the cathedral, Durham 3. in the Museum, ; fig.
"

Fig. I represents the

" an

In

Shaw's

I"res*et and

Decoratiom,
a

vol. i.,

archbishop is figured with but beautiful design.

crozier

of

simple

Newcastle

both

are

pastoralstaffs.

140

CRT"
crux

CUI.

tola, -(;
commissa blood-red

f
bust

"

decussata,X " an(l crux the Lamb standingunder a

The the addition head
or

perfect geometricfigures and

are

used for

cross.

viour'sgems of the Safoot of the

artistic purposes. The diamond and many be adduced of as examples may

crystals.Highly refractive flint glassis termed technically crystal. Crystalsare towards the the next was CRUCIFIX variously employed in the Arts. Rock step ; Brazilian pebbles, and afterwards Christ himself was or crystal, are sented repreemployed for spectacles his hands raised in prayer, and object The rock clothed, glasses. but not yet nailed. At last he appeared of crystals,being prismatic crystals quartz, fastened to the cross struct by four nails (seldom are sometimes found largeenough to convessels from and on the older crucifixes alive, a by three), singlepiece. The with open eyes ; on the latter ones and highlyvalued drinking-cups (from Romans made from it, vases the tenth to the eleventh century), of which were some of sometimes and dead. Christ was often clad in a large valuable. size, very enormously In ancient British graves, crystal ornahis head ; on ments robe,having the regalcrown are the figure found. The more wore custom frequently only a cloth recently continued in the earlyages, and was round the loins, and the crown of thorns.* ticularly parThis representation and the was conspicuousin the ornaments continued, of, CRUCIFIX indispensable or construction of, sacred articles for the regarded as an church. altars. The and used as geattribute of churches were Large crystals neral decorative number of them as they were increased, ornaments, particularly "c. ; and in antique Irish of veneration ; and large for book-covers, objects particular sometimes are the of wood at stone so manuscripts were ones or large as to placed
at cross, while

the

Lamb

lay in the centre,

entrances
was

of the church.

The

ALTAR

CIFIX CRU-

almost

generally of gold or silver, stones. or precious pearls in nature, substances CRYSTAL. Many assume in the process of formation, very
adorned with
"

For bosses occupy the entire cover. of all kinds they were especially valued, and
set in
a

rim of decorative metal-work. A

sun

CRYSTALOTTPE.
on

taken picture The the

glass by

the

collodian this

difference
Dr.

between

Kitto, in
cross

his

Biblical much

Notes,
or

remarks than

process. process and

that

either from painters,

as

design
more

inattention,

represent the it actually was

was

elevated

The
more

seldom and whole

feet of the crucified person four feet above than

ground,
that

rested

the

on a projection of wood, weight of the body might not be

borne their such

by the hands, fastenings. The entirely naked by the

as

so

as

to

rend
was

them

from

criminal
soldiers.

stripped
artists,

Later

Saviour

of Berlin, have enveloped the tomary in drapery, leaving the body in its custhe angel position ; he has also added Schinkel

Talbotype, in producing a negative,by which other impressionsmay be taken on that the by paper, is, process of J. Fox * the negative Talbot or type is made upon paper which is afterwards waxed, in order it a to give transparency, and thus make which medium taken. are through positives
The is crystalotype the formed

side,by which addition these crucifixes, aesthetics for intended in the spiritof Christian mere churches, become symbolic Protestant The pleasant unrepresentations of Christian ideas. by sight of the nailed feet is avoided the globe,so unbound their resting free and on fastened that only the arms are by nails to the
oy the
cross.

imparts to
a

or positive

once, and reflected picture

at

and finer tone. greaterclearness of detail, CUCULLUS.

(Lai.)
See BIRRUS. A

hood

or

cowl

for the head. CUDO.

We

are

now

too

much

accustomed

to

of figure to allow of the innovation ; we representing Christ after the old custom the great simplicity also question whether may effect. had not of the original crucifix more of Art, the haggard, sorrowful the restoration Since of the figure has disappeared, character the naked and artists have Godhead.

representedthe
form
as

ideal of human of the

cealed con-

helmet simple close-fitting bronze,like that engraved to APEX, but without the pointon the summit CUIRASS. The covering of plate-armour used for protecting the body from the waist upwards. CUIR-BOU1JJ. (JB-.)Boiled leather. of leather
or
"

beauty

in the mortal

token

See

CAtOTTTE.

i42

CYC" well that

worn

DAG.

by knights,as
and

as

by

lians civi-

CYNOCEPHALI.
the

Dog-hejidcd deities
ancient

ladies. An extensive

CYCLORAMA.
series of

connected

views, which
the

order round

before

pass in consecutive being wound spectator,

presenting reworshipped by Egyptians, Anubis, one of the lower gods. See CIPHER. CYPHER,

CYPRESS.
a

The

wood

of this tree

was

and cylinders,
a

giving the effect of

on a

much

used

by

the

ancient

wood-carvers for decorative

passage in CYLIX. with

were a

steam-boat

"c. river,

for statues purposes, and the aroma

of the because

gods,and
of

(Gr.)

wide

flat wine-bowl

its solid

They frequently painted, generallyrichly

central foot and handles. stories. mythological The Romans

it possessed, which The of

character, prevented

the attacks of insects.

an

tree itself was

with

emblem

mourning,

and

its branches

used

at funerals.

called such

and they are now ealicis, termed patera, though that term generally is more appliedto cups without properly
vases

feet.

See cuts to the word

PATERA.

CYMA.

(Z"".) An
a

ing architectural mouldand when round

joined, con-

of consisting termed

hollow
recta

cyma

hollow

in

of Carthage, CYPRIAN, ST. Archbishop was beheaded, A.D. 258, outside the walls of that city,during Valerian's secution perof the earl)' Christians. He is of the most of the early esteemed one fathers for the beauty of his doctrinal writings; and is usuallyrepresentedin his robes, bearing a book in his hand and the sword of martyrdom. DABBER. An instrument in shape like the painter's muller (seecut to that word), but consisting of a solid mass of wool enclosed in leather, and having a wooden who handle. It is used to distribute
over a

the etching-ground

the

reversa

upper part (as in Fig. 1.),and cyma when in the lower one (asin Fig.2.) Instruments of
sonorous

plate of metal in the first process of engraving. It is also used by wood-engravers for inking the surface of a woodcut before taking a proof ; and by for the same copper-plate printers purpose. DADO. (Ital.) The panel which runs
round is the lower part of It is sometimes of compartments about
a

room,

and which
narrow

CYMBALS.

surmounted generally

by

nice. cora

by metal, cup shaped, and struck together used by dancers in the hands ; generally
ancient and

divided

into

series is generally

by mouldings,and

times, in Bacchanalian
noises of

processions
feast of
were presented re-

at the and particularly orgies,

Cybele, when
esteemed
There in
was a

all kinds
are

height. The original DAG. thick clumsy pistol used in the fifteenth and earlypart of the

four feet in

agreeable. They
another
as

thus

at Herculaneum. painting

kind
an

foot,generally to mark or the flute,

CYMBE.

played with the accompaniment to

ointment

time. An
a

(Gr.)
of ancients, handles.

by

the

pot used globularform, and

was

without
to the

It

similar in form

sixteenth centuries ; it had a wheel-lock, and could be carried in the pocket.

firstof the

glassvessels engraved,
the

(p.22 of this
form of the

to illustrate dictionary),

AMPULLA.

sizes, similar in appeartwo-edged and pointed, ance It was worn to a sword,but smaller.
DAGGER.
A weapon

of various

DAG"
in
two
a

DAL.
of the
to daguerreotype

143 the

sheath at the

The girdle.

cut exhibits at Goodrich

obtaining pictures

daggersfrom
The

Court.

the armoury first is of the

from

the life.
or

time

of Ed-

DAIS. A canopy the ciboria fell into

covering. When the altars were disuse, of gold or of cloth protected by * canopy silk suspended over them. The canopies sometimes were composed of wood,painted and gilt.The raised step at the upper end has been termed of the great dining-halls the from being placecf dignity, DAIS,
over

which

canopy

of state

or

DAIS

was

suspended.* DALMATICA. DALMATIC, deacon at the worn by

the cut
over PLANETA
worn

The
mass

ment vest-

; it

sembles re-

by
the

the

with open straight, the upper part of

sleeves
arm.

priest, hanging
It has

V
which has the more second, improvement of a guard for the hand, is of Italian workmanship, of the ward III. ; the modern latter end of the fifteenth century. inAn ingenious DAGUERREOTYPE. M. after the originator, vention,named celebrated dioramic a painter. Daguerre, The process consisted of exposing silver
to the vapour plates in the then placed

of iodine ; these
CAMERA

were

after sufficient exposure, the iodised surface upon which

mercury,
were

and OBSCUHA, the lightacted of the

plates,
of

then

exposed to the vapour

the latent

of the planeta, not the largecross stripes image was by of colour or lace, but two narrow developed. The iodide of silver was then stripes washed offby a solution of the hyposulphite having between them two gold tassels. than that of soda,by which further action of the light The deacon's dalmatica is larger the and the the or TUNIC was image on plate worn stayed, by the bishop over Such the made of linen, state was rendered permanent. It is not now TUNICELLA. when first made known. of the discovery but of the same heavy silken fabric as the Combinations been of bromine
more
a

which

and chlorine have and recently, remarkable the the

leration acce-

PLANETA,

STOLE,

and

MANIPLE.

The

introduced
been

result has

most

"

Puirin's Gtouary
Custu/ite.

"/ Ecdetiattical

of the process, and

\ and application

144
TUNIC

DAM" of the sub-deacons is

DEC.
ornaments
on

exactlylike
Tlds

polishedsteel
steel

wares. or

The

tiie DALMATICA.*

third is the
or

of inlaying

iron with

done with sabres, as was silver, and The pistol-locks, produce gun-barrels. armour, and the Indian Archipelago chased designs were or deeplyengi-aved, in the metal,and the lines filled with gold nish, and is employed in making a valuable vardissolved in turpentine or silver wire, driven in by the hammer, or when several varieties of and fastened firmly.This art was alcohol. There are brought amber and hard to the as dammar French as one artist resin, by great perfection with in met of kind in the The soft usually Corsinet, copal. reign Henry IV. DANCE OF DEATH. This lugubrious is completelysoluble in cold commerce turpentine. It is a valuable substitute for subjectwas a great favourite in by-gone times,and is very frequentlymet with in MASTIC. stained glass, DAMASK. A fabric of silk, and in the linen, wool, ancient buildings, with decorations of of "c. The best also partly or wholly cotton, woven manuscripts, animals, known is that attributed to Hans Holbein, large patterns of trees, fruits, quently landscapes, "c.,and one of the most costly and publishedat Lyons in 1538. It is freIt consists found in the the loom. of of early margins productions throughout of a body of five or eight printed books. One, from the press of Simon resting Vostre,in 1502, has a most inteshanks, the pattern being of a different to the ground. Damask-weaving nature series, designed and beautifully The earliest representation of at executed. first attained Damascus, perfection fabric derives this impressive dates from the this large-patterned whence subject in fourth century ; but it was plied, multi"We find the art flourishing its name. rapidly into many and introduced the mediasval times at Bruges and other English also continental churches. The brated celeand most were in Flanders; attempts places in this country was round made in Germany and France to fabricate it. painted This term, derived in the reignof the cloister of old St. Paul's, DAMASKEENING. from the Syrian Damascus, so renowned Henry VI., at the expense of Jenkyn, a the different kinds of It is in Art, designates carpenter and citizen of London. The first been executed after steel surface. described ornament a as having upon the watered Damascus the of is the many-coloured in Holy Innocents, one cemetery also paintedDANCES blades; this is the true damaskeening, at Paris. There were cerne, at Amiens, Basle,Dresden, Luproduced by using a cast-steel highly OF DEATH the with "c. in At on metery ceRouen, being charged carbon, which, Minden, Dance Death St. is of of a a carefully cooled, produces crystalisation Maclou, of the of these substances, givingthe peculiar sculpturedin relief on the pillars pearance apthe ento the steel, closure.* by which itisknown. f great cloister which surrounded The second kind consists in etchingslight DECADENCE. (Fr.~)Declension from

DAMARA,

DAMMAR of

RESIN.

gold

and

resin is the

tree

growing in New Zealand,

the
*
"

standard

of

excellence. the works

In

Ancient

appropriated to being the first hierarchical the tunicle by order ; it is distinguished from the greater length and amplitude of its proportions." See Pugin'g Glossary of Ecclesiastical
robe the

dalmatic The of dignity, and

as

is. in

its

a signification,

therefore

to Art, it is applied

diaconate,

which

succeeded

the

of the ages fall of Rome, until in the

the revival fourteenth

of classical researches

century.

In Modern

Art, it is
and

ancient form and The most Costume. Ornament in our of dalmatic is exhibited cut, copied from an early Christian painting on the walls of the

"

The

most
on

perfectantiquarian

pictorial

catacombs t The
is

at Rome.

treatise the

entire

published in the

process as practised in the East Transactions of the Asiatic

sculptures
on

curious ancient pictures and is contained in the posthumous essay these E. H

subject by
1352.

Langlois.

2 vols.

8vo

Rouen,

DEC"

DES.

146

appliedto
of Louis

that which and

succeeded
to
assume

the the

naissance, Reextremely cheap and

a

began

rococo

very

durable,and consequently largetrade was monopolised

manufacturers until the

Quinze.
A (Lat.) chariot drawn
horses
on

by by
the later

the

Dutch

DECEMJUGUS.

middle

by

ten

abreast, used
occasions their medals.
A terra

of the last century. DELICACY. Refined

manipulation,

emperors

of great state, and

softness high finish,

of colour, or expression.

i a represented

DEMI-BRASSARTS.
in

(Fr.) Sometimes
and AVAXT-HUACES. See BKASSAUTS.

DECOLLATION. with

frequent

termed Armour

VAMBKACES

DENIS, patron and is said to have city of Paris, been the firstwho preached the Gospel to Enriched with DECORATED. ment. ornathe term is applied the ancient inhabitants of that city,of In architecture, which he was afterwards created bishop. to the works of a periodranging between He beheaded of the thirteenth was the middle on Montmartre, A.D. 272. part century His legend reports that after his death he Its characteristics and the succeeding one. the richness of its geometric figures, rose from the earth, and, lifting his head are from the the tracery of windows carried rated decoit being highly ground, nearly two
saint is the of the with lavish foliations and
cusps,

beheading,and used, use, synonymous of St. John in reference to the decapitation St. Cecilia, "c. the Baptist,

for the fore-arm. ST. This

and

neral ge-

miles.

His

relics

were

afterwards which received

shrined en-

of small disposition The

ornamental
name,

in the church and gave Paris.

his

adjuncts.
DECORATION. in
an

it also to the

which village
seven

ornamental the

parts

surrounded ultimately from His

about it,

miles

comprising edifice, columns, journeyhas been the festoons, theme of painters constant both pilasters, friezes, bas-reliefs, cornices, and abroad ; and he is generally at home niches, "c.,and which form statues, the decorations of the facade of a palaceor represented in pontificals, carrying his and the head the in his hand, or gilding, temple ; arabesques, (wearing mitre) the peries, restingon draa rounded paintings, carvings, panellings, book,* his neck being sur"c., which compose the decoration by glory. At times,however, he of an interior. The discoveries at Pompeii is somewhat rying caras absurdlyrepresented have furnished some beautiful rior intehis head it is also thus, although very classical in delineated taste.* his heads two on decoration, quite neck, ing appearDECORATIVE ART. A genericterm, in his picture.f used to designate that branch of the Fine DENTELS (Fr.) Small architectural Arts which is exclusively devoted to ornaornaments mental resemblingteeth (whence their enrichments of every kind. of a name) placedbeneath the triglyphs
miraculous

DELF.
at

common

tured pottery, manufac-

frieze.

See cut to METOPE. The Art of illusion.

A

in Holland. It was generally Delft, and rude in design, but gaudilycoloured,

a long period entirely lost in this country. Taste banished was ; caprice and fashion long usurped its place. Within a few *

DESIGN. is
a

sign de-

The

art

of decoration

was

for

after

the

Ueformation

almost

excellences years, however, a revival of former has taken place, though not nearly to the extent could wish. we Decorators still appear

without figuretraced in outline, relief being expressedby light and shade. Also a sketch in water-colour, in which the chiaroscuro is expressedby Indian ink, the bistre ; or a sketch in which or sepia, is clothed in its proper objectrepresented
* Saints Proculus, and Dionysius, Alban, their heads also depicted carrying others, are but may be known (see HEAD), by the absence of the mitre, as well as by other symbols. of St. Mark's, Bristol, t In the east window

greatly at
them Middle almost "xauisite
to

loss for
Oruner's

good'models

we

can

refer

Mr.

of Italy; Mr.
Age*;
Zahn

Wyatt's and fessor especially the works of Provolumes form ; these together an
storehouse
use

frescoes and Decorations Geometrical Mosaics of the

inexhaustible

of

designs for the

of the

the most decorator.

as

well

as

in

Hempstead

Church,
EmMtmt

shire. Gloucester-

See

Husenbeth's

of Saints.

146

DET" DESIGN with is sometimes used nymously synoto indicate

DIA. in pictured popular and wild one is that of St. Anthony, who seems to have been pre-eminentlydistinguished by their
occurrence

colours.

theyare

of constant The

SKETCH, STUDY, the firstcomposition for a picture,"c. ; here it embodies all the inventive genius of the artist
"

legends.

most

COLOURING, execution

INVENTION, COMPOSITION, to the "c., and is preliminary

on

attentions.

The

old masters

had

here

of the work When

the chosen

scale.
out

DETACHED. from in
a

stand figures show

the

back-ground and
manner,
so

from each other

as

natural

to

that

diablerie, and their powers of grotesque invention, Hence the "Temptation might revel. of St. Anthony" has been painted more frequently by the artists of Germany and
Countries than any other. Ti-nicrs in past time, and Gallait in the present, have paintedextraordinary the on pictures the Low

subjectin which

their taste for

there
we

is space

and

atmosphere between,
detached. minor

say DETAILS.

they appear
The

parts of
or

position com-

essential to its truth DEVICE.

A

finish. other

subject of
which

his

principaltemptation, in

motto, emblem, or by which the nobilityand gentry It was at tournaments. were distinguished their and also on painted shields, upon the banners carried by their squires; pended susor from their tents as challenges to
mark

the father of evil appears as a beautiful female. man Wohlgemuth and other Gerartists have carried him him with tormented up into the foul fiends;

air and but

perhapsthe
them

done engraver Callot has outall in his famous print of the

"Temptation,"in
a

which

myriads
most
seen

merical of chi-

fiends of all

and shapes

kinds make bizarre dewith their

grotesque tiiele of the

devils
are

scripton.When
backs

broken, it is a sign of their utter and they are frequentlyso discomfiture, in books.* Sometimes they depicted early are chained, or trampled on, represented of a crozier. or piercedby the pointedend They are very often depictedescapingin
a

cloud of vapour from the mouths persons, exorcised by saints.

of sessed postimes Some-

they take
seen

other forms, as of St. John

as

scorpion,
and St.

in the
;
or

chalice
a

Demetrius "c.

goat,
at

with St.

Anthony,
faces in

They

have

times

several

different parts of the

of

body ;
known make

tails formed

serpents and
appear that which

other

fanciful
no

variations,
other rule
at
once

all

comers.

We

engrave

that

borne

on

which than

to have

the shield of the

gorgeous

Prince

of Conde in the

at the

should

them

tournaments

held

Place
one

grotesque and repulsive.

DEXTRALE.
on

by Royal at Paris,
DEVILS works
are

Louis

XIV., 1662,

of the latest pageants of that class.

the

right arm
The

(Lat.) A by Greek
frontlet

bracelet and

worn

Roman

representedin frequently
Art fanciful

ladies.f

of Mediaeval

forms, where they take shape that can

of many German in particularly every be possibly into scenes largely the sainte
were

DIADEM.

worn

by
also

the

pictures, quaintand grotesque

conceived. of temptation that liable,

and of antiquity, kingsand princes

"

by

Particularly the
are

Ars

Mcmorandi.
and the

where

They

enter

they
a

all

so

represented.
B"ACELET,
page
28.

so

to which

t See ARMILLA. on Bacchante,

figure ot

DIA. OI'H
Aives.

1*7
The did not wear earlyRoman emperors this ornament, perhapsto avoid displeasing the people by reminding them of lha hated first who

Jt

was

made

of

silk, wool, or
of the of Those

yarn, narrow,

but wider in the centre

forehead, and
the with The the the

generallywhite. Egyptian gods and kings were

emblem
of
or

adorned

the

Bacchic Indian band

diadem,
Bacchus

serpent. credemnon, which

consisted of forehead with
a

sacred

wore,

folded

the encircling fastened With

was

and

kinglydignity. Diocletian was the and after the tiim of wore it, Constantino the Great,it was adorned with of precious stones or pearls. At last rows the caprices and ostentation of rulers were
satisfied with
were

temples,and
ends.* the diadem

behind

the Parsess wound round

diadem, like the sceptre, is a bluish white. The Greeks and was in the represented symbol of power, especially presentation diadem victor in the to every of Juno, who is thereby desiga nated bute attriand it alto the of the an of the was consort as publicgames ; sovereign We find of priests and priestesses. and and gods equallypartakingof his men, the diadem from Homer that known unwhich a century term was In an old picture power. in the early in the baths of Titus, to be seen ages of Greece,stephane ago was and of which coloured drawing is prea served Juno gives in the Vatican library, the diadem to Paris, promising him great declare he will if her, the wife of power beautiful of all women. the most Zeus, has at the back two This diadem strings and it is red, like those for fasteningit, worn by the victors in the games appointed
The

hanging (Persians) the tiara,

not
crowns

the and

diadem,
are

and

rich
use.

worn,

still in

real

by

.(Eneas. ed simpleoutline ; a sketchof principles compodesign to sition. The engraving to the word 1 MAIT.K A exhibit

DIAGRAM.

being the
ornament.

name

used
more

in the Iliad for the

recent

The

Greek

was

is of this kind.

A precious stone to which DIAMOND. and the still later Stephanos (wreath), is attached value derns, the by the mohighest koronis (whence the Latin corona equivalent have but which does not appear to a garland and our word CROWN), was been so the pre-eminentlyvalued by the than far more of honour important and It is generallycolourless, ancients. and quitedistinct from it in signification. DIAUEM, it but remarkable brilliancy ; We allude to the myrtle crown possesses a the rose-coloured the being of the public is also tinted, archons, senators, and and most blue, yellow, valued; which wreaths of olive green, and the to speakers,

and citizens, afterwards which were exchanged for a by the golden circlet. The wreaths worn Grecian women were ing varyvery splendid, from the simple garlandof laurel worn often, at feasts, to a costly ornament, a oiADEM.f though improperly, termed
were

given

to

meritorious

the other tints it grey-brownare among The art of cutting occasionally possesses. diamonds and by their own polishing

is represented aboTe. copied Iron) XII. (B.C.66). of the most t One splendid of these, with the bracelet necklace and belonging to it. was all works it surpasses at. Apulia; lately found
"

One

similar

Graeco-EgyptiancoinofPtolemy

of the

kind

hitherto

discovered.

dary powder was discovered by a French lapi(Louisde Berquem) in 1476. Their them of in cuttingglasshas made power been ployed emhave and the in they use Arts, designs in engraving ornamental and other works. They are also on goblets the finest where used for etching-points and most certain lines are required. The to a piece of stone, word is also applied

148

DIA"
or

DIE.

used for ornamental glass, poses, purin of the shape termed a LOZENGE heraldry. See LOZENGE. kind of A WORK. DIAPER, DIAPER ornamental decoration to plain applied in which the pattern of flowers surfaces, or arabesques cither carved or painted. are When they are carved, the pattern is sunk below the general surface ; entirely when painted they are generally of a

wood,

practisedby the Greeks with wonderful perfection ; and the Syrathe coins of Alexander cusan medallion, and some of the Greek cities, have not only been surpassed, but have never not yet been equalled. With the Romans the art and the coins of was extensively practised, Hadrian may be cited as fine examples of their power, so though scarcely vigorous
was

tions.

It

and

artistic

as

the Greek.
to the

With lowest

the

fall

darker

shade

of the The

same

colour
are

as

the

of Rome

the art sunk

a

dation. degra-

plain surface.
square, and

patterns
close

placed

It revived usually together,but century, but it was

littlein the fourteenth

not

until the sixteenth

that any attempt was made to resuscitate its ancient glory. The die- engraver uses the metal in a soft state for engraving
upon,

and,

as

he
or

(thatis he cuts

the reverse way sinks those parts of his works

he to appear are design which raised), takes impressions in clayof his continually work he proceeds, in order to judge of as its effect, and When hardened make the necessary corrections. the steel die is finished,

by

fire ; and

great risk is

run

in

other with. linen

floriated forms It
was

are a

sometimes
of

met

the process, as the metal will occasionally The splitand ruin the artist's labour.

used

and cloths, few blows ; the artist is, fifteenth century ; hence the in therefore, always Flanders, the uncertain of issue of his labours. Its d' mately it was Yprcs, and ultidesignatedUnge still in the old time converted into diaper.The peculiar gi-eater uncertainty be proved by the large number of and beauty of the pattern,and its may delicacy the in Greek coiners and Roman made it soon employed abundantly pogeneraleffect, pular. of their The term is generally employed for Mints, and the immense variety labours in of the the spite ; so that, pattern repeatedover very great any ornamental abundance of ancient coins we surface of a wall,or sculptured it.* on possess, it dently DIE. A metal block or mould having is not easy to obtain many specimens evifrom the struck inverse figure which same an or die,though ornament, ma)' be struck or cast in relief in any decorative general features in they exhibit the same A practisedeye In architecture the word is approcess. plied design and execution. will and show to the cubical part of a square penarrow a scrutiny generally destal between which is its base
a

risk is run in striking the coin or decorating same at Ypres,in medal, the die sometimes breaking after a originated
as

mode

and

cornice,and

minute radical

the consequence differences, in the The

of

change hardening of steel is a process of much DIE-SINKING). The art of engraving on simplicity;but it is exceedingly steel moulds, medals, coins,and inscrip- liable to crack, and a minute fissure which be of would in a not importance great " As in our engraving, which represents the the of stone walls on of is fatal the thedral, Cawork to diaper Canterbury ordinary kind, and ship, which, in its style of workmanmedal. The hardening beauty of a coin or resemble* the antique CAVOsomewhat JUCUBTO. process is effected by heating the dia
true

generally

DIE-ENGRAVING

sclid square. (sometimes termed

manipulation of the

die.

(.50

DIM"

DIG.
and is

gentlemenselected
Mr.

one of proof among many character of our nobility public-spirited and gentry. When dest they assumed the mowho was the literary to execute title for this society which they were part of the it should "bour; Mr. Revett,who, in conjunction content bear, they by every with Stewart, produced the magnificent means in their power raised its significance Athens the o f dook on antiquities (and are cerned, con; and, as far as themselves
"

journey were ford, Chandler, of Magdalen College,Oxeditor of the Marmora Oxoniensis,

for the

tlemen,
the the did this DIMINUTION.
or

which

had

vindicated

Greek

Art

from

triumphantly.
In the

neglect and
fallen among
to

contempt into which

us,

it had

owing
our

to

ignorance and
the tural architecartist he
was

lesseningof
a

prejudice among
"was

native
to

architects),
of

any it is the contraction

as

Arts,a receding ture, objects. In architecof the diameter its base and

devote

himself Mr.

column

it ascends from

of

Pars, a young and completed the triad, talent,

studies.
to take views

commissioned reliefs.

and

draw

bas-

in 1764, and returned They embarked A thens after and visiting 1766, number the Greek Islands, bringinga large of drawings and notes, which were lished pubin
at the expense

approachesthe capital. A pictorial DIOKAMA. exhibition of natural scenery, painted on a flat surface, and thus differing from the panorama. It the invention of M. Bouton, and always was consisted of two views (as its name presses), exthe from theatre
one

with

the

spectators

of the

ing formsociety,

magnificentvolumes on the turned of Ionia. They now antiquities their attention to Sculpture an art but little appreciated at that time in England
their two
" "

and selected

series of the finest statues, of

antiquity,and and engraved in the "which were drawn most forming,in 1809,a perfectmanner, magnificent volume, accompaniedby the learned dissertations of K. Payne Knight. resolved to send a seIn 1811, the society cond to Asia Minor, to examine expedition
other remains The of architecture who liitherto travelled

busts, and

bas-reliefs

neglected.
this time Sir and known Mr.

gentlemen
Mr. William

were

Gcll

Mr. "William), John

Francis
names

wards (afterBedford,
well

Gaudy
The

"

now some

to fame.

result of

of their labours with

an

nearly five Hundred

number

immense

(forthey drawings, and of inscriptions) was

portion returned

of the published in 1817, at the expense Unedited the title of The under society, Antiquities of Attica. In 1835,a second volume pleted, comof antique sculpture was in which
was

the art of modern

to

ing engrav-

exerted to the utmost of the finest All this of

to

some

Art.

munificence

justice examples of antique done was by the private club of a some sixtygendo

Effects of moving and or moonlight, shade,storm, sunshine, light obtained were by artificial aid, in great varietyand beauty. The pictures were paintedboth in opaque and transparent in colours, and arranged and lighted to exhibit so as a peculiar a variety manner, of natural phenomena with astonishing The means success. by which these effected may be explained changes were follows : The contrivance was as partly and consisted partlymechanical, optical, in placingthe pictures, or painted scenery, intended to form the exhibition, within a that the saloon building so constructed, the might revolve at containing spectators the f or intervals, purpose of bringing in succession two distinct picturesinto the of the field of view, without the necessity audience removing from their seats ; while the scenery itself remained and stationary, therefore admi.ted of an improved the pictures method of distributing light,by which illuminated,so as to they were produce the effects of a variable picture. of a number This was performed by means of transparent and movable blinds,some of which were placedbehind the picture, and changfor the purpose of intercepting ing which the colour of the rays of light, to the were semithrough permitted pass
to
"

the other.

DIG"

DIP.
two

transparentparts of the picture. Similar

blinds
were

handles and

(diotos), holding
carried
on

eertai"

also

situated
as

above

and

in

measure,

the head.*

front of the

so pictures,

to be movable

DIPLOIS.
a

by
were

the aid of cords,and

or

by

that

means

to

kind of doubled

(Or.) In Grecian costume, cloak, which, when worn,

distribute

which direct the rays of light front fall the of permitted to upon The the
extent

the

scene.

of
was

revolvingmotion
an arc

given

to

saloon

of about

passing round, no person was permittedto go in or out. The revolution of a effected by means of the saloon was teeth of a or wheel,having sector, portion worked in a formed upon its edge ; these that one so series of wheels and pinions, man placedat a winch was enabled to give
motion
to the whole.

73" ; aud thus was

during the time that the audience

the saloon
was

and

each

The space of the two

between

occupiedon forming a kind

width such
a

either side of avenue,

to the

size of the

pictures by a partition, in proportioned without picture ;

the eye of the spectator precaution, or fortyfeet distant from the being thirty canvas would, by anything intervening, be estrangedfrom the object. The views feet in length,and fortywere eighty-six diorama was five feet in height. The folded back something after the manwas ner in Paris, where its success first exhibited of modem shawls. pany DIPLOMA. was so great, that,in 1823, a com(Lat.) In ancient times,a of English gentlemen entered into a written or traveller's passport, messenger's two leaves (whence the name), to preon permanent contract with the French proprietors vent for the exhibition London. This exhibition
was

of the views

in

hindrance necessaries.
on privileges

on

or journey,

want

of

opened to the

Also, a
the

document

closed in 1852. publicin 1825,and finally DIOTA (Or.), HYDRIA, CALPIS, or

bearer

by

In

modern

times,it by
a

is used

conferring magistrate. to signify a

or
or

written

grant of membership
learned

tion associaartistic

conferred

society.
DIPTEROS.

(Or.)
double
row

templewith
wings; or
of columns

ditional adwith all

or side-buildings an

interior

round
*

its walls.
word
a IIYDHIA

by

Cuossos.

Large "ap.icious,
narrow

full-bodied at

vessels, very
a

water-vessel; designated, all also comprised this term are neck used for holding vessels with a narrow Panathenaic and carrying liquids. The prizebut also IIYDHIA vessels are mostly AMI-IKIH.T.. The Corinthian and cAi.ni'.i. hydriae were handles at the top, double having two DIUT.T:.
The
means
a

DIOTA, under and

vessel

with

handles

is

and

smaller

one

in
was

the
a

middle.

The

Attio

top,with

foot and

prize for wrestlers

DIOTA

filled with

oil

152

DIP"

DIS.
or the lirst antique, early Christian Art. They consular are those preas distinguished sented by the magistrates upon receiving and ecclesiastical. They were that office* made of wood as well as of ivory, and some of chased silver. The diptycha extant are consularia bore the portraits of the consuls, ntations of the in the circus, represt games and scenes of triumph, "c. The diptycha as

DIPTYCHA DIPTYCH, (Lat.) Double times ; used in later Roman tablets, folding made of ivory, beautifully they were carved, covered on the inner side with to for letters of authority "wax, and used
.

the last efforts of

of

rious
indications
" "

consuls and written outside

ambassadors. these

The

letters were
on

inside
were

and tablets,

the the

slight reliefs,making
not
a

specimens still extant

in the

littleinteresting

of Art. The whole class history of DIPTYCHA, together with the TIUPand belong to the TYCHA PENTAPTYCHA, later Roman and empire,
are

ecclesiasticawere biblical

decorated with
were

scenes

from

history. They
the middle

therefore

cu-

during

ages,

very common and were often

inost which

wrought.* Besides exquisitely and which are proper diptychs,

the sacred
were

those

DIRK. without the

be classed among the

may of ornaments

dagger, generally chape and guard, and resembling graved earlyEnglish specimen which is en143.

Scottish

Church, ivory of some or metal, with the representation sacred mysteries in relief. They vary considerably in size, exceed eight but seldom inches by four. Our engraving is copied from a very curious diptych of the ninth century, published by ilontfaucou,and the well as contains sacred subjects, as Roman ""Wolf and Twins," "c., and is
curious between Art.
as a

foldingtablets of

in page DISCOBOLUS. the discus.

(Lat.)

thrower assumed

of is

The

attitude he

rendered
statue

familiar to all

of the

by the sculptorMyron,
as an

celebrated which
we

engrave.

Its record
a

athletic exercise

work

of the transition mediaeval TRIPTYCH.

and Ovid early period, fables that Apollo abandoned for a time his divine character to play at this game Hyacinthus. Homer period with his favourite, very in
*

dates from

the classic and See DIPLOMA and

taste

The

consuls

to
* Figured in Willemin's Inedttt,pi. 42.

greet

their

Monument

Frangais

their which

entrance

accustomed were the friends on day of into office with these tablets, on

and

praetors

nearest

their

portraits were

drawn.

DIS" describes
war

DIV. of parts in of colour

or
a

169 work labour of.Art ;

on one

the

soldiers

during
with

the the

Trojan
discus leaders

amusing

themselves

in their hours of relaxation.

Their

DISTAFF,
is of

COLUS.

preponderance portiononly. (Lat.} This implement

a
was

rence frequent occur-

in ancient made about

out

Art.

It

of

three

of cane-stick, feet in length.

slit in such At the top it was that it should bend a manner

open,

and

form
or

receptacle
to

for the

flax

wool
was

be

A spun. the top as

ring
a

put

over

kind

of cap, to

keep the ends of the cane together. The distaff occurs in representationsof the FATES, who are engaged in spinning the thread of life. Distaffs of gold were given dedicated to goddesses. It was the patroness of spinning.
DISTANCE. of view
are

to

Pallas,

The
a

extreme

boundary

in

picture.

In

also narrated

to have

been

adeptsat
each

the

(Lat.) A plateof stone or metal,of circular form, and about ten or twelve inches in diameter, used by the ancients in games of skill, after the manner of quoits. When launched, it assumed a It required considerable rotary motion. muscular in the player; he who power
threw of it farthest
won

game, and DISCUS.

anxious

to outshine

other.

point of distance is that where the visual rays meet. Middle picture distance is the central portionof a picture, between the foreground and the extreme
distance.

the perspective, portion of the

the game.

The

mode trating illus-

using it
the

is shown

in the woodcut

precedingarticle. DISMAS, ST. The good thief

crucified with and known received the and Saviour, from of
a

who

was

solicited He is

pardon

him.
cross

(Hal.) A kind of painting the pigments are mixed in an vehicle,such as size,and aqueous terior chieflyused for scene-paintingand indecoration. In former times,when this description of paintingwas tensively exmore than at employed present, the vehicles for the pigments were the sap of the fig-tree, milk, and white of egg. Many
in which
works

DISTEMPER, TEMPERA (Ft:),

DESTEMPER, DETREMPE

by

the

attribute

placed

of the old masters

were

executed

in

beside him.

DISPOSITION.
of
a or or picture

The

generalarrangement

the various parts of any group, compositionin regard to its general

effect. The which

use.

forms

compositionfor
be

proper distribution of all the artist's considered

as

Compositionmay

the

sign generalorder or arrangement of a dethe order a s disposition ; particular An scale

adopted.
DISPROPORTION.
untrue

and afterwards oiled, distemper, by which almost became identical with they process executed with or. an pictures oil-paintings, vehicle. acquainted oleaginous By many persons unwith the processes of painting, distemper is regarded as identical witn The difference is this" fresco-painting. is painted on a DISTEMPER dry surface, wet mortar on FRBSCO or plaster. DIVERSITY. Variety in composition, used to break monotony in a picture. It

154
is
use

DOG"
art

DON.
word is derived from

an

requiring great care,

the effect of

as

its free
a

the Italian duomo

such

(ft

may have confused. DOG. from the This

making
been
an

work

because cathedral), such roofs ST.

buildings had
de

generally.
Dominicus

animal

has
as

adopted
of the in he

DOMINIC,
the founder is

Guzman,
;

earliest times beautiful

emblem

of the Order

of Dominicans

with a sparrow represented by his Odyssey of the old dog Argus, who expires side,and with a dog carrying a burning The bird refers to the of joy at the feet of his master, Ulysses, torch in his mouth. when he returns after an absence of twenty who devil, appeared to the saint in that have the ness faithfulthe shape ; dog,to a dream of his mother's, popularised years, may It was usual to paint that she gave birth to a black and white of the animal. of a chained the world with a a representation dog at the dog, who lighted spotted peii, outer door of houses ; there is one at Pomburning torch. This dog is also said to be with the motto, Cave Canem of watchfulness for the true (Beware the emblem the In Mediaeval the of the Dominicans Art, Dog). dog is faith, being the first and the emblem He of St. Roche. is reprezealous enemies of heresy; for to most sented the tribunal them lickinghis wounds, or carrying a owes iniquitous Spain loaf in his mouth. A dog firing established for the purof the Inquisition, a globe is pose the the emblem of St. Dominic. A dog also of kinuling funeral piles with torch of the black and white dog.* He is reposes at the feet of St. Bernard, St. and St. Benignus. As an also represented with a cityin his hand, blem em"Wendelin, introduced of fidelity, it is generally and a star on his breast or forehead, or in sepulchral above sometimes with a his head; and at the feet of married women side sword in his hand, and books burning beto the It also signifies effigies. loyalty to heretics, him, to denote his severity sovereign. An CELT. implement of and his hatred of their tenets. DOLABRA, In Christian used both in DOMINIONS. various forms, extensively Art, an celestial ancient and modern for similar purorder of spirits disposingof the times, poses officeof angels. Their ensign is a sceptre. The fidelity. incident See ANGELS. DONJON.
tower
was

(JV.)
a

The

grand

central It

of

Norman

or

mediaeval

castle.

the strongestportionof the contained the

building,
such
as

and

principal rooms,

They abound in museums, and are seen depicted the columns of Trajan and Antoninus, on of at Rome. They are usually formed
as our

hatchets

and

chisels.

dwelling-roomsof the lord of and sometimes the chapel also. the castle, the White Of this kind is Tower, in the and Tower of London Castle, ; Rochester
the hall and the castle at Newcastle. It
was

bronze and

and

of flint, or

other

hard

stone,

surrounded

to these latter the term

CELT

is usually

applied.
DOLIUM. earthern

by Bailey,and
an

open space walled, called the Inner another

beyond,

called the

the

(Lai.) The capacious rical sphein vessels, form like the

Outer Bailey. Beneath were hence styled dungeons. vaults,

prison-

DIOTA, used by the ancients for wine and oil when first made, previousto placingit in smaller DOLPHIN. social vessels for An

keeping.
of love
as

emblem

and
an

introduced feeling, frequently

to coronas

ornament

in churches. suspended roof

or

DOME.

A vaulted

cupola. The

Bologna, so containing died in that city, the bones of the saint, who tiful 1221, is a marble sarcophagus, with beauA.D. sculpture, the lower reliefs of which were in 1266-67, by artists in the workshop of carved himself, a" of Pisa, and not by Nicolas Nicolas was long believed.
"

The

ark

of

famous

in the

St. Dominic, history of Art,

at

and

DON"

DOU. of
a

155 house
; hence
a

1"ONOR.

A term the

of the

middle

ages,

dormer-window

is the

which rises from the roof to giver and founder of a the level of the t he front of a house,and gires work of Art for religious viz., purposes and air such apartmenU. to or light :*iverof a church picture, painted statue, ST. of This saint is reprethe founder a church, DOROTHEA, .vindow, "c. ; sented with rose-branch in her hand, a a a altar. If the gift were picture, an or wreath of red roses her head, the same of the donor and his wife on the portraits flowers and some fruit by her side, introduced ; the former,attended by were or with an in which are his sons, kneels on one side of the Madonna, angel carrying a basket, three applesand three roses. while This angel who is either standingor enthroned, is a youth barefooted, his wife and daughand clad in a purple the other side are ters, on St. Dorothea if in prayer.* garment. suffered martyrall with hands raised, as dom in the Diocletian whose of founders portraitchurches, A.D. Persecution, lioyal statues are placedin or on the buildings 303,by being beheaded.* DORSALE DOSSER, (Lat.\ DOSSIER they have founded,bear in their hands the The hangings placedat the back of titular saint and a model of the church, (Fr.~) in the monuthe altar as a decoration, latter is also found ments and to hide the which bare wall. in of such donors. a Hangings dining-hall,

ippliedto

gabled window

"

DOOM.

The

old

name

for

the

Last

behind

was Judgment, which impressive subject and underrated, paintedover the chancel arch in pausually rochial

the seats of the guests. The lower flat part of all ancient halls are entirely
as

it

was

the

custom

to

churches. and distemper,

are

Dooms

were

executed

in

decorate them
or

One might be lavished on windows, and roof,five feet above the England is in the church of the Holy upper walls, Edward basement In the of reserved for the dorsarium. was reign Coventry. Trinity, DOUBLE-HANDED VI. these edifying representations were SWORDS were washed introduced in the fifteenth enormous or f effaced, over, as superstitious, weapons The network DORELOT. worn (jF/-.) century, and ceased to be used, at the end of the fine by ladies in the fourteenth century to conexcept on state occasions, the hair.J and as following one. tall, They were in the sometimes The upper story roof than a man, with a double DORMER. taller, in

of very constant rence. occurof the finest at present existing

needlework

with tapestry, cloth of Arras, however much ; hence, nament or-

jagged, a wide cuttingedge, occasionally chape and. double guard,and a handle to be graspedby both hands. They were allotted who were tioned stato large and powerful men,
to

battle ; and of
"

to sweep

course

in the melie

war.

The

beautiful that
as

protect the
fine of

standard-bearer

in

of the most legend of this saint is one in Christian It is said, mythology. they were conducting her from the place
to

of judgment the judge,

"

that

of

death, the secretary

name,
now

A very Madonna T There

picture of this

class

is the

Theophilus by mockingly, that she might

of the fruit and of that heaven and
roses

said

to

of her

Holbein,

the Burgomaster's in the Dresden Gallery. is

at
a

Family," by
DOOM maining re-

rude

but

interesting

ham
"*st

GrantCuysthorpe Church, near fragments of others, elsewhare, atthe popularity of the subject.
; and CUt to

expected to attain, the young immediately after her execution angel appeared to Theophilus with a basket containing three apples and three at roses,
which See miracle Mrs. he
was

which which she

grew

send him some in the garden

t Sea

CREM'INE.

Jameson's

converted Sacred and

to

Christianity.

Legendary Aft.

166 DOUBLET.
A

DOU"

DRA. 2. As
over a type or figureof the Holy Spirit and fonts.* 3. altars, baptisteries, As The DOVE is symbolical ornaments. also an emblem of the human and as soul, such is seen issuingfrom the lipsof dying

loose-fitting jacket or
in Christian Ghost
as

body-coat.
DOVE. the The dove Art, is

symbol of the

Holy

is represented in its natural of snowy red, which

a

such, it ; form, the body

and claws
to those

the whiteness, is the colour The

beak

martyrs and devout

six

persons.

A DOVE
as a

with

natural

wings

has

been

employed
:

type

of

partsin white

doves. its

nimbus, which

the Church

always surrounds and gold colour,

is either red invests the and

head, should be of a by a cross, which A radiance of light black. or proceeds from the person of
divided is emblematical of the Divinity.

it has certain liarities pecuthe front of the body is of silver, ; of

to

of Christ

the back attached and

two

gold; two the head,two

feet.

of the
to the

\ving"are shoulders,
Icono-

to the

See Didron's

graphie Chretienne. in It is also sometimes DRAGON. A huge fabulous auimal, represented, with seven stained glass, in the Sagas of nearlyall nations, rays, terminating found of of the seven in stars, significant and generallyas an enormous gifts serpent of The dove has been conThe ancient legend stantly the Holy Ghost. abnormal form. an adopted in Christian iconography represents the dragon as a huge HYDRA, the as watching as sentinel the Garden of the symbol of the Holy Ghost from the In sixth century until the present day. or guarding the trees with the Hesperides, man In other places, Golden Fleece at Colchis. the tenth and eleventh centuries the huhe also adopted for the same a form was as monster, making the appears fifteenth his and around In fourteenth the cave neighbourhood unsafe, .object. as the land ; his death being with both together, and desolating centuries we meet ascribed to a hero or god made for the the personification of the Holy Ghost in his service to all mankind. as the human a task, which was form, with the DOVE of love, It was natural that Hercules should be the is an emblem symbol. The DOVE divine hero supposed to have slain the innocence, purity,mildness, simplicity, .compunction; holding an olive-branch,it dragon, because in him the highest ideal of human personified.In strength was Perseus other legends, Apollo and are made to slay dragons. The DRAGON plays as important a part in Art as he does in
fiction.
most
as

dove, and

We

famous well
as on

find it upon the shield of the of the early Grecian heroes, the helmets of

kings

and

generals.
Romans the

It does not
after

until

the appear among their struggle with

Daciaus, by which
as

people it was
;
a

garded re-

the with

sign

of warfare

and

it

remained

not

to

people symbol, as the gloriouseagle helmets be displaced from

the former The dra"*cri was of
more

dinate suborwas

and im-

standards. is an emblem of peace. DOVE; v.cie three purposes to serve altars to

serve as a

used
"

in churches

1.
are

Doves found in

of carved

'xxi

or

embossed

metal

Suspendedover
*

pyx.*
of this

in remaining on je"eral font covers it the present day ; the English parish churches and

former

times,

probabi/

no

tout

would such

Our

cut

represents

beautiful
to the

pyx

have
an

been emblem.

considered

complete without

kind, chains

being affixed

rods

below.

DRA. to statues of
ma^e

deities and heroes. the

was

ments I Gar-

even

indicates the intention of the draperies

that

concealed

form

were

versallyThe unitheir

of the person. Greeks, which, from

discarded

; it

sufficient to
even

retain only the outer-garment, and

this
was was

cided simple,and, as it were, still undeforms,for the most part only received character the
same

laid entirely the

aside when action.

the In

figure
sedent

determinate

from

the mode

of

represented in
on

wearing,yet,at
a

time,furnishing
and folded

statues, pient
is

contrary, the
laid

aside ; calculated from the especially parts, were notes, outset for such purposes ; but it also became usuallydrawn around the loins ; it deof exerrest and absence to render therefore, earlyan artistic principle in this way the drapery, even and becomes is figures, significant, In the forms of the

seldom

upper garit is then

great alternation

of smooth

body everywhere as prominent possible, by drawing the garments Ancient attribute. and loading the skirts with Art, at an expressive close, the same small weights. The striving after cleartime, loved a compendious and ness of representation dictated illusive to the treatment; the helmet denotes the whole artists of the best period its disposition a into piece of the CHLAMYS armour; the entire dress of the Ephebos. It was and subordination of details largemasses, to the leading forms, precisely in the as customary at all times to represent chil.dren naked ; on muscular the other hand, the unrobing pery development of the body.* Draof the developed female body was determinate form ; no has, of itself, this in Art, and when Jong unheard-of yet all its relations are susceptibleof it it subordinate at is was as to the form it required practice introduced, beauty, first a connection with life ; here the idea This which results from covers. beauty, .of the bath of the folds, is constantlypresented itself, the motion and disposition accustomed until the eyes became of numerous to adopt combinations susceptible very -the representation this justificawithout difficult to imitate; indeed, casting of tion. it is termed, is one The of the as portraitstatue retained the draperies, not raised of of life, if it also was artist's studies. The most costume important an the form is above the common turally necessity, by object to make the drapery appear nathe result of accident or rect disposed, being rendered heroic or divine. A corchance. notion of the spirit in which Ancient Long-continued efforts may fail Art treated drapery in general, is still to produce this result ; nevertheless, mensurate comof dividual inwill enable the the artist than to knowledge study more important
ideal
as

*ion.

in

It did so, first, attain such command will ensure his success. so that thoroughlysignificant manner, articles of dress. and the
manner

over

his materials

as

"the choice of the costume .of it

constantlyreferred to the wearing of the person repre.character and activity sented be shown very distinctly ; as can
in the different modes
of dress among the

gods. Secondly,in the genuine times of made thoroughly sttbordinate Art, it was the destination of to the body, fulfilling which the its and form motion, showing drapery is capableof doing to a greater .extent, as regards time, than the naked situation and figure ; because, by the the of folds,it sometimes Arrangement "enables us to divine the moments precedand sometimes ing the action represented,

of works A copyist original designer. DRAWING. The Art of pictorial representation in contradistinction to painting delineating by the pencilor ; the one oilAn crayon, the other by the brush. pictureis said to be fine in its drawing rendered. the outlines are accurately when of Art, not
an

DRAUGHTSMAN.

thus unites the two painter of the drawing peculiarities A

Arts.

The

of the early characteristic of the most is one painters obtain a knowledge of we tests by which their genuine works, and those of Alber*

See

Midler's

Ancient Art and

it* Remaini.

DRA" Durcr be cited

as a

DUL.

169

instance : DRAWING-MASTER. A teacher of striking of schools the Art of the early German the masters drawing from nature, or the Art of copying correctly it in a very great degree. Sir drawings by others. possessing DRIPSTONE. The ornamental has denned mouldas Joshua drawing Reynolds " chalk the door which of and or a over or window, a ing masterly handling that the obtains its from the name protectionit pencil." It is a qualification affords against wet ; it is, sometimes therefore, practised.The greatestartists incessantly called a weather-moulding. when author observes, "that they same DROMOUND. A ship with a conceived a DROMON, subject,they first made line the finished ing drawin at and then a rowers of a sides, placed variety sketches, sail used the that for correct port transof the whole, after a more having a single ; It deof troops in the middle ages. rived drawing of every separate part head, its name and form from a vessel of hands, feet,and pieces of drapery; they kind used by the Romans. then painted the picture, and, after all, the same thus The DRYERS. metallic life. from retouched it pictures Substances, chiefly like part to imoxides,added to certain fixed oils, wrought with such pains,now appear them the to the effect of enchantment, and as if some property of drying used in painting. That quickly when mighty genius had struck them off at a may
"

It may well be termed the grammar of Art ; and the utmost talent in colour and blow."
cannot composition

most

is the oxide
or

conceal the fatal defect

this purpose of lead ; but white copperas, white vitriol (sulphate oxide of of zinc),

commonly employed for

of the want

of true

drawing

in

picture.
wet,

manganese,

ground glass,oxide

of

zinc,
digris ver-

DRAWING-BOARD.
which and left until

A flatboard upon

calcined

bones, chloride of lime,and

drawing-paperis strained when

of (di-acetate

have also been copper),

The used at various periods in the history of dry for working upon. to Art as DRYERS. old -fashioned drawing-boardn'as made DRYING fitinto a frame, the edgesof the wet paper OIL, BOILED OIL, HUILB and interstices the SICCATIF OLIO COTTO When drawn through ; (Fr.), (Ital.) being the board and frame being held together linseed oil is boiled with LITHARGE (oxide into mortices at the the propertyof drying of lead), it acquires fitting by cross pieces back. Drawing-boards are now flatpieces quicklywhen exposed in a thin stratum to varnish the air. Its uses are as a vehicle and of wood, which prevented from warping of the other well known. on an are edging pieces by in a the grain of which DRYNESS. This term is applied to a runs same level, Upon these boards styleof paintingin which the outline is contrary direction. the paper, after having been wetted on the harsh and formal, and the colour deficient under is secured round its in mellowness and harmony. It is not incompatibl surface, upper and the thin other or with and glue, edge by strong paste good composition forms whole being allowed to dry gently, in some of as high qualities, may be seen the best and firmest mode of securing the works of Holbein., and the earlier propaper ductions covers lV"rthe artist's work, which, if washed, reof Raphael. its flatness, and, when be detached
can finished,

DRY-POINT.

The

term

to applied

the
to

immediatelyby cuttingwithin

sharp

whon etching-needle,

it is used

the paste line with DRAWING

incise the copper in fine lines, without the a sharp knife. be IMPLEMENTS, platebeing covered with etching-ground, may and said to consist of plain compasses, the lines bit-in by acid. or Very delicate those having one else for which is this a or work leg pencil produced by means, for a pen, a parallelruler, a sector, a less in printing than lines produced wears black-lend a T" square, or ruler, plain scale, by the action of acid. DULWICH GALLERY. A ppnciU and brushes,and a drawing-board. general

160 collection of in

DUL.

exhibited gratuitously copies,the originalpictures are tunately unforpictures constructed by Sir John Soane, a gallery in many cases totally disfigured and connected with Duhvich in the College. It by cleaning." The finest pictures collection are was three by Murillo the two opened to the public in 1812. The collection was formed by M. Noel of originally Spanish Peasant Boys," and groups " who Desenfans,a picture-dealer, enjoyed the Spanish Flower Girl." They are a but are large share of important patronage in not only the gems of this gallery, the last century,and was the of the the agent for best extant specimens among in his Of of there master. are Stanislaus, King Poland, picture Cuyp good specimens, and of the Dutch painters purchases,as well as for other crowned generally ; heads. When the King of Poland was indeed, this is the strongest point of the collection the owner of the Gerard Douw, Ostade,Teniers, dethroned, he became collection ; and after partingwith some of Berghem, Hobbima, Ruysdael,Wouverthe moat he retained "c., beingrepresented important pictures, Vandervelde, mans, the others, and Of Rembrandt ultimately bequeathed by various good works. them to Sir Francis Bourgeois; hence the there are two fine specimens, in "Jacob's collection is sometimes termed the "Bourgeois Dream," and " A Girl at a Window." are not Gallery." Sir Francis tried for many Vandyke and Rubens very well make to his collection the nucleus of there several picare though represented, years tures national gallery a scent by them ; the best being The De; but in this effort he and ultimately left the pictures he from the Cross,"and " The Madonna failed, obtained from M. Desenfans, as well as and Child,"by the former ; and Samson those he had himself and the and k nown Delilah," collected, as together landscape with many works of his own, to the trustees "The Double Rainbow," by the latter. of Dulwich where "The bited College, they are exhiMartyrdom of St. Sebastian,"by free of charge,by tickets obtainable a plateof honour in Guido, has deservedly at the principal '1he gallery the gallery, and claims it as one of that printsellers. " is open from April till the end of October, master's finest works. The Salvator
"

"

"

"

"

between from

the

hours

of ten

and of

and five,

Mundi" work.

of Leonardo Of Nicolo

da

Vinci

is also there

November the hours

till the end of ten

on

March,

tween fine be-

Poussin

are

and

three ; but is and

closed entirely

Fridays
The

Sundays
No tickets

throughout the
London of admission

Watteau is the principal of the modern French representative its neighbourhood, school. The or nor can pictures by Titian are open persons gain admission without ticket ; an to the question of originality. a absurd The earlier which school is favourably form, in some might be advantageously English seen abolished. few picturesby Wilson and Reynolds; collection contains some The few fine though the great work of the latter master of the portrait moderate of Mrs. Siddons as pictures, the Tragic andas talent, many of inferior Muse" is Dr. his not own really ability. "Waagen many work, but a that in none .of the English copy made observes,* by an artist named Score,for " do the pictures agree so galleries ill M. Desenfans, the original being in the with the names of the Marquis of Westminster. given to them, and where possession much that is excellent is so mixed Of the other Englishpictures, the less that with much that is indifferent and quiteworthis said the obtrusive being most less. better;:the generally the worst. But, to say nothing of the numerous They are chiefly valuable as lessons againstusing improper * Jn his Art and Artists in England. vehicle* in painting, and are cracked aad
can

year. is about four

distance from

good specimens. There are also some vourable faof Salvator Rosa and specimens Claude. In Italian pictures the generally
collection is weak.

miles.

be obtained

in Dulwieh

"

"

"

DifN"

fcAK;

decaying in every way. It would improve if a judicious this gallerymuch weeding could be made, and about one-third of the picturesbe discarded from the walls, as the rest. on they act injuriously
DUNGEON.
retention
A

symbol of victory.Europa
and

is ijinetimet of
an
"

representedunder the form in pictures illustrative

easle,

of the

IU|*

chamber

used

for the

ginally oriof prisoners. They were gloomy vaults at the base of the central tower or keep of a Norman castle, which, being called a donjon,gave that to such prisons They were name generally. without lightand air, sometimes entirely dows, and at others had deeplysplayedhigh winlittle to allow a light, having recesses at in the wall for chaining prisoners, as Leicestershire. of Ganymede," the eagle, Jove's mesCastle, as Ashby-de-la-Zouch senger, The of saint ST. the carries its DUNSTAN, back. In patron boy on Abbot of Glasthe goldsmiths. He was Christian Art, an eagle is the attribute of bury, St. John the Evangelist Vonbury, and died Archbishopof Canter; the symbol of in 988. Like others of the his ancient of authority,
was employed of contemplative life. It is reprelarly particumanipulative arts, and was sented chalices for dextrous in fabricating as drinking from a chalice, an in all other goldsmith's emblem of the strength the Christian dethe altar,and rives quently While "work. from the Holy Eucharist. The conemployed thus,he was freflict the his the "State between of Nature" and devil,until, annoyed by being exhausted, he one night the "State' of Grace" LJ represented by an patience with the with a serpent, and by an sei/ed the foul fiend by the nose eagle fighting and so held him for the red-hot tongs he used, eagle, body of which, terminatingin him tail the of a serpent,is tunied against the hours,tillhe promised to tempt many

he ecclesiastics, the

leisure in

It power, and of generosity. St. the regarded by blem emGregory as

no

more.

This

great feat has been

quently head. fre-

common

form

for the LKCTEKN,

constructed of wood used to supor brass, depicted ; and the saint is generally port volume habited the sacred in the choir of in known by being ficals, pontithe pincers in his right churches, is that of an and carrying EAGLE. Elisha, the prophet, is representedwith a twohand. his head or upon headed his EAGLE. The attribute of Jove, as his eagle over his to this to of referring shoulder, petition Elijah structed bird, conEffigies mess'enger. for a double portionof his spirit. used by of bronze and silver, were This ornament has been the Romans presentations EAR-RINGS. as ensigns; and remilitary of it are of frequentoccurworn rence by both sexes from the earliest times in Oriental counand friezes, in Art on tries, on capitals medals and gems, where it is seen ing carrythe thunderbolt of Jove, or receiving
*

but the Greeks

among and
use

garland
or

which

it is to carry
a or

to

Romans vourite, fain

was

its

carrying garland
The

palm

confined to females. It
was ally usu-

its beak. oare,

on

gems

a serpent or a eaglekilling and coins, la an ancient

constructed of gold, various

of

"

Our

specimen

i." copied

from

medal

of

and The

set with
ears

wrought, forms,very finely and pearls preciousstones.

statue

Auguitui

in the

of the

Mediceai*

162 Venus
cue
arc

EAS"
and pierced,

EDM.
met frequently

probablywere
with
"

at
a

with
on

in

classical architecture, The

time
not

ornamented uncommon.* An which

a

ear-rings

carved this ornament

the Ovolo.

custom

is considered the chestnut

to be in

type of part

EASEL.

apparatus constructed
the

of is

derived

from

and

shell.

wood, npon

panel

or

canvas

ECORCHEE.
This
we

placed while

is being painted. picture have

no

GURE. FI(Fr.) ANATOMICAL convenient word, for which equivalentin our language,
or

the signifies

man subject,

animal,Jlat/eil,

skin,so system is exposedfor the

The word
SKELETON

deprived of its

that the muscular

purposes of stud}-. is limited in its application The studv of the The dead is

to the boit y structure.

of

the

muscular

system
of

one

greatest importance to the

difficultiesin the way
are subject so

artist.

studyingthe
in

great,that it has been found

construct

necessary maclie or muscles

to

models the

in which plaster,
are

papia-prominent
after

exhibited
are

and

coloured

nature, which
schools

used

in academies

and

by

students.* A mode
are

ECTYPOG1UPIIY.

of
on

by

which

the lines in.

raised

the

etching plate
of
a

instead of sunk

See ETCHING.

ECTYPUM.
an

ornamental

(Lot.} A cast in relief design produced from

EASEL-PICTURE
a

is

term

employed to
In

signate demould. ECUELLE.

such dimensions, Christian Art, portable. before St. Luke is often represented sitting of the is a portrait an easel, upon which Virgin.f of picture it small
as

(/".) A

covered

dish.

render

EBONY.
decorative

A hard

black

wood is

used

for

which furniture,
was

capable of

and high polish, nations of ECHINUS.

much

valued

by

the

antiquity. (Lai.)
"

ST. King of East Anglia, EDMUND, who, in 870,fell a victim to the Danes, by lie was invaded, v,-hom England was bound to a tree, taken prisoner, scourged, wherefore then killed by arrows he, like ; tied to a is represented as St. Sebastian, but in his breast, tree, with an arrow which is The a crown. sword, bearing also
one

The

"Egg

and

of his he

refers attributes,
was

gend to the lebeheaded. the often

Tongue"

or

Egg

and Anchor"

ornament,

that

afterwards

As St. Edmund

does not

alwayswear
picture is

insigniaof
mistaken beard
on

his royalty,

for that of St. Sebastian

; but the

rank, is
He
rings. gives examples of two antique earof gold, half 1 is an Egyptian one inch in diameter, published by Wilkinson. an medallions. Fig. 2 is from one of the Sy racu"an
*

the upper lip, denoting military of the latter. the attribute solely of the patron saints of

is

one

England,

The

cut

and and

also of the noble Order his banner

Fig

of the Garter ; azure, charged with three

t Our
at

cut,

of in

an

artist

of the

fifteenth

tury cen-

work

at

his the

illumination US. 4425).

easel,is from a beautiful Romance of th* Rote (Harl.

* The plates in the Atlas to Fau's Anatomy the are by Dr. Knox, for Artists, translated for exhibiting the various condition] best extant

of the muscular

system

in action

and

in repo"s.

EDW"
crowns
was

ELE.

163

deficient in harmony. Most good colouring or designs are made in a broad CONFESSOR. An Engand vigorousstyle, THE lish by which the ultimate died A.IX 1066 ; he is represented EFFECT of the work, when more carefully the in royal garments, with is also the executed,is judged. EFFECT result of all the peculiar a mace excellences of the symbols of justice, ; and also his distinctive true master book of laws ; but his most which is brilliant ; the ensemble, and in the works as of symbol is a large ring set with a stone, striking, holds in his left hand. Rubens which he generally and Turner. is told in the Lifeand Miracles The literal representation Its history EFFIGY. or in by Abbot Ailred, image of a person. Although the word is of the King (written where we are told sometimes the reign of Henry II.), to a portrait, it is not applied he for whom with but that St. John the Evangelist, idea an it, synonymous conveys of imitation once a had an exact appeared more a more reverence, especial striking and and authentic resemblance, such as we meet a as requested an to him pilgrim, St. John's "for alms appeal with in icaxjujnres. The ordinary sake," an cation appliof the word is to the sculptured which the king could not resist, although his purse ; so he gave on he had exhausted figures sepulchral monuments, and to fiie heads which his of the royal was finger, monarchs^ "c., on coins and ring from or,

borne

by

the

kings of earl)'

England. EDWARD, king, who

sketches

"

afterwards
some

returned

from

the saint to the

medals.

English pilgrimstravelling king by befriended by him who were in Palestine,

"

EGYPTIAN
upon the with

BLUE.

This brilliant

ment, pig-

is found analysis,

to consist of

for the love he bore

St. Edward."

He

hydrated protoxideof
a

is also sometimes
a

as bearing represented

minute

of quantity

copper, mixed iron. It was

was
an

sick person,

whom

he

is said to into
a

have

long supposed that

ore

this fine blue

healed His
arms

by

carrying him
azure,
or,
a cross were

church.

of cobalt.

between potatice,

EIKOX
or

(Gr.\

or

ICON

(Lat.) A

statue

five martlets
own

impaled

with

his

image ; hence

the term

iconoclasts applied

by Richard II. and other English also displayed the and were on sovereigns,
a

to

and iconographers to image-destroyers, See these words. In

cover

image-makers.
ELBOW-PIECES. metal

battle-field as

war-banner

by

our

earlier

armour,

the
at

kings. EDWARD, England.

of his

platesto

the and

elbow

the

THE

MARTYR. stabbed
at

He

was

King of junctureof the the instigaThey were also tion

in the act of
are
"

rere-brace termed

vant-brace.

cotidieres. An
art of

while step-mother, His and the

ELECTROTINT.
tinted
on a

978. A.D. drinking, goblet,a dagger,

attributes

insignia of

by plates whose copper-plate,

the

action

of

preparing electricity

royalty.
EFFECT. The

and

which

for impression produced relief, of a picture, or press. upon the mind by the sight The process whereby ELECTROTYPE. before at the firstglance, other work of Art, works in relief are produced by the agency bold the details are examined. Thus, some tals, through which certain meoutlines indicatingthe principal forms, of electricity, a nd such as and shade of light gold,silver, with the masses copper, are perly prosolutions their from thrown upon in,and the local colours put precipitated of division as to fine moulds in which a state so sufficient to a are picture produce on, of pure metal,equal at the first view strikingly form a coherent mass may appear mered to the hamin toughness and flexibility of the brilliant and true, although many The of metals. details proper to the subjectare omitted, applications this almost beautiful Art appear unlimited,and the the drawing not strictly or or correct,

surface is sunk, therebyproducesa fine tint in in the ordinary printinguse

161
as a

E.LE
means

KLI.

of

producing far-similes
invaluable.* This
term

of all

kinds

it is most

ELECTBUM. ancient Art

to

is

in applied

Acropolisat Athens, and other places, by Lord Elgin. They consist chiefly of the METOPES, for the most representing
from

the

amber, and to a compound amber which resembled of gold and silver, instead of in colour, and was employed, times. in later Boman pure gold'for coins, ELEGANCE is a term applied in the

part the

combats
a

of

the

Centaurs

and

Lapitha?; the Panathenaic proCella,representing cession or fragments of ; and the statues, the tympana of them, which ornamented and the pediments of the Parthenon, or Temple Arts to describe that which is graceful " which that Athens. The to of thenon, Parcontradistinction at in Minerva, pleasing, with its sculptures, constituted is bold and grand. tained an immortal ELEMINE. A crystalised resin, obagain perhaps work, never South a to be approachedby human from the amyris elcmifera, thoughts or which is incised the of mutilated bark hands. American to a tent, Though tree, great exobtain it. the to the fragments of the figureswhich at certain periodsof year nish to the varadorned the Parthenon be cannot It is used to give consistency once which forms part of the composition too often drawn. The superiority of the of lacquer. Elgin Marbles to all others consists in A ELENCHUS. drop the human frame that they represent (GV.) pear-shaped this, Greek on as seen affixed to an ear-ring, draped and undraped,massive,and beyond Roman and sculpture. the natural size, in nearly every attitude, coins and gems, stance See EAK-RUJG, Fig. 2. without the artist having in a singleinA term ployed emELEPHANT-PAPER, into nerism, mandegenerated coarseness, of absolute truth to designate tho largest kind of been forgetful or some years drawing-paper manufactured beauty ever kept in view." * inches by 23. To these are added the frieze from the ago, the sheet measuring 28 kind now a made, There is, however, larger Temple of the Wingless Victory (Kike
"

portion of the

frieze of the

termed
measures

Apteros),a series of casts from the Temple Theseus,and the Choragic Monument tecture, of Lysicrates, in ArchiIs a term well as many fine fragELEVATION. as ments of a the b ut to miscellaneous of representation a character, all applied drawn of the flat side of any buildingor object, of which perfection fullyexhibit Art in ancient Athens. mechanicallyto a fixed scale. ELEVATION the artist exhibits This prophetis represented in Art, is when ELISHA. of style ness truthfulhis head, or above with two-headed mere ordinary a eagleover aspirations in character. of to his petifitness shoulder Thus, or tion ; referring upon his vation eleoften see an we Rembrandt's to Elijah for a double portionof his pictures, relieves the most which of mind spirit. The subjects usually chosen in and givessublimity works Elisha of Art in which commonplace subject, appears of The luminosity the children ; the bears to the vulgarest scene. are destroying of the mantle ; his raising the Infant Saviour,in the picture Elisha seizing Elijah's "Adoration of the Shepherds," in our the child ; his interview with the king's is an instance of poetic National Gallery, to ; and his causing the axe messenger of a subject swim. in the treatment ekvalion
DOUBLE

ELEPHAXT-PATEH,

which

40 inches

by 26J.

of

"

which

would

ELGIN
name

which The position ELIZABETH. commonplace without it. MARBLES. An inappropriatemother of John, the precursor of the be
to

the viour, Saim-

given in "culptures
"

the

collection of ancient

in Christian Art, is of occupies

the British Museum,

brought
"

Kau's
Knox.

Anatomy
London.

for Artutt, translated

1849.

f"T

See

Art-

Journal. 1850, *".

Dr.

EMU.

testimony to the extreme beauty of the fine linen and figuresiii relief from a plane surface of of 'a chisel or punch.* It is embroidery of Egypt. He describes a linen metal,by means the earliest form of metallic ornament (see corselet presented by Aimisis, King of delicate is stillused for and Egypt, to the peopleof Rhodes, and by SPHYRELATA), them preservedin the Temple of Minerva, method or costly works,althougha cheaper which was of such exceeding delicacy thin sheets of of has been adopted, by forcing metal into dies. An nufacture ingeniousmethod of texture that each thread used in its mawas composed of 365 fibres ; and by using embossing wood is also invented, he says of another, the pattern, which blunt tool to mark a presentedby the same the to the that tool is driven surface of it was into the king Lacedemonians, with numerous ornamented figures wood, followingthe lines of the design. of linen, The entire surface is then carefully planed of animals worked in gold and cotton." down to the level of these sunk lines, The prophet Ezekiel, descantingon the the then well wood wetted, trade of Tyre, speaksof Syrianmerchants and, being their marts with " purple, these lines rise to their former and as frequenting level, and enuif embossed,and can be easily finished by and fine linen," merates broidered-work, " others who tool having the same its merchants effect ?s carving, a were in all sorts of things iu blue cloths and mode at infinitely less labour. Another effects the and in chests of rich apsame thing by metal dies, broidered-work, parel;" but he particularly "the made mentions which red-hot, singe the wood gradually
art

EMBOSSING-.

The

of

producing

has

given

his

and delicacy

"

"

wood the

The away, until it fitsthe mould. is soaked in water, and chars slowly, burnt

fine

linens

with

broidered-work
to "Wilkinson,

from whom

Egypt."
we

Sir J. G. much

parts being removed

as

the

are

so

indebted and

for

careful digest

of this customs the operation manners cools, requiring tition. repeEmbossed is produced by The art of embroidery was nation,says paper similar dies;and there is a machine in Egypt. "\Ve find for embossing Commonly practised that the Hebrews, on leavingthe country, cloth on an analogousplan. took advantage of the knowledge they had EMBROIDERY. A kind of decorative there acquired 'a rich hanging for needlework to make practised by ladies from the the door the of and consisting of patof remotest blue,and purple, antiquity, tent, terns and and twined in raised threads linen fine to scarlet, wrought linen, applied * with The needlework.' of fine linen "c. mention of A coat frequent garments, embroidered this employment of the fair sex in Holy for Aaron, and his girdle was Writ of ' fine twined linen,and blue,and abundantly testifies its antiquity. was the the ancient Art and of was Egyptians, f scarlet, needlework.' Among purple, the The and of thread used these for practised gold extensively beauty ; purposes the work producedled to a corresponding is supposed to have been beaten out with the hammer, and then rounded; for,in Linen was used by this so much celebrity. Exodus for told "they did dress which xxxix. 3, we not are nation, (of early only beat the gold into thin plates, but for coverings it formed the staple), and cut it of into to work it in the blue,and in chairs, wires, couches,hangings for the temple, the purple, and in the scarlet, and in the became as a decoration, "c., that embroidery, somewhat general. In the paintings fine linen." Plinymentions cloth woven with gold threads, sometimes of the on entirely upon the tombs, and the sculptures of this without woollen dant these materials, or primeval race, we see abuntemples any linen ground. "Coloured proof of the varietyand elaboration dresses," saj's mould of the
"
"

"

el' their

embroidered

work.

Herodotus
"

Exodus
IK.

xxvi.

"G ; xxrii.

16 ; xxxvi.

37

and

xxxviii.
"

See

CHASING.

t K xoilus

xxviii. 39

and

xzxix

29.

he. from

"

were

known

in the

time

of Homer

of the

were citizens,

deconiti-d lavishly In the

with

ordinary borrowed triumph were ; and from vise the Phrygianshaving been the first to deeffect of giving the same the method with the needle they have been called cloth with gold Phrygiones. But to weave
robes of thread
was

which

invention

that of the

indications of which embroidery, their works stantine

an

of Art. Asiatic

time

appear in of Con-

splendour prevailedin

dress,and

of the Roman upon the decadence it increased the Constanpower ; in dresses upon

tinopolitan sovereignsbeing generally presented rewhich the utmost

to have art of the embroiderer

the

invention whom

of the

an

Asiatic Atta-

king, Attains,from
lic
was

name

appears

been

derived noted

; but the

were Babylonians

most

for their skill in colours." of the

weaving

cloths
were

of various the

So enamoured effect

lavished,and which were with preciousstones. The Greek Church, at

evinced
a

also

enriched

produced by Egyptians embroidery,that the sails of their pleasure- costume, to boats were elaboratelydecorated in this
manner.

the

same

a very early riod, pelove of splendour in

characteristic which

still appertains

The

Greek
were

ladies,as
Helen
as

we

learn

from

nisters. mipatriarchsand officiating As early as the reign of the Emperor Aurelian,ecclesiastical vestments appear
to

its

Homer,

in the proficients

art ; and

have

been

of great value the

and

he mentions
an

engaged
conflict The

in

weaving
the the

beauty. Pope Eutychianus,in

275,
ordered in colobium himself
on on an

ample web,
and

embroidered

with

presentation re-

of the Greeks

between

Trojans.
widowhood

Grecian
until the
were

custom

of continued cloths of
was
a

gravewoven,

martyr should dalmatic,or purple and Pope Sylvesterinvested occasions in a white robe, great
a

that

year be interred

enriched

deceased husband
the
constant

which

was

embroidered
;
a

the resurrection
so

the

plea of
a

to Penelope,

of the Saviour that

garment deemed
ordered
to be

nificent magon

prevent

marriage with
return.

any

suitor till her

or broidered emveil,

it

was

worn

husband's

The

peplum,
of

all state occasions mention his work, De

by

his

successors.

quent Fre-

by
for the the The "nd

the

noblest
statue

famous

virginsof Athens Minerva, testifies

is made Vitis of

by Anastasius,in of the sumpPontificis, tuous gold and and further embroidery, bands of pearls and
of cloth of

of ingenuity battle of the

the

ladies of

antiquity.
which

beauty
were

ecclesiastical vestments,

gods againstthe Titans,

of the latter, was mache Andro-

formed with with

the final discomfiture it in

covered silver, enriched

stones. precious

exhibited upon
in
"

embroidery.

is described

by

the

poet employed
either of

perfecting
A

The

Anglo-Saxon
for the the of

splendid texture,
hues."

wrought

on

side,
various

remarkable

All
"

dazzling bright with

flowers

Church was equally ments splendourof the vestof them priesthood.Many

to have
on

were

so

strikingas

been

recorded

Zaleucus, According to Diodorus Siculus, of Pythagoras,and a lawgiver of disciple the Locrians,forbade the use of embroidery, except to courtesans; and Dionysius Haa

by

the

earlywriters

ecclesiastical matters renowned the the all

over

they became the Continent, under When Anglicanum.

; and Benevento
was

Opus Archbishop of
of Canute, ha

title of

licarnassus

informs

us

that

Tarquinius
monarch
ments, ornawore

visited the court

Priscus,who
and
senators
was

distinguishedthe

with presented his return of other

robes and by particular the firstRoman king who In the

that,on
admiration

a cope of such beauty it excited tho to Italy, was

and all, work

quiteunequalled
that

an

embroidered

Roman
common

garment. period they became

;
as

later
more

much

by any amusing

of of

kind.

An thi*

anecdote

the

effect of

wealth

and

luxury increased

the dresses not

only "f the nobles,but also

is related by the monkish sumptuous clothing historian,Matthew Paris,who tells ui

EMB.
that
Borne

when choice

Pope
kind
on

Innocent of

IV.
an

observed

ornament

unusually
of
some

and gold,upon Indian needlework,jewellery, baudekyn,* Batin,silk,and velvet. An idea of the costliness of such vestmetr be obtained when
we s

beautiful

the vestments

whence he inquired ecclesiastics, foreign

came

it

may

reckon

the value

; and
our

on

being

told it was

the work
"

of that to the

"f

is

land land,he at once exclaimed, Enghaustibleof inexa garden of delight an truly

"

red

presentedby Henry III.,in 1241, Bishop of Hereford. This was a cope and its worth silk, highly enriched,
old the

well abundance Holiness much

as

of

much
at
once

an riches ; from such His !" extracted be may

"

was

"The

equalto "361 of our present money. principal portions of the

were never on or

to proceeded

extract"

as

needlework velvet
were

lay in

his power,

to adorn, but were done separately and then attached to the linen, of to send to his choir a sufficient number ground,the edgesbeing bound with a cord, He was dresses. obeyed, which was afterwards cast over (en these coveted guipure) with with gold or silver tambour. kind his chapel supplied A coarse and gorgeous and linen was covered with gold precious of unbleached vestments ployed. generally emmals, aniwith figures, The other materials used in the stones,and embroidered were and flowers.* gold and silver threads, embroidery the called and or The talent displayed Anglo-Saxon by passing, tambour, floss silk, the ornament devotion to twisted and their The and mitorse, or silk, jewels. ladies, was and its ministers, scrolls and sprays to floreated patternswere tinued conof the Church one owe formed of silk cord,twisted with gold and ; and we by the Normans historic monuments coloured silk threads, nating and commonly termiof our most interesting the wife of of and with which have to the taste seem to patience spangles, another like been introduced "William the Conqueror,who, at a very earlyperiod." f The ladies of the East are still remarkable Helen, embroidered the incidents of his for the use for the ability in England on tapestry, they displayin thia victory " The embroidery work. which is done in of the cathedral at Bayeux.f The Norman when that relates a lso the Harem is Vitalis, chronicler, very superiorto any other, and frequently with precious this noble lady visited the abbey of St. interspersed to the church an alb ralds, emestones, generallydiamonds, pearls, Evroul,she presented and that with decorated and rubies. The rich brocade sers trouorphreys ; richly often highly ornamented with are she left by her will tc the abbey of the had she which founded, and stiffwith decorations are at Caen, jewels, Trinity, ; but

letters to the

enjoiningthem

by sending official English prelates, principal as they loved their church,

silk of the robe

wrought or hanging they

intended
on

chasuble,a
which ladies.

ments, cope, and other rich vestin worked England had been

the saltah and

by
the

The

riches of needlework

by possessed
of

cathedrals and

churches
the
as

England
was

for chasteness (a small jacket), is most to be admired of all elegance, the embroidered articles of dress." J But, of all modern nations,the Chinese may the palm, as their splendid carry away silk dresses
one mass

until the
enormous,

periodot
swelled

Reformation
was

of state

it

by
In

the

quent fre-

or ceremony of elaborate and

are

rally lite-

gorgecsia

bequestsof
alone there
were

the

pious.

Lincoln

upwards
with

of six hundred divers kinds of

vestments, wrought
"

embroidery, representingflowers, loaves, in lavish abundance, animals, and ornament with vivid and tasteful colouring. This beautiful art,so long exclusively a
handicraft
*

A
seen

specimen of this kind

in the
our

of

embroidery

may

employment,has
Artt

been

invaded

be

cut

illustrative of the
TAPESTRY

clerical
in this See that word. t Shaw's Deem atite

APPAKEL.

t See

article BATCUX

oftht Middle

Agtt.
Pool*.

dictionary.

% Ti-e Eriylukieomanin Egypt, by Mr".

EME"

EXA. latter is because otherwise

169

by machinery : M. Keilmann, of Mulhausen, in German}', having invented a machine of a most ingeniouskind,which enables a female to embroider any design and with 80 or 140 needles as accurately c ould with she do as formerly expeditiously
one use

usuallygilt ;
that metal

silver is never

used,

is liable to

and blister,

; several

such

machines

are

now

in

; their construction

Dr. Ure's

is fully detailed in Dictionaryof Arts, Manufactures, A

tfC.
EMERALD.

stone of various precious used by the ancients shades of green, much for gem-engraving. PAUL VERONESE colours laid on it. In the most EMERALD ancient GREEN, vivid lines A of the of metal a GREEN. light specimens, (F":) pigment separating the colours were of fine filigree prepared from the arseniate ; then green colour, the champ leve process, in which the came of copper, used both in oil and waterdoubt of its field or ground was cut out of the metal for colour painting ; there is no other unmixed with the receptionof colour,leaving slender used if durability, solid outlines to define the composition other and can no of as pigment pigments, supply its place,it is desirable that it the design. The cavities being filledwith the palette.It is should be retained on enamel, the bands of metal were then gilt and of and burnished. of The best works arseof this protoxide composed copper nius

injurethe enamel, and brass is a quality. For bijouterie an opalisedsemi-transparent ground is laid through which the on, or a transparentone foil may be seen : for painting, an opaque white the see on ground, such as we of clocks is placedon the metal. dial-plates The Ia3'ing-onand burning-in of this The grounds ground iscalled ENAMELLING. fusible than the metal, are always more and they must be less fusible than the
of too fusible

acid.

Warm

solutions of arseniate of

nature

were

executed centuries.

in the The

twelfth

and of

formed potash, of arsenic in

a

by

boilingthe white
and potash,

oxide phate sul-

thirteenth this

costliness

solution of

sculptured ground

led to the

adoption,

cease

to throw

of copper, are down

This

is precipitate
or

until they in the succeeding century, of a mode which in Italy, in which precipitate. the originated green with washed shown in low was boiling design or relief, simple

mixed,

water,
known

boiled

with has

water,
been

to which

lines which

incised
was

on

the

face

of the

plate,

little acetic acid in

commerce

added. the
names

It is of

covered

with

amel, transparent en-

designbeing indicated by these SCHEELE'S lowed folGREEN showing through it. This was Inlaid EMPAISTIC. sembling work, reby superficial (Gr.) enamelling,in which colours laid on a white the modern or buhl, or marquetry ; opaque colours, it must used ; a practice next to Toreutic Art (with which which opaque ground,were commenced in the it was most latter not be confounded), of the teenth fifpractised part -consisted in It is ancients. and the the still one laying century, by adopted. No of experiments has hitherto course threads, or knocking piecesof different by
and MITIS
GREEN.

the

lines

metals into another EMPEROR PAPER

metal. is the

made

known

the

substances

of

which

kind ancient enamels were largest composed, or the which in of drawing-papermanufactured,the sheet proportions theywere employed : ancient few a recipes for compounding measuring 66 inches by 47. PAINTING. enamels have been discovered, ENAMEL and one of Paintingupon is given in Sloane with a glazed the most metal covered interesting previously ground. This kind of paintingcan only MS., No. 1754,and is as follows : "To enamel. and it stands in make Enamel be done in small pieces, is thus lead made : Take and melt it, the same relation to porcelain-painting as occaaionminiature which floats on does to water-colour-painting.ally taking off the pellicle until the whole of the lead u The metals used are gold and copper ; the the surface,
" "

170
wasted
"f the

SNA. take oue part,and a\v;iy, of which powder hereafter mentioned, as And this is the said white
were

called LIMOUSINS
were

; other

masters

in

this Art

Pierre

called Vigier,J. powder : take the master J. P., who is known to us only pebbles which are found in and them subtle his into b ut whose most works lent, excelare pound by streams, cipher, and if wish have to powder, yellow displayingnoble ideas, and the you enamel add oil of filberts, P. C., who is much and stir with a master praisedby Dr. hazel rod ; for green, add filings of copper Waagen in his work on Art and Artist* in England. of lattin or As regards the technical verdigris ; for red,add filings with calamine ; for blue, good azure of the works of these masor part ters painting, of which glaziers blue glass." rank far below those producedin more make saffre, The recent times ; they are rather illuminated colouring paste, which forms the with a glazed transparency base, consists of oxides of lead and tin line-drawings fused with of in certain monochrome or silex, quantities, colour, paintings (en the opaque the naked qualities being given by the grisaille), figuresbeing well oxide of tin, whilst various colours are modelled,and generallyof a reddish tint ; the ornaments in gold and the gilded producedby the addition of the metallic oxides from is make the obtained, lights ; thus, paintings copper green appear rich and In red from goldor iron, the course brilliant. and blue from cobalt. of the seventeenth The use of this last mineral,and the exquisite century the technical part of the colour produced from it, Art of enamel-painting improved consiseemed derably, to remarkable in from extent to a progressing MONOCHROME predominate small the earlier*enamels almost is ; the field of which enriched with the brilliant invariably of the substance of called smalt. south
to that

much.

Rexmon, Jean Court, Laudin, P. Nouaillier,

of various

colours.
and

Towards the

the

end

of the seventeenth

beginning

the Art areighteenthcenturies, rived technical and real perfection, Limoges, has acquired in the were France produced with the softest a great name pictures and most delicate gradations of colour. of the art of ENAMELLING history ; it was But the works of this periodwere in the twelfth of very distinguished particularly small the and its called w ere dimensions, paintings being productions century, but generally upon on silver, Opus de Limogia and Labor Limogice. sometimes of that time are still exgold,and principally tant, portrait medallions, Many reliquaries hue The
town

of the

in the

of

at

the sides and

are

roofs sloping of copper plates

of which covered

for Much in

which that

the
was

Art

was was

now

employed.

composed

of

with

The and enamel-paintings.* sculpture artist in enamelling was famous most of Limoges, from whom Leonard Limousin of Art of that period works the French

in

produced,but historical representation the artists followed the degeneratestyle of the compositions of those days, so that these works, of their technical perfection, spite must
below those of the sixteenth

excellent

rank
"

century.
well
as

The above.

time

when

the
some

Art

of

enamelling
we

tained ata

Some

later notices of dissertation

enamel, as
on

perfectionwas
the with de In the from

centuries later than century

called where
meet

valuable

sixteenth the which

town
name

the process

ployed em-

French

enamel-paintings

Emattx
were

by given
have
an

the artists who Journal

as

Limogtt, produced, and

they
were

in the Art
extra

were practise it, for 1851, and

by

they

wards after-

value

These known to all the world. works, in the history of Art, era forming a remarkable of ornamental vessels of plates and consist various

they are

written

kinds, for

the

most

part made

of copper

by Mr. W. painterof
"

Essex, himself an enamel much reputation. He sa3-s,

in enamel of any been very

B.

however, of the precious metals), and 'latterly, They stand having various paintings burnt-in. of (vessels made beside the Italian MAJOLICA baked clay with the painting burnt-in), being of Art closely allied to them. " branch

Pictures works

importance
rarely pro*
or

as

of Art have

duccd

until within

the last 80

90 yean

in the reignof L0uif for, althoughPetitot,

KHA.

ITI

XIV.,
seldom
more

drew

with

neatness, exquisite
which aimed

he
at

by being
mas*.

surrounded
From

with

fied dense,vitrithe

producedenamels
a

this will be understood

than

and microscopic finish, head. about

an

accurate

drawing of the human

His

works

generally
a

measure

from in

inch and
are
was

half to two

inches

diameter,and
or

usually either
reserved

circular

oval.
to

It

for modern

times

try a bolder
every

night,and

the result has been that enamel

now

paintingsare
of Rembrandt

produced with
in Art. The rich

excellence possible and

depth

Reynolds can

rendered, together with of handling and peculiarities

and the

be perfectly all their

might almost say eternal) nature of enamel. Specimen*of thu Art are in existence which have not changed now their hues during the lapse of 3000 years.* The colours are preparedfrom metallic oxides. useless Many metal* are perfectly to the enameller, of the high account on degreeof heat to which enamel paintings his scale of colour i* are : and subjected limited. Modern science has, consequently

indelible

(and we

however, done
The oil of

much

to

supplythis
mixed with

ciency. defi-

texture;
beautiful

delicacyof
on

the

most

and ivory,may be successfully enamels As regardssize, oil or megilp, because the former much 16 volatilise under the effect of heat, as measuring as now are painted rapidly The inches 20. while the latter, from their unctuous inches by 18, and 15 by miniature

are spike, and spirits of turpentine lavender, ; these are chosen in preference seed to lin-

colours

competedwith.

kind

of enamel
'

used for

pictorial purposes
hard enamel and
'

nature, would
Camel' s-hair the and artist,

cause
or

the enamel
are

to blister.

is called it is

Venetian of

white

sable brushes
the

used

by
the

silica, borax, composed plate undergoes is a brief description process of firing after each The following layer of colour is spreadover the whole surface. in the Art of enamelling: of procedure " for the artist to paint This process corresponds to the drying of To make a plate being the pigments in oil or water-colour painting, copper upon : A piece of gold or before the artist ventures to re-touch chosen of the requisite dimensions,and his work. Sometimes a highly-finished varying from about an eighteenth to a in thickness,is inch enamel sixteenth fifteen of an or twenty firings. requires without and with Great be covered taken must to care pulverised enamel, paint until it becomes the colours the fire cannot of any kind, as errors passed through heat ; another be painted coat of out or taken off (asin water of a bright white or been vitrified, enamel is then added, and the plateagain oil)after they have once stance without thin layer of a subfired ; afterwards a incurringexcessive trouble and
of tin.
"

oxide

of

called flux is laid upon the surface the enamel, and the plate undergoes for the third time,
i

loss of

time.

If the unfortunate the effect of the fire

artist
on

miscalculates tis pigments,

out

his

the action of heat is

now

It

to commence ready for the painter Flux partakes of the pictureupon. of glass and enamel ; it is seminature

the
an

alternative is to grind -only tainted spot with pounded flint

so

his

and

agate muller; and

that
a

hard

is the

surface take him

transparent, and
the furnace than
a

more liquifies

in easily flux is
to it

a square inch will probably whole day to accomplish.

enamel.

When

ENAMEL-PAINTING

ON

LAVA.

A
viceable ser-

spread

over

plate,it
:

brilliant surface,and the receiving colours

renders

a imparts it capableof every colour during

newly invented
of

of style

painting very
This

for monuments.

invention,
in

enamelling upon
*

stone, discovered

its manufacture

is mixed

with

small
In tho. Jlritish

when the picture is of flux ; thus, quantity the flux of the plate unites with the fired, flux of the colour, and the colouring ment pigis excluded perfectly from the air

Museum,

among

the Egyptian

small idols, neck aces, antiquities, are man/ 'tint* of the"" material. The kc., nf thU articles are preciselysimilar to the colours now produced by the enamoller.

17T
France and well
known

KNCi

produceda novel kind advantagesof colour

of and

German}-, has decoration having

treatment, aud

in

was

appliedto
This

the wall
manner

in the of melted
a

form mosaic
or

of

a or

paste, and
enamels. with tint It hot

in the
was a

then

fused

of being nearly the great recommendation used was material indestructible. The discovered

irons, being inserted

small

filletof

different

betweeen

each flattint.

by

Count

Chabrol de Volvic ; it
and lava from method the of This

consists of Volvic mountains is painting has been

stone

of Auvergne.
a

new

kind Abel

of du

enamelling,and Pujoland others example, the Elizabeth,at

used in architecture

used

by

in various works

of Art ; for of St. altar of the church Paris. It has been recently

important branch of Art, but though used upon wood, and marble, for decorative purposes, clay, animals and flower-pieces, it was employed but little for gods and heroes; wooden doors, triglyphs,lacunaria,ships,and
was

an certainly

ancient

marble

architectural

ornaments

were

also with with

terior Cologne,for the exof buildings. In Paris there are with figures in the several tablets painted which and Pompeiian styles, Arabesque the have excited great admiration ease by of their treatment, as and great precision well as by the firmness of the materials, for a sharp pieceof iron might be drawn the painting.* them without injuring over

by

Hittorf of

painted in encaustic,sometimes sometimes simple patterns and figures. The overlayingof mural
with colour word
sense"
was seems

ings paint-

Punic to preserve their wax also called ENCAUSTIC, which to have been used in a double

ENCARPA.

(Gr.)

A decorative

ment orna-

viz.,for laying on durable pigments, and also for protecting them. There is no antiquepaintingextant which be called encaustic ; all those supposed can be to so having, upon closer examination, in TEMPERA. or proved to be in FRESCO Neither wax other has been nor coating any found in the many paintings(the Aldobrandiui Marriage,""c.) examined by Sir H. Davy ; therefore, sole knowledge as our of encaustic is derived from the writings of ancient authors,which give us no clear of the Art, it would be wiser to account leave the subject to the archaeologists. The of connoisseurs aud savans investigations
"

in form of
a

paintingand

in sculpture, flowers.

the

also convince

us

that

we

have

little to

gret re-

festoon of fruit and

in the loss of encaustic

wax

ENCAUSTIC.

medium,
upon the

which
canvas

is
or

Painting with a impregnated and

since painting,

oil is of

far better medium TILES.

than wax.* Ornamental tiles the

thedrals, ca-

fixed

ENCAUSTIC for

panel by

the

aid

heat, burnt
and
wax

-in

the artists of for

(incaustwn), practisedby who used the stylus antiquity,

tural architecof
caustic en-

used in were floorings extensively middle churches for and ages, chiefly and from the many in which may earlier mosaic of which and show be considered
as

derived

and tablet-pictures The

floors of the Romans, discovered

decorations.

invention

have been

masters.

painting is ascribed to Plinydescribes its mode

in his
own

several
of
nipulation ma-

time.
wax'
on

The colours

were

applied with
on

marble,
Coloured

and
wax

England, they were their general popularity.The

*

the great taste with well aa as constructed,

tessera

of

transparent gum
"

ivory.

Those

who

are

curious

on

the
an

subject
a

of

WAX-PAINTING

should

consult

excellent
la A.

8e".

Rapport
Larr.

eouftemmt-

la*-feiiiture

en
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Voteir par

enuuttee, fait
M.

to

pamphlet- entitled, A'otice tur la Prilitnrr dite J'rinture M. Ore, Encauttique, par
Duroziez.

Beaux

ArU,

Mirault.

1'arU, 1844.

174 ftOHorem

KNC.
are

which Deo, tt patne libtraciontm^ " A holy mind, : interpreted may honour freely rendered to God, and liberty This inscription, to the country." it appears, also used as a charm against fire. wag We engrave this remarkable example. But be thus
a

joined. The

the

racter quaint and elegant chaof this work be judged from may portion here engraved. In the two

much

more

curious inscribed tile is in the almost

same

to

church,which alludes temporary matters, and

:
"

entirely
ecutors ex-

distrust of

"

Think, May
That

man, not
erer

thy life endure.

.

thou dent thyself Of that thou art cure But that thou kepeat Unto If
ever

thy

executor'*

cure

"

it ar"il thee It is but a Tfiiture

."f
were

The

most

populardecorations

metric geo-

aud the

heraldic devices or foliage, the latter predominated, particularly ; was a very clear mode of expressing

ornament,

donations

to

the

church

by wealthy
and

individuals.

Coat-armour

personal
In the the decorations followingcenturies, of
a

badges

are

occurring. constantly
at

shire, Malrern, "Worcesterpavement several such tiles, contains one are the name of Sir John Talbot,the famous who was to it ; a great benefactor "warrior, and the rebus of whose it.
to

Great

were

much

more

varied

and

elaborate character.

name,

talbot

waa foliage more elegantly thrown, and exhibited great gracefully natural freedom. The oak, the vine, the

The

and

is also seated, The

specimens appear exhibited in their be of the latter part of the twelfth century. good taste and skill were S ometimes those four tiles were Of the thirteenth century are covered dispositions. disat

upon earliest known

and

ivy, and other leaves, were beautifully copiedfrom nature, and much closely

but Woodperry,in Oxfordshire,

most

employed, as
one

at

Westminster,to
Sometimes
nine

duce proare

the

finest and

curious

tiles of this used

shield.
a

periodin
the

and

those which form are existence, House minster Westo f the at flooring Chapter ; they vary in size from five inches three quarters to nine inches and a contain very remarkable

for

pattern, sometimes

sixteen.

half square, and

a series are employed to form with the sacred monogram in the cross, midst, the interstices of the pavement being filled with plain tiles. At other a

Sometimes

and kings,prelates, representing figures,

commoners,

times

valuable exceedingly of the time of

are

as

thentic au-

or

they stood in lieu of tapestryhangings, in the choir of a wall-paintings,

which
a

costumes

Henry

III.

church, of

singularexample

curs oc-

The three
east

patterns
feet six
to west.

about disposed in slips inches wide, running from Between of each of these divisions
narrow

at Great

Malvern.
sometimes
as

Upon

the Continent used for

they have
House
at

been in the

sepulchral mementoes,
abbots of the twelfth

is

line formed

border tiles

Chapter in Normandy, where the Jumieges,

representing foliage, "c., the convolutions forming a continuous series when the tiles
"

(.'are

t But

chance.

morated centurywere commeby tombes de quarreaux, comprised in a largeseries of such tiles, which also formed the flooring of the ChapterHouse.

EXC"

ENG.
on playing

Art, which Bank into disuse in the fifteenth century, has been again revived
This in the nineteenth and with considerable

the double
scene

success, bids fair to rrral the beauties of the Art.

ancient

male
an

pipes, probably
some

attendant

in the

of

play.
That

ENCRUSTED

ENAMEL.

style

ENCOIGNUBE;.

(Fr.)

A small, ornamental

in the enamelling generally practised wliich in vitreous early ages, pastes were the metal on fused, in opaque masses, grounds. ENDROMIS.
warm,
coarse over

of

(Gr.)
those
or

A cloak made
a

of

like materials, who

used blanket, heated

to throw

were

the foot-race ; to protect the exposure the name

worn

after athletic from In

more a

by exercises,
effect of

wearer

the

to cold.
was

recent

times,
ment gar-

appliedto
women,

luxurious

by

those especially

of

table made
of
an

to fit into

the

corner

apartment.

ENCOMBOMA.

((?r.) A portionof

Rome.
are

clothed Figures,

in the endronns.

of frequentoccurrence in works of Art to the exercises of the gymnasium. relating Tliis word also designates the huntingboots worn by Diana, as being peculiarly suitable for the chase,the toes being left uncovered.*

Greek
apron,

costume, consistingof
fastened round loosely

kind

of

ENGINEER'S

the loins

by

fcssional term which

It was worn being gathered into a knot. maidens its use chiefly by young ; appears to have been to keep the tunic clean. The annexed woodcut

A proeach sheet of paper, is manufactured to the size of 30

CARTRIDGE.
a

for

"

See

Rich's

Illustrated Greet

Companion
Lexicon.

to

-M

represents a

young

fe-

Latin

Dictionary and

m
inches
TRIDGE

by

22.

DOUBLE

ENGINEER'S inches

CAR-

by 30. to heraldry, isindented whose edge designate object any all along scmicircularly. measuring 46
A

ENGRAILED.

term

in

in gold emblem of Christ, woven or figure for the substituted was upon purplecloth, This head of the emperor richly (Fig.4.)

ENGRAVING.

The

art

of

producing

of incised lines upon designs by means platesof metal, "c., such as copper and steel, which, being filledwith ink, yield mitted impressionsto paper, upon being subto
are

the

action of the

also

engraved

signs press. Devarious upon upon do

articles of ornament

and (CHASING),

the details of which brasses, sepulchral

not

but

belong to they may

to the stones

the

plan

of this in works

be found

dictionary, specially
and
to
cameo a

devoted

subject.*Gems
also submitted

cious precess proor

are

engraving, either in intaglio.Engraving on wood

of XYLOGRAPHY; and on copper, ENGRAVINGS. taken from from
on

is termed

stone, LITHOGRAPHY;

CHALCOGRAPHY.

Impressions upon
or are

paper

copper wood-blocks

steel

those plates; usually termed used ornamented Other standard called

"WOODCUTS.

ENKTKLON.

A kind of himation for

was

I.A IIARVM.

by

the Greeks

wrapping

round

; or the half upper chiton worn Greek women. See CHITON and HIMATION.

the son perby the

nations have

also their

SIGNS.* ENpeculiar

ENTABLATURE.

That

portion of

applied buildingwhich is immediately supported to any general group of figures forming a by columns ; it is divided into three parts the architrave'^ mate inaniornamental of to or picture, moulding, any arrangement
ENSEMBLE.

(Fr.)

term

"

landscapeor genre pictures.which rests on the summit of the capitals ; central space, which is often The generalgrouping of characters or the/r/Vze, decorated with sculpture in dramatic Art, to form a picture the on ; and the cornice, fall of the curtain. which is another moulding crowning the
materials for ENSIGN. Romans. of standard of the military This originally consisted of a wisp straw, but was soon succeeded by The whole. ENTASIS.

(Lat.)

The
a

line swellingout-

hay or

given to

the shaft of

column.

the

which

EPAULETTE. of various animals,of representation (JK) The small plates of metal the shoulders the eagle was of a soldier, tended inthe most on important downward to protePttfc'gSrln from a (Figs. 1,2) ; this was formed of bronze or and affixed to the summit to the knot of a pole cut.f The term is also applied silver, ribbon in the the ornamented which also or worn same or placeby were staff, upon fashionables of the seventeenth attached other emblematical century, figures (Fig. and now restricted to the shoulder-knot of of the emperors, "c. When 3),portraits Constantino had embraced a livery-servant. a Christianity,
*

See

Fielding, Tlte Art

1040.

of Engraving, 8vo.

"

See

Smith's

Dictionary of
t See
cut
to

Gr

tt ami

Homan

London,

BKA**ABT.

EPI.

177
EPIC

E"P1,or

GIROUETTE.

(Fr.)
the

mental Ornaor

REPRESENTATION.

The

epoa,

cones surmounting of pavilions or pointedroofs in Renaissance architecture. M. Delaqueriere observes,

ironwork

relates a grand event on epic poem, which important consequences depend. ID Plastic Art, reliefs on and walls, friezes, and encaustic
be executed

that

"

epi is

more

correct

name

tnan

and
on

which fresco-painting,
as largesurfaces,

can as

well

oil-paintings, by
may adapted for the
on canvas

which be

considerable

space

filled, are liarly pecuof an representation

But the artist epos, or of a great action. has not, like the poet, the power of representing in connection those consequences of

single events,
The

scenes,

"c., which

form

the whole. the

limits of connection

(with

poet often only singlewords, clever

denied or are phrases, striking transitions) therefore limit and he must to the artist, himself
to the
means

at

his command
manner

of

showing, in the
the

clearest

possible,
its consequences

point of
are

the event

from

which

can

and
or

event

artist developed.The plastic the of moment an depict may several events a scene, including define
or

and girouette,

which
means

anythingpointed
"

he may

suggest. To choose

tpina;for,in
made

1470

and

1471, mention

is

this moment and

to

in the accounts

of the church of

of St.

execute

to draw strikingly, rightly, is the important intelligibly,

task,in the performance of which cinq episdes chaand epic artist are seen. the true master du hault de 1'eglise."One of the pelles it belong to The epic picture,whether finest examples at present existingsurmounts is thus the rework or painting, plastic that exquisite sance example of Renaisof an important action of presenta'ion the Tourelle aux sculpture, Pastorals, modern ancient o f times,of or human life, at the Hotel de Bourgtheroulde,Rouen. of events distant or neighbouringnations, These often gilded,and their epis were which have happened or which have been wooden bases enriched by the application be true in every case It must invented. of colour, in chevrons. generally and to i. history or e. belonging probable EPICHYSIS. (Gr.) A kind of pitcher the or possible ; in other words, or jug used by the Greeks, reality

Lawrence,at Rouen,

"

"

with small

narrow

neck

and

circumstances
out

to be

must represented

be

lip,from which the wine was poured into the drinkuig-cup.Our engraving
exhibits from
a one

of

this

the
to

protect
"

the of an epos, but never quintessence work itself. The desr.riptive plastic of transparent crystal, epos drinking-cup, portant imthus limited to the poetically is of Art It was also the wine within. mouth of which is turned the the Romans.*
utmost
ft

kind, paintingat the Herculaneum, over

conformably to Nature and brought in have nothing contradictory Art, and is The epicwork of Art always themselves. an importantone) only a fragment (though less or of a classic or romantic,of a more often of a or epos, historical, pure poetic

adoptedby
See the

event, but is in its limitation the

concentration
a

of

ensraving of

nymph.

In the

while history,

it
a

cut

to

UIBBID

AKIMAL*.

brings forward

action with principal

178 short but clear

EVI-r-ESU

EPOCH. A fixed and importantperiod glanceof the most important and succeeding of noveltyor change,which so a preceding circumstances, new gave that all forms and distinctive character to Art. are arranged in action in their due relation to each other, or to one STATUE. Statues of EQUESTRIAN the be of If thia of formed on men point picture. horseback, principal usually bronze, with genius, and happily exebut sometimes undertaken of lead and stone. It was the whole will cu'.tfdby a masterly honour be awarded the privilege a rare to hand, not statue in Rome, theybeing only attract the eye of the spectator of an equestrian tails, generally as a harmonious restricted to emperors and military grouping of different deand rich in references, commanders. London obtains the finding a but discreditable eminence centre point of union and conclusion, of possessingthe will rivet his attention.* EPIGRAPH.
worst equestrian stetues of Europe. ((?r.)A terse inscriptioncity ST. The works, denoting their use and ERASMUS, to be found

in any

placedon and appropriation,

their ornamental

sometimes with details,

made

part of
it is

of this saint with

which

incorporated. EPITAPHIOS EPITAPH, (Gr.) A. Song of praiseor oration delivered by the ancients
at their funerals.

martyrdom very popular subject mediaeval artists. After being tormented in a heated cuirass, and suspended
was

cruel

a.

by
was

the

arms

while

his flesh

was

torn, he

killed ultimately
out of his

by

his bowels
a

being
Thia

The

modems

derstand un-

wound

body by
torment

windlass. is that

by this term
to the memory

memorials

in churches

latter mode chosen who

seem

of

thus and upon such

were

Epitaphs are permanent objectsof remembrance, either tablets or monuments are lying the ground, and covering the grave, and tombs. tombstones as Epitaphs

of the dead.

by earlypainters and
to have

chiefly sculptors,

taken

singularpleasure
this saint is

in its exhibition.

When

in the middle ages, and many general now existingof the sculptures and Germanic Roman belong to styles this class of Art. They were generally the grave, and were of various near placed beautiful

he is habited in full representedsingly, and bears his pastoral staff as a pontificals, hand the windlass holding in his right bishop, of his martyrdom.

ERMINE.
this
name.

The It is
an

fur

of the of

animal

of

emblem stain.

and purity,
of

of honour

without

Robes

royal

forms,such
tablets with The

as

relievos in bronze

or

stone,

carvings and

"c. paintings,

the to signify it, personages are internal purity that should regulatetheir conduct.

lined with

and fragments of armour weapons, placed over drapery,banners and shields,

or

ESCALLOP.

An the

emblem

of St. James is frequently in

at

the grave, may be reckoned as By a further perversionfrom

taphs. epiits

Great, which
met

with

meaning, this word is now original rally geneused to designate the inscription
commemorative of the actions and the deceased. virtues
or imaginary) of (real

churches honour.

dedicated It is
one

to his

of the

of insignia them adoptedby pilgrims, in their voyages

to

attributes and

the

One

of the the

Anest

examples
"

of the

epic

in

sepulchreof this
the
or

apostle ; or gathered on
fastened of their The
on

paintingis
Huns." by Kaulbach.

7ynski, at be proud. only Germany, but all Europe, may Modern Art m It is engraved in Raczynaky's NiThe frescoes illustratingthe Germany. belungen Lied," by Cornelius and others, in the palace of the King of Prussia, at Berlin, are fine examples of EPIC BEFBESEITTATIOS.
"

" Battle of the Hunnensclilacht times the greatest artist of modern the gallery of M. RacIt adorns of which not Berlin, and is a work
"

and sea-shore, hats,as a mark

their hoods

pilgrimage.
name

ESCUTCHEON.
the shield upon It form in
our

to applied

which

coat-armour

is

blazoned. em-

took originally

of the

knight's war

simple seen as shield,

afterwrrdj

the

first example ; but

was

ESP" varied in
a

ETC.

I7f
a

fanciful manner,
are

as

exhibited

in

our

which specimens,

selected from

but which varnish, consists of generally of resin. preparation Only in a few cases is that the

plan available which simplest namely,to cover

"

seems

at first

placeswhich
the acid. the The whole

are

not

to be acted

those solely upon by

general method is to cover and then remove the surface, ground in the requiredparts, as delicacy and clearness can only be acquiredin this The scratching manner. away the ground is called ETCHING, and is performedw;th a fine steel needle, or, in the broader parts, with the pointed blade of a small knife.

Etchingupon copper it is not onlyexecuted

for the various heraldic range whose escutcheons, dates combined There copper
TINTA
are :

is the most

common

alone;but
kinds

it is used

restoration with other

of copper-plates," and of

engraving.

from the time of Edward

I. to that of

three

kinds

of

etching "upon

Queen Elizabeth.
to metal

The term is also applied for key-holes, on "c. door*, plates ESPADON. A long,heavy sword of

considerable

wielded by a powerful length, used in decapitation or foot-soldier, by an executioner.

ESPAULIERE.
of plates

The (J".) metal

flexible overlapping of

real etching; AQUA or or ECTYPOetching in relief, In the two first methods, the GRAPHY. lines of the design are in the etched-/*// third method, the lights and are etched-in, the lines of the design left standingin relief, similar to the letters of type-founders. SCRAPING,
; and

for the shoulder

Steel is treated copper. For

in

the

same

manner

as

the soldier in the fifteenth century ; the EPAULETTE. originof the modem ESTOC. the

etchingon

diluted silver,

and copper, brass, nitric acid (aqua-fortis) is

used. It is much A small dagger worn diluted for steel. more at (Ital.) Gold is acted upon from whence the Elizabethan girdle, comes by nitro-muriatic acid word tuck, applied to the same (aqua regia) ; this etchingis not used for but only for ornaments,'or as thing. impressions, E'TAG^RE. (#".)Apiece of ornamental For etching for the graver. a preparation sometimes fluoric acid be used, furniture, or only can circular, taking on glass the form of
a

sideboard.

It consisted

various stages, supported by small of

forming a series china,"c.

ETCHING.

of shelves for

which is also employedto etch upon agate, of and siliceous chalcedony, jasper,columns, rock-crystal, the display stones. Calcareous stones, especially such
as are

used

and by lithographers,

also

The

operation by
at

which

marble,are

for which available for etching, substance

is made slight depression surface of

a

on pleasure

the

diluted nitric acid is used. ETCHING-GROUND. used

to

called
a

of a liquid vent, solbody by means This is properly etching-fluid.

as

The surface

protectthe
the

of the

metal,
"

It is metals, as "c., mixture of and of a used for wax are substances, etching usuallycomposed i n For the protection of those parts of resinous substances,differing composition upon. the surface which are not to be deepened, according to the kind of engraving and which ought not to be touched by the A very good ground for which it is used. of be obtained two ounce* s ubstance is a etching-fluid, cessary, neby mixing resisting may diluted

acid, and

well

from

action

of the acid.

calcareous

which
on

the surface

may either be wax, when warmed, or

rubbed
a

pure

wax

with half

half
an

MIL

ounce

of

black

thick

and pitch,

ounce

of

Burgund/

180

ETC"
boil together, two asphaltum. "When into
a

EVA.
four scrolls ; or, with reference to the four of Paradise, streams by four rivers down and The from from the
a

f"ttch, adding,as they

ounces

of

powdered
be formed

flowing
a

cool,it must
each and when

small

balk,

hill, on
"

which

stands

cross

ball to be

placed in
to
cover

wanted

silk ; the plate which

piece of

lamb

the MONOGRAM

of Christ.

is to be

the etched, be then

to melt sufficiently

plate must it through

means

be warmed the silk, and equally over

a

of representation which a rock, on

four streams is the

flowing
of Nota
:

lamb, is mentioned

in the letters of Paulina it refers to the also four i. Apocalypse,

it must

distributed

the entire surface

by

of The

dabber.

ETCHING-NEEDLE.

instrument
cut

17, and is intended as a poetical image of the the springsof Chrisas evangelists, tianity,
ever

by

which

tie lines of

an

engraving are

world.
vii. 1-10 into the metal.
BUEIN, to

flowingto They were

as

all parts of the afterwards represented

described
a

by Ezekiel,
an

"

"When

used

simply as

a viz.,

man,

and a bull, lion,

as

the aid of
rorwr.
"""":

out produce the intended effect withit is then termed a DRY acid,

eagle,which
the throne

are

mentioned

supporting
After the

of God

(Rev. iv. 6-7).

ETCHINGS.
of

Impressions upon
upon copper,

paper

designs etched

"c. steel,

ENGRAVERS' consist ETCHINGS generally to placedground linen, simplyof regularly

act
as a

foundation

or

guide
a

to

the work
ETCHINGS

of the

graving tool.
on

PAINTERS'

present,
of
a

the

contrary,

freedom

of

the and produce manipulation, sketch

or

entire effect

picture.
ST. The firstChristian St.

ETHELBERT,
on

who welcomed kingiOf'Kent,

his mission
to

England,

and

Augustine through
was

the influence

of his wife Bertha

him-

telf christened at cathedral London.

Canterbury,founding the
at Rochester

there, and also

He is
a

and

in represented

royal ments, gar-

holding
He
died
A.D.

cathedral in his hand.

An East the

616. fifth century,the

ST., or AUDRY. ETHELDREDA, of a king of daughter English saint, and founded who the took veil, Anglia,
monastery of Ely. She
is staff and pastoral in the died
an

A.D.

670. She

as represented generally

with abbess,

the emfloreated crown, blems of royaltyat her feet ; or else sleeping

Byzantineartists, ing keepto biblical terms,represented strictly the evangelists culous (atfirstin mosaic) as miraand half beasts; animals,half men and they had wings like the CHERUBIM, either in the act of writing, had a were or
scroll before them. The
or

human

face

was

Mark, given culously of these two in the was doubtful,even legend informs us, miraform when time of Jerome, with whom the originated grew over her prostrate to to rest during her flight she had sunk present appropriationof the attributes ; the other three had the heads of a lion, an the convent. and "with feet. On the earliest sculpan eagle, EVANGELISTS. tures corresponding ox, This wa" the KVAKOEUST8 by are symbolised representation customary foi
a

sunshine,beneath

the shade

of

only to Matthew

to which

tree, which, her

182 and

EXH"

EXP.
of
a

is placed, or some engraver's name of secondary brief inscription importance.* EXHIBITION. A temporary collection of works of Art, as distinguished from a GALLERY. permanent EXOMIS.
worn

face

or

while figure, emotions. its normal

us

under This

ence the influpermanent be the

of various

form,
CHARACTER,

in

state,may
determine

sufficient to enable and be

even

to

of independent of
a

beauty,
a

In

Grecian the

costume,

ment gar-

and

not

indicative

for capacity

chiefly by
or sleeves,

will impart to working classes, expression, yet expression

without for the

with

only one
the

sleeve and It

face of the most

part of the

left arm, breast

leaving

right

exposed and

free.

allied closely of expression is thousand shades from

character a charm ordinary ture chief feato beauty.* The the EYE, it takes a the relations of the the
EYEBROW
"

surrounding parts;
"

and

that dark
an

arch

which index

surmounts

itself The

eloquent

of

the

it,"is nund.f
own

various

affections

impart

their

peculiarcharacteristics
countenance, which
must

upon be carefully died stu-

the

human

by the artist : " tillhe has acquireda poet'seye for nature, and can seize with of pasintuitive quickness the appearances sion, and all the effects produced upon the of the mind, he has body by the operations
not

raised himself

above he The

the mechanism with the

of

his and

art,nor
and

does

rank

poet

historian."

J
in

limbs

body
much

of the disposition belongs to expression appears necessary

that
human

GESTURE,

of which

* It is th? opinion of many inherent beaut; in the normal

there

is

no

that

it consists entirely in the of the and the harmony

to that

face, but pression, capacity of exfeatures

senting con-

Viried much
CHITON, purposes and It
was

in form
a

sometimes

it

was

Expression is even than of more shape; it will light consequence us otherwise heavy ; it will make up features Vide forget all but the quality of the mind." Sir Charles Bell's Anatomy of Expression. expression.
t Besides
the
eyes,

at others

PALLIUM,

servingthe
the Amazons,

in the
are

countenance,

the

of each.

In works

of Art, itis usually

to representations of applied to

Charon, Vulcan, and Daedalus.

of old
men

also the costume

in the

comic

and plays of Aristophanes from the

others.

Our illustration of this article of dress is

fused, granted or rethe ancients to pressive especially exand pride ; the nose, of of earnestness the ridicule ; laying the arm and over scorn head denotes completely if both rest, still more hands are clasped upon it ; the head supported reflection ; crossing the feet on the hand, earnest each other in a standing and leaning posover ture and to denote, in general, rest appears

brows, by which appeared

requests

given
the

statue

of

fisherman,in
British the seum, Mu-

firmness. Remain!.
"'

"

Vide

Mliller's

Ancient
to

Art

and
arts

its of

Townley

at the Gallery,

form

and very it assumed

exhibits clearly

general

EXPRESSION. which takes

the poorer classes. among That transient change the permanent form

in its relation Anatomy, } design, is in truth the grammar us. in -which they address

the
of

that

guage lan-

attitudes, and figure

are

movements

The sion, expresof the human

the well
to

place in
ancilia,

adapted
as

to convey
as

of this characters language, ration, narthe effect of historical the working of humau to show

passion, and
*

Th"

word

on

the

coin

engraved

indication

give the most striking and lively and energy." of intellectual power
"

page

i6,

is in iti EXUCUK.

Sir Charles

Bell's Anatomy

of Expression.

EXT" and
to

FAC.
of the omniscience is sometimes
a

183

common

humanity
Not
"

but much
customs.

also

of Providence

; and

it

belongsto
to
a

national

habits and

surrounded

by glory, forming

EXTRANEOUS.

ing belongproperly
addition in

centre

to the

indicative mystic triangle

"

subject though sometimes

for additional
an

an

unnecessary admitted or allowed

of the

Trinity.

Art,
of

effect in the narration

of or the working out action, A technical hands

EXTREMITIES.
the head, feet,and latter

of saints ; Eyes are sometimes emblems St. the Lucia,is genethus, virgin martyr, rally with hers in a dish, a theory. as an represented for term emblem of her martyrdom through their forcible abstraction. She is sometimes
on a presented reas

being sometimes by
of those Art these

in Art ; the two only intended to bo the In

carrying them
also is St. Othilia and EZEKIEL. One Like St. of the he

book ;

included ancient formed

phrase. using of statues were portions stone, the rest being of wood.
eye is the most

Trophymus.
four bears

principal
a a

prophets.
but his
own

them,

book ; closed

See ACROLITHES. EYE. The active feature

our

attribute is peculiar is either his

gate with towers, which

his hand
or

in placed

in the
organs to

countenance,

the first of the last to

standing by

awake, and

cease

to referring

his vision of the

motion.

It is indicative of the

holier emotions, of all those

man distinguish

higher and which feelings

In the

the type of the by St. John in the Revelations.

one

which, temple,ia tioned menheavenlyJerusalem,

new

and side,

It is

from

the brute.

of the oldest also alludes

symbolsof
to

Christianity,
of the

eye

we

look

for

and meaning, sentiment,

and

the

mystery

reproof ;
A with

it is the chief feature of expression.

miraculous with Aaron's

conception ; for
Moses and the

large eye is not only consistent beauty,but essential to it. Homer

as
"

find it, gether towe burning bush,

describes Juno the

ox-eyed."

The

the he compares this animal. that of beloved to his of eye and innocent fear The timidity, gentleness,

gazelleillustrates woman's beauty, when

the Arab's

eye of idea of

on rod,Gideon's angel and fleece, Van the volets of a picture Eyck, of by which a copy is in existence at Bruges. The Ezekiel appears usually in which subjects his vision of chosen by the painter are rection the Almighty, and his vision of the resur"

pared comHe is also grouped of the dead. in the eyes of all the deer tribe are with the modesty of a young girl.* with the three other great prophets. front In a well-formed FACADE. face,the eye ought to be (.R-.)The principal

sunk

but to the forehead, relatively

not

in

of

building.
A
a

reference to the face ; that would impart a It is the strong expression. very mean shadow bro'w

FACE-GUARD.
to the front of from
a

appended protection
to

helmet

the protect could

face

produced by the projecting eyethe to which effect gives powerful

sword

cut.

It sometimes

consisted be

of

simple bars
used.*

of

metal, which
useful

eye in sculpture.f The eye has been chosen from the earliest periodof Art as an emblem of the watchful power had the ever-watchful of

lifted above
not

the front of the helmet when These ginated oriprotections helmets

are

in the made with

a

East, where
can

divinity.The

ancient eye

Egyptians

down bar passing single which face, be

the

of their chief

front of the

lifted at

before represented god, Osiris, continually

pleasure.
FACE-PAINTING.
The

them,
Art has

or

worn

as

personalcharm,

or

old term

for

affixed to the bodies of the dead.

Christian

adopted
her

similar

simplesymbolism
and

of the practiser hence portrait-painting, the Art, however high in talent,waa by writers of simplytermed a face-painter the sixteenth and

"

"Let

tant

roe.1'"

be ai the loving hind Song of Solomon.

pleaof
Ex-

seventeenth centuriM.
ABMKI, Fig, ", y. 40.
"
"

1 Vide
fretncn

Sir

Charles

Bell's

Anatomy

"

See

cut

to

"

184 FACE1. The surface formed

FAC"

FAL. taken the

by
are

the

unpoeticalview
have been

of this

story,

or those which anglesof crystals,

ficially and artia

cut

FACILITY.
ease

of
a

by

few

stones. precious Rapidity of hand, and delineation; doing that properly stow simple touches which others be-

upon

on
or

with depicted trial. the of The sword, sign dom martyrof these daughtersof Sophia (orDivine Wisdom") is said to have taken place the 5th,6th,or 7th of October. Charity

the

children

much

labour

and

time

upon.
An exact

Love, the
Faith

greatest of the

Christian
a

F AC-SIMILE. of any work

Caritas Such a group is called a Charity, compounded from milis (resemblance). CARITA). (Italian, tative, broad-sword with FACTITIOUS. FALCHION. A a (Lat.) Anything imiin contradistinction to the real or curved point, in extensive use slightly
nient during the middle ages, from its conveit shorter than the nary ordi(Fr.) general FAIENCE, form, being kinds all the various of less and term military sword, comprising heavy. and porcelain. The FALCIFORM. glazed earthenware (Lot.) Taking the form of ihefalxor hook. originof the term is open to dispute ; by from it is supposed to be derived FALCON. A bird of prey used extensively some from Fayence, for hawking in the middle Faenza, in Italy, by others, ages, France.* held and hence continually in as represented Art In ancient is the FAITH of the hand of in (FiDEs). persons upper classes, of Art, as a symbol of as in mediaeval works a matron, wearing a wreath represented and carrying in her of olive or laurel leaves, gentility ; it being restricted to their use hand ears of corn, or a basket of fruit. In by sumptuary laws. It is an attribute of Christian Art,by a female carrying St. Edward, the king and martyr, as well a cup surmounted of the circumstance from his rank as from by a cross, emblematical the Eucharist, the Mystery of Faith." he at Corfe Castle, to which of his murder the ST. in A refreshment after for had rode FAITH, virgin martyr hawking. fourth century, who was tormented an It is also the attribute of St. Jerome, and on iron bed,and afterwards beheaded. She is, of the holy hermit, Otho of Ariano ; the with these falcon on his hand, former has a hooded therefore, generally represented attributes. his head. while the latter has it sitting on CHARITY. FOLDINGAXD FAITH, HOPE, FALDISTOKY, FALDSTOOL, Three sisters, of the ages of nine,ten,and A portable STOOL. foldingscat, similar old the either of wood made or legend, to a camp-stool, twelve,who, accordingto suffered martyrdom by being beheaded, metal,and sometimes covered with silk or A.D. 120,and were buried by their mother,

(Lat.) Art, the word being facto (tomake), and **'of

tation imi-

is often virtues, with and

represented Hope as her

as

mother,
children.

natural.

FAYENCE.

"

Sophia.
to

The

names

of these children lead

a some

that this was supposition from legend, arisingprobably

at the time

the

poetical
dent inci-

of the Christian beautiful

or

for however

tion; persecuit may be to

personifymental

religiousemotion,

it is repugnant to our to believe feelings in the martyrdom of the children representing the ideas which form the basis of
our

of religion
"

love.

Art

has, however,
and

other when

material

It in

was

used

by

bishop
own

Mawjait's Ihttory :"/ fottery porcelain.London. 1"*0.

See

omci"ting

other

than

his
are

'athedral

church.

F aids tools

fro

PAL" in represented quently FALX. the

FAS. FANE. FANON. A sacred edifice An

arm or

184

illuminated

scripts.* manu-

temple.
scarf,worn
the celebration
a

embroidered of the

(Lai.)

generic term
to denote
a

used curved

over

the left

in priest

by rated cuttinginstrument (sometimeswith a seredge), similar in form to the more but and bill-hook, modern sickle, scythe,
"which well
as

classic nations

of the
MANIPLE.

mass.

It is also termed

See cut to that word. TRACERY. carved work in

An

FAN

elaborate

metric geoing, vault-

gothicarchitecture,
a

included of peace,

instruments if fashioned

of

war,

aa

which

over spreads

the surface of
a a

in that peculiar

risingfrom
like the folds of

corbel,and
fan, of which

diverging
some

manner.f
FAN.
occur,

of

In ancient Art FANS frequently the finest examples occur in King'sCollege mural on especially vases, and on Cambridge. Chapel, The under-propsof constructed of ous variwere FARTHINGALE. paintings ; they materials and elegant of the sixteenth sometimes and petticoat the wide gown forms, of peacock'sfeathers,at others,of the century, termed wheel-farthingale which made these and wings of a bird fastened together. Our tub-farthingale, cut representsCupid a siderable articles of female costume project conmuch the his around distance mother, fanning wearer, tique in the styleof the hoop of the reigns of Venus, from the anlished George II. and III. pubsculpture

by
They
both
were sexes

Mafl'ei. used

FASCES. of the insignia

(Lat.)
Roman

The

most

ancient

by

among

of bundles the
centre
was

of elms
was

consisting magistrates, birch rods, in or

an axe.

the nations
as

of antiquity,

of

which

Tho

they are

stillused

of the

East.

Sometimes

by they were

the natives made

custom

borrowed authors

from

the Etruscans, known others

was

and in

some

assert that it was

of very large size,and whose slaves (Jlabcllifer),

to
use

were

carried it

by
was

the

time that

of

Romulus,

while

Business

maintain

Priscus Tarquinius the

the of
wire

them

in

cooling the
unusual
on a

air for their the

first to adopt it.

After the banishment

FASCES

masters, drivingaway
"c. It
was

fliesfrom
to make

table, Tarquinius Superbus,

of

not

them

linen stretched

fans stillused for

They
Their

also in

bellows
use

frame, like the large coolingan Indian house. of the modern the took place, fire. stimulatingan expiring
to have

seems

ceased among

the
tury, cen-

European
when

nations

until the fifteenth

and re-introduced, they were handles with formed of costly feathers, inlaid with jewel*, made of precious or Italian funs were metals. The shaped like a small square flag. Folding fans, as
at

present used, first appear

of the seventeenth
*

at

the

mencement com-

century.
Cotton

carried

before the

consuls

by
was

men

called

Our
,

MS The

is copied from example Tiberius. C.6, a work of the Saxon first shows
a

LICTORS, the consul

but this honour

granted to
consul and of

major only.
twelve
a

The

period.
with

second
in

similar the

seat,
most

covered

proconsulhad
whom carried and twenty-four,
was

lictors, each

drapery,
another

MS.
cut

the fashion of the same of GLADI

usual, from

FASCES

period. (Augt stu*,

wito

when

; the dictator had the axe in Rome

A
4

19)
Sea *TO".

hold*

one.

carried

before

him.

The

pntitor of

186
the the
towns

FAS" had

FEA. FASCINDM.
about

onlytwo

and provinces had

were

FASCES, those of the army had six. The and the Roman other

(""*.)

Amulets

worn

Duumviri

Municipals

the person to prevent the cemviri effect of " the evil eye." The De-

injurious

widely-

also lictors ; no entitled to this

trates magisWhen

spreadbelief

right.

in the power of certain persons others by their glances, to injure was

endeavoured to be counteracted, generally but at funerals FASCES posure upright, by the nations of antiquity, by the exlowered ; victorious generals of phallicemblems, which were they were with had their FASCES wreathed laurel, believed to exert a most potent agency. Hence and carried thus at their triumphs ; this find the most indelicate symwe bols followed necklaces worn as was custom, adopted by Csesar, by children particularly, in the time of the emperors, who as against them the fatal eye tified gratheir love of splendour by having considered directed. to be peculiarly was wreathed and houses similar figures Before temples or gilded FASCES always borne before them. Under the empire, the erected for the same were purpose ; also who civil that their in were consuls, trates, magisproduce might not merely gardens had twelve FASCES, while the proevil glance was an pected suspraetorssuffer ; and when allowed six, and pro-consuls been received by a person to have were and this lasted tillthe fall of Rome. with such a charm, he endeavoured unprovided FASCIA. to obviate its evil effects by some (Ital.)A bandage employed carried the in various round the ways the head
:

thes" officersappearedin

the lictors public,

1. As
an

as

immodest a worn gesture. Amulets of this kind DIADEM, in continental emblem of royalty, are seums, museen frequently
.

in sepulchres, and as frequently being white ; that worn by and the debris of classical cities. purple.* 2. As a support to FAVAS. A tile or slab of marble the breast by women the " fascia peccut into to an so as toralis" of Martial; or as of hexagonal shape, means a produce the honeycomb, their growth. 3. As a bandage pattern in pavements of compressing the kind called SECTILIA. round the legs, of women, especially FAVOUR. A bow of ribbon, sometimes the ancle to the knee, servingas a from with ribbons the the of to pendant or a given by attached, legs protection support ladies favourite in the to naments tourthat in was champions a adopted practice wearer, olden of and sively exclunow 4. As a times, Europe in the middle ages. at elections, worn publicceremonies, bandage 'for enswathing the bodies of at weddings aa bridalgifts. or as practised by the modern peainfants, sants FEATHER. An attribute of St. Barbara of Italy;the children being completely in named of that account our entwined in the folds of this long (not w hich she bears in accordance with saint), their face only being uncovered, stripof cloth, tells us, that when a legend which she and feet rendered and the arms her of was on account The American scourged dians Inimmovable. faith, perfectly angels changed the rods into feathers. the same and sometimes use practice, colour
was

Women

"

"

place the child hanging that to

In bunds parallel
used to

thus
a

bound

in

cradle,

Such other

an

attribute is
not

tree.

and saint,

by any in pictures frequently

not
.

borne

architecture of

the

term

stone

break

which represent her. applied to The ornamental are cusps cipally FEATHERINGS. prin; they or projecting pointsformed by the junt; the monotony of is
"

which in the Ionic, architraves, Corinthian, and Composite orders, consist of three such flirt bands recedingfrom each other.
*

tion of small

aFcs

in architectural

ments, enrich"

and which
in

_are' profusely employed

flamboyant architecture, frequently inner e3ge'of" lacean forming' elaborate,

like ornament -within the. of spandrils
an

See

cut, p. 138

FEE"

FEM. in arms, and of happiness in marriage. On Roman coins she is represented with the
MODIVS on

"rch, aa Liege ;
canopy appear window word

in the Church
at

of St.

Jacques,at
the

other
a

times

they
most

decorate

of

tomb, but
the
our

frequently
line of
a

her

head,
and

the

staff of
a

within

boundary
cut

Hermes
CORNUCOPIA,

in

her

hand,

restingon

(as in

illustrative of the

but her

attributes differ according

to circumstances 2. St. Felicitas, CINQUE-FOIL), to which they give Christian lady of Rome, who and prevent a is a character, highly-enriched that harshness depictedwith a palm-branch and cross; produced by a naturally simply defined boundary-line, as they she is the patroness of male children. She the sudden with her suffered break opposition had seven artistically sons, who and shade. of decided light martyrdom at Rome, A.D. 160. Felicitas thrown "Weak in conceptionor execution. into a cauldron of boiling FEEBLE. was oil, A
as

statue

may

exhibit

this dewhile traction

her sons' heads before her.

a

were

cut off and

hibited ex-

It has of may be

been

or a drawing. picture ness feebleremarked, that if the artist be young, execution,

well

as

3. The

Empress
in
; her two

citas, Felimance ro-

well

"

character principal of Count Octavian with

the

dren chila

conquered
"

feebleness

of conception

"

who,
"

were herself,

cast into

never."

forest That which of in a quality the depicts forcibly which the painter, or visible
over

were

nursed
or

by

lioness.

FEELING.
work of Art

FEMINALIA

FEMORALIA

(from

mental
exhibits

emotion his

femur the thigh).(Lot.) A kind of short pantaloons or closely-fitting breeches,

reachinga short
distance below the

perfect mastery
It is that which

the

terials ma-

knees,

of Art. felt when and the which he

he

mentally
the work,

conceived originally
to

he embodies

affect similarly of
a

HANDLING spectator.The mere work will, however,sometimes deserve epithet.* obtain the same

and

FEET.
our

In

Christian

Art, the

FEET

of

Lord, also of angelsand of the

shoes
or

Apostles,

out naked, withshould always be represented

sandals.
The
a

FELICITAS.
Roman
a

of appellation

goddess ;

Christian

traditional empress,

martyr ; and mentioned in romantic

1.

poetry only.
divine monia

FELICITAS,
the Endse-

being,

agreeing with
the

and (Felicity') the idea of

Eutychia (Good
was

Fortune} of the Greeks,in whom

blissful
occurrences.

sonified per-

from happinessarising Felicitas Thus, very than

meant

means generally

more
was

Fortuna chance

or or

Tyche, by
luck. The is
as

which

Felicitas of the many

Greeks,Eutychia,
earthen
sels vesworn

on represented

by

the Roman

soldiers in their
: are

peditions exseen

announcing
with it
as

to

the

spectatorthe
"We

to cold countries

desired result of the action intended. also meet

____^

depictedon
the Arch

the Column

of

they Trajan,*and

illustrative of

success^ on
_"!"

of Constant in c, at Rome.

See

the

word

HANDLING.

From

which

our

example

is co| led.

188 FENGITE.
or as

FEN"

FIC. the shield other and upon horizontally, blazoned. emoccasionally In

an

baster crosses A kind of transparent alawhich dows, marble, sometimes used for winof St. Miniato, at

charges are

in the Church

Florence. FERCULUM. with and bear

arms

FESSE-POINT.

is heraldry,

ttw

(Lot.)
to rest
on

A. small

form plat-

central

pointof

escutcheon. carved
ornament

men's in

shoulders,

FESTOON.

in

and religious, in triumphal, spoils processions ; it is seen in our next cut, supportingthe FERETORY and was in use the ancient Egyptians by sacred shrines for similar purposes. FERETORY. (Hal.) This term
to the

in the form of a wood, stone, "c., usually garland or wreath, composed of flowers, fruits, leaves, "c., bound together,and the ends. It was suspended by employed

by

the architects of the middle with much

ages,

quently fre-

bier

or

shrine

is plied apthe of the containing

success, in their friezes order. It is usefully and composite

reliquesof
The form with

type of

processions. aptlyemployed in decoration.* but the a FERETORY a coffin, FIBULA. (Lat.) A brooch, buckle,or is usually that of a ridged chest, clasp, used for fasteningtogethervarious roof-like top, usually ornamented a well as as parts of male and female attire,
is

borne saints,

in

for ornament.

It

was

made

gold,bronze,preciousstones
and
of

sometimes

of silver, of which the

ivory, or in gold, every variety

set

of

form,

upon

most

elaborate

In was frequentlybestowed. work, with the sides and top ornament by pierced ancient the and sometimes and \ e see FIHULA. Art, employed enamelled, engraved the two parts of a cloak or to pin together having images in high relief. It was scarf (chlamys,pallium, "c.), so as made of various metals. 1. Of solid gold to fasten them over the rightshoulder. Somewith jewels. 2. Of times, and adorned silver, but rarely, it 011 the breast. we see 3. Of wood, copper, giltand enamelled. female it is In both overlaid with plates of metal, or richly costume seen worn on and sometimes the sleeves. on painted and gilt. 4. Of ivory, or of shoulders, and gilt. 5. It was also occasionally mounted in metal used to fasten the crystal, tucked up at the knee.t tunic when Of wood, covered with preciousstuffs and FICTILIA, FICTILE- WARE, KEREMANIA. embroidery.* to desigA term in heraldry, FESSE. nate (Or.} The term applied to all ancient
a

broad

band

of metal

or

colour which
*

See
Our

ENCAMP
cut

and

its illustrative
a

cut,

p. 172.

See

ment Pugin'g Glottary of Ecclesiastical OrnaCo'tume. There

Our

and
Westminster
"

it
cut

FIBROIT the

in

Abbey.

is

copied from
Cottonian

ParU, in MS., by Matthew Nsro, t". I. Collection,marked

-shaped gold FIBCLA cular of the Roman period (Fig. 1); and a flat cirfibula of the fame enamelled age (Fig. 2V The tide view (Fig. 3) exhibit* the pin by whicb I
exhibits bow it
WM

factcuwi.

100
remarkable for their

FIL" in this proficiency

art.

Fig.
.FIXIAL.
An
ment orna-

and beautiful delicate FIIJ.ET.

worn

employed
linen A
or

in

A the

band

of

ribbon

Gothic architecture, as
a

round

head.*

plain band,

termination
.

to

nacles, pin-

used in architecture and

ornaments to separate

mouldings.

FIMBRIA Greeks
were

(Lai.),FRINGK.
Romans,
FRINGES
or

By

the

and

tassels

pediments, or canopies ; it consists of a bunch of foliage, and therein closely sembles rethe sometimes.
CROCKET
i ALS are

ornaments

but little worn,

except on

FIN

composed
more

of

four

or

CROCKETS,

ed unit-

together. Church spires,when perfect,

are

terminated frequently with

FINIALS.

FINISH.
a

The

last touches of Art.

or picture

other work

to applied It always

constitutes the and

difference between

lence excel-

quire repictures the most careful finish, but in larger too much attention to high finish ones detracts from the boldness and vigour demanded works on a by largescale. The attribute of St. FIRE, FLAME. Florian, the protector against conflagration

mediocrity.Small

; of the hermit

Anthony, because
from

the

the
were

garments
sometimes

of

females, by
attached
to

whom the

they
TUNIC.

tempter

appeared to him

the fire ; of

The

extremities of the threads formed the usual

of the warp FRINGES,

was

(thrums)
which
an

to

who saved a poor boy, by Bishop Basil, his burning compact with the devil ; of St. Bridgetof Scotland, whose head a over "flame Columba from whom his
was

ornamental

by
the
w"re

twistingand
also made

appearance the threads, and crossing

a

given

seen

from

childhood;of
saved

St.

of

Cordova,who by
out

of production

net-like form.

Fringes
other

death

fire ; of St. of

of
were

and gold thread, attached

fire sprang

an angel before Patrick, the earth,upon

which materials,

drawing a cross upon it with his staff; "c. Our engraving is copiedfrom of the Dominican, Peter Gonzales, called St. Manners Wilkinson's and Customs the in a mantle, lay Elmo, who, enveloped of whence Ancient Egyptians,and exhibits a shirt of the expression upon burning coals, with a richly-fringed St. Elmo's fire; and of many that antique period, Christian to die by fire. The ancient Assyriansculptures martyrs condemned border. FIRE-LOCK. The musket exhibit such fringed garments in profufired by flint sion in contradistinction and m entioned and steel, to the earlier they are frequently ; matchlock. Accordingto Meyrick, in Holy Writ. it was fi ret FIMBRIATED. in heraldry, invented in France, about the year 1630. A term FIRE-DOG. A metal support for logs, other used to denote an ORDINARY or when in See ANDIRON. which has a narrow burning a fireplace. other edging of ancharge, FISH. fish has A been colour entirely employed as a surroundingit.
to the garments,

symbol of
"

our

Lord

B"C

CUt

tC

DltbKM.'

it it found

depicted

from the earliest time* ; the tombs in the on

FIT.
Boman catacombs. St. Peter
men was
"

131 consisted of

cally metaphori| which

the faithful
a

called a
were

"

fisher of

with by fish, represented of baptism in which therefore of seven thousand born, and fish were ; a library they were books, the choice carved illuminated missals ; baptismal including some frequently upon and a largecollection of music. fonts. It has- also been explainedthat the The collection of pictures Greek word for a fish, is of the ordinary IX0Y2, contains in those of consecutive order the initials of the words in a seen usually average Qtov Jesus house there several Yowf 2oir"/" are gentleman's IjjffOf good ; Xpiffrof few fine ones. Son of God, Saviour. Fish are used The usual abundance pictures, Christ, of chastity of the Dutch masters as emblems ; theyare attributes preponderates. Some few which bear great names deserve times of the Apostle Simon, and St. Peter is somein his hand. with the honour two little the which as as pictures represented' is christened by an The VESICA a Piscis figure, are so ordinarily tioneer. aucsymbolical The French and Italian schools of two intersecting segments of consisting of the and there are some are fairly represented, circles, employed also as an emblem The fourth the creditable gether from century. English pictures. It is altoSaviour, other gious relia nd collection to "eal" of abbeys,colleges, a good study as a all invariably rudimentary one. establishments were The munificence founder made of this form.* of the original used in has induced the smaller gifts FITCH. the brushes of many Among vate prithe of the hair of made which the form some are individuals, painting, may the weasel others of nucleus kind of' of a good museum. a They are of a sable, ; but bristles; comprising badger,and of white hog's" character, very miscellaneous those of the fitch, all that is usually the best are classed under the somewhat or among " curiosities in elastic which black head of are colour, ;": heterogeneous polecat, made the and firm,though soft. They are few of are worthy of yet some antiques used also for both flat and round, and are notice. But the most important bequest that made about three years ago by was varnishing. FITCHE. F.S. A.,who transferred (JV.) An heraldic term for John Disney,Esq., the The of like this the whole of the antiques to arms see a pointed, dagger. building four which he of Canterbury and which crosses are now patde possessed, represent which is ing. the archiepiscopal of the buildJlche pall, arranged in the lower rooms upon the principal The charge. See cut to PALL. greater part of this collection MUSEUM. This institution FITZWILLIAM formed jointly Hollis was by Mr. Thomas leian is to Cambridge what the BodBrand and his friend,Mr. Thomas (who the Arundel Picture Gallery and in addition took the name of Hollis, eventually Marbles It is made from to Oxford. are to his own) indeed, by principally, recent the former,during their several visits to bequests the late Lord Viscount Fitzwilliam having, in the year 1816,left from the years 1748 to 1753. They Italy, of Cambridge, in trust, to the University sent to the Hyde, near were lugatestone, the "urn thousand of a hundred erected there for pounds Essex, and a hall was their receptionand arrangement (South Sea Three per Cent. Stock),the by Sir interest from which was to to be devoted William Chambers, whtrs they remained the erection of a suitable structure for containing william until they were bequeathedto the Fitzcollection and exhibiting his own Museum. of work* in Fine Art and literature ; and Among the marbles,the most important is the ailenui seated on a Rock piping," " It takes preciselythe form of the aureola " the Juno and irigthe figure of tin Saviour, p 48. Dedens," and the Apollo sometimes reference to the waters
" " " "

of paintings a gallery ; drawings and engravings, of exceedingrarity and value, many occu pying five hundred and twenty folio volumes collection of

"

"

192

FLA.
Faun
"

Piping
of which

but
for

the

collection

is

remarkable chiefly
are

very

antique busts,some good. There is a fine

work, with the story
the

sheathing of iron ; the flail baring row? of spike*surrounding it, which inflicted
dreadful
armour.

blows

on

armed

men,

and

broke

sarcophagusof Greek
of

Ulyssesamong
;

medes

and with

"re

also

some

daughtersof Lycophagus, a good lloman sarcovery bacchanalian figures. There elegantfuneral cippi, vases,
bronzes
are an

and

inscriptions.
the
"

pigment extensivelyused oil-painting.Like nearly all the other white pigments,it is preparedfrom the carbonate of the oxide of lead,obtained by exposing sheets of lead
white in

FLAKE

WHITE.

to the vapour of ascetic and carbonic acids. Egyptian " It derives its name from the form in which a Young Serapis," Autinous," J upiter it appears in commerce that of flakes or Bacchus," and a Wrestler." The smaller tiful, articles as scales. As a pigment, it possesses great lamps, "c. -are very beauobtained from Herand were chiefly body, and enters largely into numerous There also and culaneum are Pompeii. compound tints. Roman and earlyEngFLAMBOYANT. lish some glassvessels, (Fr.) A term applied and those miscellaneous to contours of which the inflexions antiques. pottery, have a resemblance to those of flame ; and The earlyfictilevases, which form a very of France are to that style 01 by antiquaries rally geneimportant part of the collection, of architecture which was good,and exhibit a great variety contemporary in

Among

*"

"

"

"

"

form and

style
"

from

the archaic
ages,

of period until its

that

country with
and
which

the
was

in perpendicular characterised
iU
"

Art,

a"

seen

in the heroic in ancient

England,
is

by

culmination

Greece.*

the flame-like

FLABELLUM.
word.

(Lat.)A

fan. See that

wavings of as regarded by some

rather than
a

tracery. It
vitiated decorated,

style."* and redun intricacy (Lot.) whip dune\of of sometimes the most cruel the ornaments are struction, confrequently tcourge, This st\ le is also termed for the punishmentof offenders, trulysurprising. and architects, or having the thongs knotted,or by continental antiquaries slaves, which the with pro with small name a produced Ogivalstyle, applied bones, strung and of death. The mode enrichment terised characto even a priety great suffering, of made twisted flow of line which occasionally by the same thongs were wire with metal knobs at their extremities, givesits peculiarity to the ogee moulding, is its name. Either sometimes used by gladiators in induces term and were and signate deused such writers their contests. to by consequently A vessel for holdingliquor, FLAGON. its leading trait. with a long neck,covered at top, devoted to FLAMEN. (Lat.) A priest generally and a spout. Like many other adjuncts the service of one god, and who particular the fl"gons of the fifteenth received a distinguishing to the table, epithetfrom the Flamen and sixteenth centuries display whom he ministered as taste to gteat deity of in design. joyed Marttalis, Priest Mars, "c. They enFLAIL. A rustic instrument for beating peculiar honours, and held their but out was office for life. There were grain. A military weapon originally the same creased inbut onstructed on in the afterwards the number was three, principle sixteenth and the flail the original three being to fifteen, pole century the others being made of wood, strengthenedwith a always chosen from patrician, from plebeianfiu.ilies. They had a dress
FLAGELLUM.
A
or

distinct

In

rich works, the

"

"

entire collection has been engraved described in three quarto volumes, conriotingof three parts, published in 1846, and

"

The

and

Glossary of Architecture.

Oxford:
"".-

J. H.
"

entitled Miueum

Disnrynnvm.

Parker.

FLA"
of
s

FLE. FLAYING-KNIFE.
is sometimes This

193

of characteristic kind,consisting laurel-wreath.

an

implementia

ap"j, Ice"w, and

attribute of St. the peculiar who

one

FLAMMEUM.
worn
on

It

was

(Lai.) The yellowveil wedding-dayby Koman brides. sufficiently largeto cover the wearer
the

Bartholomew, with that in represented

hand, and his skin in the other.* FLESH, FLESH-TINTS, CHAIRS. (2-V.)
colours which best

The human

represent the
termed the
nations, carmore

body ; sometimes but employed in

than the

extended

sense

expresses

this latter term, which better delicate portions of the more the

body,such

as

bosom, face,

and hands. inroyal

FLEUR-DE-LIS.

(Fr.)

The

signiaof France. Its originis disputed

;

by some
a

it
present re-

is

supposed to

by lily,
iron
pon. wea-

others, the
head of
some

In

the

old

time, the French royal banner was semi of lys that is, completely covered with them, as represented in our engraving"but
"

from

the time

of Charles VI. it

from

head

to

foot.

It

was

removed
at

by
their

the husband

upon

their arrival

home.* FLAMMULA.

(Lai.)
cavalry, of ending
more

A banner

used

by

Roman

and colour, named fire. derived from The from

in

a bright yellow triple tongue ; so

its resemblance modern

to

flame of
was

oriflamme
it

and it,

resembled

closely.

(Seethat word.)
FLASK.
sometimes and in works
to

A vessel for in the form of Art of

carryingliquids, bottle or gourd ;

pended sus-

seen frequently

the staff of the

pilgrim.

The

flask superseded the use of the military teenth powder-horn in Germany, during the sixand structed conwas frequently century, of rich and materials, decorated with elaborate ornamental

has

consisted invariably
a

of three

golden

on fleur-de-lis

blue in Abbey,

field.

It ia of frequent armoury.

designs.
and
a

occurrence

English
it
was

Our

cut

exhibits
in
a

its form

mode Roman

of Ko-

In

Croyland
to

tomary anciently cus-

rearing, as given marriage, entravcd manorum Antigua.

sculpture of

present to all members

in Bartoli'g

Admirandi

munity small (Aug. 24), as

flaying-knives on
a

memento

of the comthat saint's da; of bis death.

FLE--FLU.

From
in

FLOWER-PAINTING. This Art,though invariably put forth by certain to not Englishsovereigns principalities unfrequently practisedas a kind of
riage, France,gained by inheritance or marthe French royalcoat appeared as a quarteringin the Englishroyalarms ; and all such claims had ceased although long

the

claims

ornamental said to have

Art

adjunct in

old

times, maj

oe

asserted its proper placeas an sui generis in the seventeenth peutury,

to

be

enforced the

or

it remained justified, of

until

accession it. The

George IV.,
term

who

firstabolished
FLEURON.

French

for the Art.

graceful honeysucklepattern in Greek

paintersbegan to devote themselves of flowers alone,and to composing pictures grouping them with an attention to form Of all the number, Van Huyand colour. and Jean Baptiste sum Monnoyer deserve the mention for especial great beauty of
their works. The the intense love of flowers of the Low evinced Countries of

when

(SeeHONEYSUCKLE
FLEXIBLE. such distinguish

PATTERN.)
A word

used in the
as

Arts,to
and

by
led

inhabitants

works

look natural

easy, whether in paintingor contradistinction to such as formal in their treatment, The

in sculpture,
are

to great patronage naturally there ; and the school flower-painting

never

stiff and

thus established has FLOWERS. Art

as
"

been
are

excelled. in

Flowers 1. Of

employed

FLEXION.
a

bending or curving of
Decorated with floral

attributes.

mythological sons per"

Aphrodite,the Hours, and Zephyr. of St. Among legendary personages with who is flowers ornament. Dorothea, represented FLORENTINE FKESCO and fruit by her side,or in a basket, also FRESCO, SECCO. in her hand, or A kind of paintingfirstpractised with a branch of roses with those flowers; of St. Soat Florence during the flourishing period crowned of Italian Art for decorating walls. Like phrouia, upon whose corpse birds and lime t he is used strewed ; of St. Rosa de Lima, but flowers common are fresco, wet, in this mode named Rosa on it can moistened who of her be and kept account was and has a rose with a broken crown damp, and fitfor paintingon.* beauty, FLORENTINE LAKE. A pigment of thorns ; of St. Rosa of Viterbo,who It is now in her apron ; lete, obsoholds roses in her hand or prepared from cochineal. in oil-painting the greater durability of St. Elizabeth of Hungary, who has roses of the lakes prepared from madder having in her lap or in a basket ; of St. Casilda,
or

line

figure.

FLOREATED.

2.

entirely supersededthose preparedfrom

lochineal.
FLORENTINE
to the applied art

who
roses

wears generally on

wreath

of

white

her head

; of the

Ascylus holypair,
with mouth
roses

MOSAIC. of

The

term

and St. and

inlaying tables and other plane surfaces with pietradura and at pietracommesse, carried on principally Florence. Very beautiful patterns are thus of precious produced by the combination difficultbranch of the most forming stones,
mosaic
"

both Victoria, from Angelus, lilies; and

crowned whose

; of
roses

fall who

of St.

Hugo,

holda

three flowers in his hand.*

For the

lily,

the attribute of many see LILY. saints, FLUOR SPAR. A variously-coloured

Art.f
method others. has been The

splendidly inlaid
other

with

yellow chalcedony

and

This
and

at

Munich

by the decorators
new

recently employed Strauss, Schwarzinner colonnade

mann,

of the
FBESCO.

royal palace is painted in FLORENTINE gloomy

burial

beautiful precious stones, representing n by the most Christian symbols, surrounded tural fruit-work. " See Emblems of Saints, by which they an distinguishedin Works of Art, by the Rev. F. C been have 1850. Flowers 12mo. Husenbeth.
.-

"

T The
the

Lorenzo Church Florentine on mosaic; marble wal'. are the

chapel of the Medici in is richly adorned with

the
arms

constantly used in the church also as joy and festivity ; and

and whose devotion manifold towards
the

as

symbols
and

of emblems of love
marty.
s,

lower

part of the

saints

cities, and

the

costly

of all the Tuscan altar of lapis lazuli is

graces and in their rich variety of hue

virtues are shadowed and colour."" Pay in.

FLU" mineral rock

a

FOR.

195
to allow

"

combination

of lime

and

always largeenough
immersion fonts have and both of

of the The

plete com-

found fluoric acid, generally with tin

as
"

in connection in this "blue

try coun-

of infants.

forms

of

or

lead,and

known

varied greatly often exhibit

at different periods,

* spar," Derbyshire

John,"

richness exquisite Fonts

were

into a variety of "c. ; it is manufactured ornamental articles by the lathe, and is abundant particularly the manufacture
to workmen.

designand
be these
covers

ornament. and

required to
able

covered
were

in

where Derbyshire,
ployment em-

locked ; originally simple flat move-

gives considerable
Semicircular down
a or or

FLUTINGS.
indents

square
rally geneon

running
as a

column,

used

decorative

enrichment

but they were lids, subsequently very highlyornamented, assuming the form of tions, and enriched with various decoraspires, in carved wood, taking the form of "c.* pinnacles, buttresses, FOOLS. We
meet frequently

flat surfaces. FOIL. under them A thin

in ancient

those

under the seats of plate of metal, placed churches, especially to of in grostones give by jewellers, choir-stalls, representations men tesque precious An in tecture, archivarious arc and in postures, costume, greater brilliancy. in various conjunctions bells. These may be used for windows with a fool's-capand "c. of the Vices, but they also as (See emblematical quatrefoil, trefoil, introduced with other sighave been nificanc words.) may
"

FOLIAGE.

The

leaves

of

trees

and
to

the The

source

of which

is obscure. crous, other ludi-

plants ; the
ornamental

of such adaptation with

leaves

introduction
or even

of these and

purposes. Decorated FOLIATED.

same

indecent, images, in the

The

word

is also

to applied

the architectural

enrichments

also termed

(See that
FOLIATION.

word.)
Ornament

buildings dedicated to the solemn of worship of God, has long been a subject of and the surprise ings. featherlearned, inquiryamong of persons. and scandal to the generality foliage.
very upon real The of these representaof many tions of the be traced to pagan, orgies may cessary Saturnalia and Lupercalia.It is nesource

based

the form of natural

but frequently foliage, rather than the

exhibitingconventional
leaves and FONT. flowers. The

to draw

distinction between gi-eat

vessel used to contain for

the

the

consecrated water

structed conusually baptism,

sentions
are

and symbolical repreburlesque figures which of the Vices and Virtues, the guise of under often introduced whose
nature to corresponds hence represented ;

animals

the man huof

passionor virtue beingsmay be depictedwith

beasts and birds denote
"

heads

such

as

or foxes,lions, or

hawks,

to

cunning, courage,
are
same

pacity. ra-

Again,animals
with the admirable the
same

introduced frequently

and most intention, moral lessons are impartedunder types as have been selected by his imitators. f Boldness of treatment,or power

JEsop and
FORCE. of
we

in painting. Thus, handling the pencil Rembrandt's should that effects say
*

of stone, and

lined

with

lead ;
stanton form
or

in the earlier ages of the Church

"

they were

It has

that

name

from

its sparry

in Hunis from one font we engrave era. Church, Norfolk, of the Norman t Pugin's llhssary of Eccksiastical Ornament

The

structure.

and

Costutne.

196

FOR.
Titian's colour and kinds and of tricks worthless
are

displayforce; or
style.
FORCEPS.
nature

resorted

to ; very

old

picturesare
be used

purchased,in
as a

(Lat.) Instruments

of the

order that

they may
the

tion foundathrown of the

heated

used for holding of tongs,originally articles. They are sometimes ried car-

for fraud,and the

off his
canvas

guard by
upon in

be purchaser nature genuine the work is is toned

by

saints, being emblems

martyrs.

of their torments

which

as

The Viewed
or

surface newly-painted smoked

a

painted. down,

FORESHORTENED.
at
an

oblique angle. Thus,

as arm

represented if a

or

grate, which
otherwise of young

also cracks

the it.

and picture, The

custom

"antiquates"
artists to improve works of of

be figure that in

drawn
an

if

with
arm

to the specopposite tator, toward him, pointing

themselves

by copying the
made

would

be said to be foreshortened

the old masters, is often dishonest dealers

use

by

it. describing

FORESHORTENING.

The
a

art

of

presenting re-

things on

the

abroad,who palm offsuch as genuine. It is unwary

the case that such students plane surface as frequently make close copies, both in manthey appear to the eye, dependingupon a ner extremely and styleof colour, of ancient piccorrect knowledge of form, perspective, tures, chiaroscuro. It is one of the most and smoked and baked, which, when difficult studies in the art of design, and, sell well for genuineworks," or "replicas the c onstitutes with when executed blishments skill, by the originalpainter." Regular estaMichael Angelo, excellence of the master. are dishonest kept up by some

objectson

"

and liberal pay given to young distinguished dealers, who show great talent as copyists. artists, among ling modelconstant and study,such men in foreshortening.They practised By practice this art. which for assistance in attaining almost defies acquire a dexterity ginal detection ; imitating oriimitation of an the touch and style, FORGERY. An
were Rubens, and Correggio,

other

rare

for their skill qualities

of the great masters work, fabricated for deceptive poses. the tone and treatment purt hat so and when their work is completely, bronzes, terra-cottas, Pictures, " the to be antifinishing "true," subjected coins, falsely purportingto process of The extreme to which we have occur. antiquity quating" it (bythe means continually is almost certain. in the base moof " the art" may be seen neys success justalluded) In the fabrication of antiques, of the earlier classic nations,who bronzes, and the varied articles which rity, terra-cottas, punished the fabricants with cruel seveattract the virtuoso, similar careful ingebut failed to prevent the labours of nuity " is shown, and every objection the dishonest ingenious" of their own guarded abound, against, by the proper study of the pecuday. In modern times,forgeries liarities which quently freof in genuine articles of the kind in particularly antiquities, fetch
so

much

more

than

trinsic their inpublic museums, minutest may be modelled

and their imitation bronze

in the

to the value,that the inducement is enjoys Italy necessarily great. forger

point. Thus,
on or

statuettes

the distinction

of

the cleverest possessing

; then battered

fabricators of modern

which display them a look of antiques, an treatment, to ability worthy of better employment. the constant From covered with a studyof genuine same purpose ; and lastly their teristic characthe of false and patina, knowledge imitatingthat which closely works, ceptions decenturies most the perfect produce on the genuine article. peculiarities, wonderful here to be met for ingenuity are with, and it "Works really are fabricated in this way, which testify to the requireslittle short of chemical tests,or destruction of articles thus made, studious investigation of the forger,and positive all his great knowledge of early Art. When V" detect the imposture. In pictures,

ciples printo give fractured, to peculiar age ; subjected blister the metal, for the

correct

artistic

FOR"
want

FRE.

which

another
"

art

or

-jehich nature

FRANCIS,
founder

ST.,

of

Assissium

(1226)

could

supply."

Ecustlake.

of the Franciscan

is genefriars, rally

representedas receivingthe sacret of the Saviour off stigmatafrom the figure with thorns, of crowned administration the justice. a winged cross ; or as or business, and bearing stigmas; or trampling on a FOSSE. (Lat.) The ditch or entrenehof his contempt for the fortress or town. of a Roman dieut globe,significant world and its riches ; or bearing a lily, FOUNDING. In Metallic Arts, the XAVIEK ST. FKANCIS of his purity. process of founding is that of obtaining emblem moulds kind from ornamental of an staff, or casts pilgrim's (1552)also bears a lily, metal is poured. The as into which molteu or represented beads,and is sometimes cause receiving from a group moulds are a heavenly crown generallyformed in sand, beST. they are then capable of receiving of cherubs,as he expireson a mat. matrix with of the original presented rethe impression Sales is FHANCIS of generally (1622) of and they allow an escape as holding a heart, or having great delicacy, viour, the gases disengagedby the great heat of above his head the sacred heart of the Saand surrounded the metal, which encircled by thorns, might else burst the the work by air-bubbles. mould, or injure by a glory. ingly exceedFraukish is an ancient The making of this mould FRANCISCA. The in the angle delicate operation requiringmuch chiefly battle-axe, differing it is very liable to and experience, as care at which it was conjoinedwith the handle
FORUM.

(Lat.) An

thu Romans

used by open place, for the transaction of public

injury ; but
"

moulds

are

sometimes

modelled

from

the

more

modern

kind.
A

more in clay a much simple process, but not available for all work.

FRANKFORT-BLACK. German

colour from

of cined cal-

manufacture, obtained
vine-branches.

FOUNTAIN.

jet of

water,
or

or

an

assemblageof
and receiving
or

jets; the

basin,

tural architecof
namental or-

FRESCO

FBESQUE (Ital.),
fresh
or

ing (Fr.)Paintwet

structure, erected
useful
are

for the purpose supplying water for any purpose. celebrated The

French for the

and
taste

Italians and

most

beauty or they be simplejets-d?eau subservient of architecture, elaborate pieces of supplying their cities to the purpose in Paris with water. Many of the latter, for the and Rome, are very remarkable beauty of their design,and the elaborate
whether character
not

tains, in their foundisplayed

ground, is with mineral and executed earthy pigments stucco a ground freshly-laid upon of lime or gypsum. Vegetablepigments be used for fresco-painting, even eannot with mineral mixed when pigments, and of the latter, only those are available which

alfresco, upon

resist the Burnt of

chemical
are

action

of

the

lime.

pigments
clean

the best for this

arc

style
thin

; they painting

ground generally
rendered with
so

with that
to

water, and
be worked added

of their
at

We composition.

have kind

they

can

yet arrived
the The

anything of

the

some

are

the brush ; The lime, milk, "c. the

beyond

lime,or gypsum able extremely durincrease of tures this after but a picture. The picas ground, standinga ; articles of decorative and prints as for there must paintingon, night,is unfit has generated the manufacture furniture be only a sufficient quantityfor one day nately indiscrimiis therefore of frames by the gross, applied Fresco-painting prepared. be retouched. it cannot This to all subjects, as providedthe size difficult, the in Frames for suits them. which is however, employedgenerally large were, Art, walls and ceilings, stood underold times, especially was designedto suit each on pictures but first made of t picture, by the ancients, in the tha real Italians, by " Sea S"e PICTUVE-FKAME. that word. importance t pigments
unite with
are

simplyridiculous.
ornamental

FRAME.

border

rounding sur-

ground,and

therefore

FRE" sixteenth,
error

FRU. is cut out in the

19*

generalform of the sub the proof-paperbeing jcct to be printed, thus protected from contact with any ink churchbut that on the surface of the lines, paintings frequently found on which then rubbed walls, the "c.,FRESCOES ; but there is scarcely are upon paper by aid of instance of a genuine fresco among an a burnisJier. them. FRONTAL. They are distemper In paintings on mental Costume, the ornaand distinct their in plaister, quite band for the hair, used by the style, and mode of manipulation. Greek and Roman lurability, ladies ; the metal faceFRET. An ment angular interlaced ornaguard of a soldier. In Ecclesiastical Art,
namental appliedto the hangings or orw hich of an altar, panelsin front of three kinds were tals, 1, of preciousmeadorned with enamels and jewels ; 2, of wood, painted, gilt, embossed,and often vet, set with crystals ; 3, of cloth of gold,velsilk and or occasionally embroidered, enriched with pearls.*

century. It is a very common in this country, with antiquaries and writers in general, to term the ancient

the term

is

"

in

as architecture,

exhibited

in

our

engraving.
and in is
our

Its

raldry, form varies in hehibited excond se-

FRONTISPIECE. for In the

An face

old

term

in
a

architecture

(faqade)of
now

cut, forming
the
arms

of

the

building. that printwhich book, whatever

engraving, it
faces the the

means

of a title-page though be, alsubject may the

ly, Harrington famiwhence it is

formerlyit
itself. title-page

meant

engraved

popularlyknown
as

FRUIT-PAINTING
with to have originated
a

may

be considered

the

Harrington

knot.

bunch
came

FRIEZE.

The central portionof (Ital.) of

a

birds

of grapes so and pecked at

who painted Zeuxis, that the naturally, them. times Since of

the entablature

temple
the

or

ing, other buildwas

the introduction in modern fruit and of stilllife,

ancients, which, among nerally geThe tivated of Art, culhas become highlyenriched by sculpture. a distinct branch the ornamented in the Netherlands. Elgin Marbles originally principally branch of Art frieze of the Parthenon, and are This FRUIT-WORK. among the world has the finest works in of sculpture excellence antiquity, attained some ments. ever produced. The victors of Marathon although used only for architectural ornaalso decorated the hitherto plain frieze of the bronze and "Workers in clay the temble of Apollo, at Delphi, with imitated fruits ; and in the time of Marcus bucklers of goldtheyobtained in the battle a deller clay-moVarro, there lived at Rome been the have said and this is to and as who imitated spoils ; apples grapes so used shields of the circular bosses not to or were first that at origin they sight exactly, in the Doric frieze. Festoon* from nature. be distinguished
FRINGE. See FIMBRIA. The
name

pictures flower-painting

of fruit

were

also carved of

FRISQUET.
cover

given by

wood-

decoration

temples.

The

in stone, for the brated celemost is

a

to the paper with which they engravers which is that portionof the woodcut

specimen in bronze formerly on the pine-apple,

Emperor Hadrian, Bramante niche,at
"

colossal
of the

tomb

not

yet
a

cut away,

but which

forms

no

part

but

now

in the great of the

of the take

engraving,when they are about to It is simplya proof of their work.

piece of paper, the
centre

the end

garden

square

of which

flee ANTEPENDIUM.

200 "We find at Rome. Belvedere, capitalsand friezes of buildings of of the middle the time festoons
ages

FUL" the the in

GAB. FURCA. of the

(Lai.) A Romau punishment, shaped like

arms

instrument

carved

with

grapes,
we

and

of criminals
to

of the Renaissance of

meet

with

secured

the

the letter V, being stretched and top of each branch, and

in their feet secured to the junction tom at botwhich, afterwards, fruits, the age of Rococo,were quently frewhen thus too criminals for pital caemployed affixed, ; beauin decoration. At Florence, scourged to death punishmentwere tiful imitations of richly-coloured the arms, fruits, It was employed in crucifixions, made in and feet being nailed,and the criminals such as purple grapes, "c., were MOSAIC. dying from exhaustion. Some writers have pietradura, or FLORENTINE The attribute FULLER' S-B AT, or CLUB. contended that the cross upon which the who Saviour of St. James the Less, tyred marwas perishedwas of this form. FUSCINA. fork by blows from this implement, after (Lot.)A three-pronged he had escapeddeath by being precipitated horses in a used for stimulating or trident, and by the from a high tower. for harpooningfish, chariot, The thunderbolt of Roman FULMEN. in gladiators (retiarii), attacking (Lett.) when sometimes an as a conical enveloped by the net adversary, Jupiter; represented firstentangled. flame,at others as a double cone of flame, in which they were FUSEE. with darts of lightning and at the sides,* (Fr.) A gun with a wide bore , blunderbuss. with the addition of of to sort a wings, frequently denote speed. FYLFOT. A cross of peculiar form, FUND in decoration A. (Lai.) A slingfor discharging frequently introduced leaden pellets diers ing and embroideryduror stones, used by the solof antiquity, It ocof the more the middle ages. curs particularly barbarous countries ; hence the term

fun-

on

monumental
to

brasses of

ditores for such FUNERAL

regiments.

anterior

the

accession

in anof a PALLS. The palls Richard II., cient being found on the girdle dered consiIt the date 1011. is o f A.D. at the funerals of perespecially priest sons of distinction, at a very remote of the most costly to have been in use were gious and as a mystic 83'mbolamongst relimaterials, ornamented, period beautifully India whence devotees in and China, being constructed of velvet or cloth of introduced into Europe about the it was with heraldic devices gold, embroidered sixth century. and imagery. The form was usually square, GABARDINE. sometimes with lappets, with a cross tending ex(Hal.) A loose outer in Florio's World described of the whole and length width, garment, " fisherman or a herd's shepformed the of a different material from Words, 1598, as and cloak,"and by Cotgrave, " a cloak generally enriched with pall itself, a of felt for rainy weather ; The long coat or ornaments or appropriate inscriptions. most the and for of colour of the palls varied at different pepart cassock, coarse, riods. the From stuff. In the sixteenth century,and permotley or party-coloured, haps
use,
"

black earlier, made frequently blue

or velvet,

was

used.

They

were

use

of the term that

was

by

old writers, it would

of of

red,purple, green, and with reference cloth of gold,

tinctures that
were

appear cloak middle

any kind termed a its

wear

loose,external gabardine. In the

of
was

to

the

heraldic

ages,
on

rendered

gatory obli-

to peculiar

the deceased.

FURBELOW.

for puckeredflounce,

yet be ; and it may buckled loose great-coat traced in the long,

the Jews round
men

ornamenting
"

various parts of the dress.

the waist,and
on own

the

ish Jewby elderly Continent, and occasionally

worn

See
as

cut

to

EAOLE,

which fulmen

is there of Jove.

in
sented repre-

our

country.
The

bearing the

GABLE.

pedimental face

of

GAB" formed building,

GAL.

201

and filtering gall with animal charcoal, the a roof. liquid.* " GABLET. The small gable used for the Clarified ox-gall combines with readily summit of niches or colouringmatters or pigments,and gives gothic tabernacleeither by being mixed work. It is the diminution them solidity, with of gable. ST. them It angels Archcreases inOne the three or of GABRIEL, passed over upon paper. " " and the the brilliancy durabilityof Messenger" the Angel of the Annunciation." and in geneIn picturesreprecarmine, ultramarine, green, ral senting whilst it contrithis mystery, he all delicate colours, butes is frequently them to make depictedin royalrobes, evenly spread more bearinga sceptre, When "c. mixed and stances inor n lily, kneeling. In some upon the paper, iv.ory, he is represented in the with gum-arabic, it thickens the colours, floating agreeable dishis without crossed a air, with his hands over communicating to them breast. it glistering ; appearance vents preand fixes the In Armour, are the gum from cracking, GADS, or GADLYNGS. the bosses or small spikes of steel with colours so well, that others may be applied them without over degradation. Along with lamp-black and gum, it forms a good

by walling up

the

ends

of

"

"

imitation

of China
upon

ink.

When

coat

of

ox-gall is put
black-lead
or

drawings made
the lines
can

with
no

crayons,

but may be paintedover longerbe effaced, with of colours previously a safely variety armed. The which the knuckles were mixed with the same ox-gall. up the Black " Miniature of Edward gads of the gauntlets find a great advantage painters in the shape and made Prince are of brass, in employing it. By passing it over of lions or leopards. it removes ivory, completelythe unctuous met GALEA. (Lai.) A lightcasque or helmatter from its surface ; and when ground soldiers.* worn with the colours, it makes them spreadwi h by the Roman helmet a GALEATED. (ffulea). Wearing the greatest ease, and renders them fast. logues This is generally used, in cataterm It serves also for transparencies ; it is first ing describof works of Art, "c., when the varnished oiled paper, or passed over of Minerva, Mars, "c., and is allowed to dry ; the colours mixed antiquefigures whose heads
are

GALERUS.
to fitting

the

protected. with the gallare then applied, and cannot (Lat.) A fur cap, closely afterwards be removed by any means." f by country people head, worn GALLERY. The passage which unites
thus
;

in

Ancient Rome
a

hence

the

name

was

rooms

placed at oppositeends

of

ing. build-

appliedto
GALL.

As the walls we/e sometimes hung and richlydecorated, these pictures, mixed with the pigwater-colour painting, ments,corridors became picture-galleries, and the them flow freely upon to make original objectof their erection became a of surface. which has a greasiness the term GALLEKY paper secondaryone ; at last, is strained To fitit for this purpose, the gall * The a Society of Arts awarded prize for a and exposed to a gentle heat until nearly The

wig

also.

gall of

the

ox

is used

in

with

colourless alum of them. these

solidified; it is then

of

dark olive-brown

ox-gall,which
common

was

prepared by

ing add-

and

fit to mix with the pure colour,scarcely blue or red pigments. Colourless ox-gall should be preparedby boilingthe crude

crude

gall,

salt to two separate portions afterwards and mixing

Such an empirical salts in solution must in mixture with the

holding compound patible be quite incommore

delicate vegetable

pigments. f Dr.
"

Ure's

of Artt, Manufacturer Dictionary

See

cuts, pp. 43, 87. 1 29.

202
was

GAL. halls and rooms, to principal applied not they were merelydecorated with it resembled the
more

galArt,constructed by nobles of taste but dedicated to chosen works of the revival of learning in Europe pictures, upon Art ; hence our term PICTURE-GALLERIES. during the middle ages. of modern The establishment GALLERY-PICTURE. A galleries painting Florence with have either a t shewn the to size of life, and, seems originated ; figures, else a larger, or or heroic size, accordingto this custom, altar-tablets and consequently instead of assembled too largefor the walls of an ordinary are together, pictures room, and constructed only fitted for one being distributed about the house. To such big of its the for Animal owe w e preservation enough display. paintings galleries many blishments estathe same on works of Art, and they have become scale,and landscapes more than five feet in width, would for the study of Art as well as be called milar gallery-pictures. ancients had sifor its enjoyment. The learn from that GALLEY. A naval vessel of largesize, we as collections, in which of Verres,as described by Cicero, long and narrow, usually propelled by oars, bronze with the addition marble and of sails in was ; placed statues occasionally. Most of the ships collection of vases, patera, "c., a splendid employedby the ancienta be termed galleys, decorated with engraved in gold and silver, and, according to may
when leries of
gems

modern

pletely

and

stones; precious

as

well how

as com-

the number
remes

of banks with
two

of rowers,

were

bi~ when

collection of

pictures ; showing

when

banks, triremes

three,and forty; but those

five banks
must
were Galleys

with

so

on, up
more

to

as

with be
use

than

many four

as or

GALVANOGRAPHY

(ELECTROGRAone

PHY).
and
as

This

is

of the most

beautiful

regarded as curiosities.
in the Mediterranean

in

eighteenthcentury, the largest of which navigation, about 160 feet long and 30 wide,with were 52 oars. Among the Venetians there was in use a kind of largegalley, with a very called The state galley lofty gakazza. poop, of the Doges was termed BUCENTAUR.
for coast

until the close of the

times, plastic objects, e.g., wood, "c., and coppercoins, plaister-casts, stone, plates when pied engraved, may be exactlycoin copper, and bronzed or gilt. The

successful inventions its means

of modern

by

invention

is

valuable especially
as

for copperplate
means

engraving,
number of

by

its the

any

original plate obtained. be after GALVANOGRAPHY, may has GALL-STONE. works A concretion found in of experiments, produced many the gall-bladder of the ox, which is emthe expectations Art far surpassing at first ployed and the uses to which it may as a pigment in water-colour entertained, ing. paintIt yields a fine golden-yellow colour, be appliedare multifarious ; for since the similar to Indian yellow. It is not pertaken, it has been manent. first galvanicplatewas used in all branches of engraving,having

of duplicates

GAM" been found

to unite all the known

GAR. and

"-'03

when dry. It is indispensable glossy in etching-needle, water-colours, forming with the various aquatinta,scraper, roulette work, "c., and, blues,excellent compound greens. This is very easy of execution.* moreover, pigment would be useful in oil-painting, WAMBETS. In Arit resists for a long time the action of GAMBESON, as or a body-cover- strong light,provided the resinous part ing, mour, ^ -^ with stuffed could be separated from the other parts. GARDE-DE-BRAS. wool, and padded in (Fr.) A piece of l ines of in the fifteenth cendle-work, neeparallel tury plate-armour, adopted of the graver and

methods

t
worn

It

was

as

an

extra

defence for the

name

arm

of the

beneath of the

the

as soldier,

its and

implies.
a

It covered

hauberk
as a

knight
for the
surcoat

the elbow reached

part of the fore-arm,and

in form spreading
on

padding
The also

upward
It
was

to the

armour.

shoulder.
armour

was

quilted or
ton cot-

gamboisedwith
wool. and may be seen Black Prince his tomb in in the surcoat which An

of

plateand obviated the necessity beneath, soldier's using the shield.

screwed

to the

GARDE-DE-REINE. early (Fr.) The lower curious example the of below the waist, part breast-plate which was of Edward the its to proname used,as implies, tect
the loins of
a

is stillsuspended over from

mounted

horse-soldier.

Canterbury cathedral. A GAMBOGE. gum-resin brought which a fine yellow from the East, yields water-colour pigment, very useful in is the pipepainting. The finest quality It dissolves from brought Siam.J GAMBOGE, is in water readily ; very transparent
*

GARGOYLE.
the French It is

(Fr.)This term is derived a dragon or gargouille^

to applied

monster.

the spouts, in

GALVASOPLASTIC

Art

point in the institution of witz, at Berlin, an establishment

much works
to

has reached K. von

its

est high-

advance

industrial Several executed

Hackethat has done as well as purposes

tals me-

of Art. been have

reliefs in different

there,

and

latterly

been colossal sculptures have produced which merit the attention of all friends of Art ; among of Juno, from a cast these is a head by Kauch, which (without any chiselling)is of surprising

from dragons that project i n ancient as a buildings, roof-gutters the form of

the neric ge-

term, and without

form

purity
was

of form.

Thorwaldsen's

statue

of Christ

cast

metal

gates
are

which
were

to be electrotyped, and the in order castle of Wittenberg, on for the of Luther, to be ninety-five theses at

may and very frequently represents and animals human o r figures, grotesque birds of real and there middle
are no

they

any respect to the varies contake ; which tinually,

fanciful kinds.

Indeed,
as

copper

also made of which

a

this

establishment.
are

The

architectural details of the

the

these

with

bnmze These

on

produces
will be
a

is coated made which the action of the atmosphere lour. beautifully soft shades of co-

gates

so completely bizarre c onstantly used,which are gargoyles

ages

times some-

works

show

that
to

GALVANOOBAPHY

The

rival formidable H. productions of Mr and Dr. Braun.

bronze-casting. mingham, Elkington, of Birof Rome,

arc

in objectionable positively with church GARLANDS architecture.

were

tion connec-

also

beautiful

examples of the reproductive power of the electrotype processes. of exhibits the quilted gambeson cut t Our the fifteenth century, from a painting by MemKng, at Bruges tree which t The produces Siam gamboge, I he finest and only commercial kind, continues known unIt Is supposed to belong to the genus gwrtinia

the classic nations and temples,

of

used by extensively to decorate antiquity imitated

afterwards

(see ENCAUPA).
worn on

They

were
"

occasions great public

sculpture always at feasts,

in

a "c. (See CORONA.) There was funerals, distinction in each, aud a propriety in the

204

GAR" all of them

; the classic authors

GEN.

lapping fingers, theybeing covered by largeoverfull of allusions to this fact. Garlands, are plates. of any GEM. A precious stone or jewel as religious emblems, are still affixed to work of A stone. in kind. An our own though engraved rarely graves, country ; but garlands of various descriptions nature. Art of a superior are cising used in the ceremonies,"c.,of the Catholic GEM-ENGRAVING. The Art of inChurch. 1.Of flowers, a stone, or design upon a precious suspendedover altars, of sculping it in relief; both Arts origiand in churches,on festival-days. 2. Of nated and with the nations of antiquity, and other flowers, round the worn roses with heads of the assistant clergy them and others in were success. practised by great their favourite for general Cornelian was certain processions.3. Of silver, set with and placedon of natural flowers, on or jewels, onyx, calceuse, but they also worked artificial and blood-stone. quently Of flowers and other 4. naments, orjasper, They fredony, images. * used the various tints of the stone carried at the funerals of virgins. A tie for securing the upGARTER. to heighten the effect of their work, and per part of the stocking. In Saxon times produce relief. The ancients have preserved the it took the form of "cross-gartering," of the early the names of many with been entire leg to the knee being swathed Greek gem-engravers who have never silk band of with a narrow or stuff, surpassedfor ability. One of their most dant pentassels. In Shakespere'stime, the celebrated works is the sardonyx of three fashion was which formed again introduced from Italy, strata, part of the cabinet where it stillexists among the peasantry. of gems of the Empress Josephine, and The more which ordinaryform of garter,in the represents the busts of Ptolemy that sixteenth century, was of a narrow Philadelphus (B.C. 285 to 258) and his Its shape is an obtuse oval scarf,tied in a bow at the knee, having Queen Arsince. inches pendant ends of lace,the upper part of by 5. Another, with measuring 65 the knee. the stockingbeing rolled over in the Impethe same is rial heads, preserved and articles of Cabinet at Vienna,measuring 4| inches They were costly expensive male costume portant imand most each way. But the largest ; and onlyceased to be made visible at the close of the is the of these antique works obtrusively seventeenth in the Apotheosis of Augustus preserved century. GAUNTLETS. In Armour, of which measures gloves Royal Cabinet of France,

wearing of

leather

covered

with

platemetal

to

respond cor-

by 9, and represents more and deities, a of men twenty figures of patient labour monument
8 inches artistic power. of these So fond
were

than
derful won-

and

the ancients

and beautiful works, that costly to the Emperor Heliogabalusis recorded have covered his shoes with engraved gems. and also used to adorn coffers, They were other well
as

luxurious

articles of furniture, as

drinkingvessels, patera, "c. ST. The GENEVIEVE, patroness of born at Nanterre, four miles Paris,was in 422, and died in 612. from that city, Art she is generallyrepreIn Mtdiaial sented
with and
"

the other partsof the armour, without

with
an

candle
a

in her

hand

; this

made originally
See and

separate
Orna-

or angel lights,

guish, devil tries to extinher much

in allusion Pugin's Glossary of Ecclesiastical

Costume.
"ment

to

legend, which
en persecuted

tells us

that she

was

206

GEN.

of bra \ cry are (Hypnos), of victory (Victoria), although the most very reprehensible, death truth the vulgar-minded patrons (Thanntos),of (Virtus),of popularamong of discord of wisdom of Art. Another kind are the low attempts (Sapientia), (Fides), or (DiscordM),also the geniiof agriculture, at colouring called costume portrait "c. In modern times w hich "we GENHE are science,art, pictures, merely studies. of countries often personifind the GENII In for its the fied taking subject events of daily of this kind is the : the greatestwork GENRE-PAINTING life, (unlessthe subject Genius of Bavaria,a bronze female statue is eminently suited to the idea)avoids religious themes as high and lasting, of colossal size by Schwanthaler,recently as well historical subjects, as sitory, completed and placedin front of the Walwhich, though tranMunich. Modern hulla near A never to view ought tions representaappear so. the sun of Biver Gods are only to be regarded of an is open house, into which when they are executed in the GENII as shining,a peasant lightinghis pipe, all the passing events of life, romantic and not the antiquestyle. its characters and aims, offer fitting GENOUILLIERES. for GENREsubjects (Fr.) Metal caps armed of the Pure man. knees an for covering PAINTING. nature, true humanity, in the thirteenth cennational character, as revealed tury by domestic They first appeared when small circular metal plates, as "c., form the circle of true manners, covered the leg,and led by the boundary being chain armour GENRE PAINTING, and shinof than is the case in the defined more to adoption greaves clearly degrees entire The historical tion distincArt. to or platereligious pieces,and ultimately decorated sometimes between and GENRE-PAINTHISTORY ING armour. They were be too clearly drawn. tions Transiwith incised and gilt cannot ornaments, and took, ciful of fanfrom one to the other are in the fifteenth century, a variety admissible, and such pictures tal monumenon belong to the happiest forms, as may be seen and brasses. productionsof Art ; and there are also effigies under which the advantages circumstances GENRE-PAINTING. (Fr.) Pictures be united. We meet of both styles which, for want of a of life and manners, may classed together with specimensof GENREPAINTING definite character,are among
" -

as

of

a are

certain genre

or

kind.

Under

this

the

ancients.

As

the

character

of

cient an-

title of

worship changed, a freer space was stepped which, by degrees,overis to a the ideal circle of the Mythicsingle scene of Also comic scenes the mystic veil with to an epic poem. normal, withdrew seldom is comic covered the Saga and, subject which everything, every kind; a cause individual in the highest category of Art, bean revealingnature, assumed placed of of comedy to overstep it is the nature from which a genre-like style character, the towards the strict line of beauty, and to become Art Mythic. arose, tending GENKE The principal caricature. pictures This style was, however, very different to and which of life, of consist call GENRE-PAINTING, every-day what we now scenes lands Netherthe of character be classified Those by the plastic may may be explained the best, and deserve to live ; Still we see by the mural are pervading Art. and Pompeii, though far from the ideal of Art, they paintings at Herculaneum
life, wmcn
are

comprised

the
to

episodes grave history what a drama, or a lyric

offered to Art,

"

show

cleverness of execution The

and

lead to

that

in

later

Roman

Art the

there
GENRE

were

higher thoughts.* on GENRE pictures, trifling

anecdotical and
the

coloured

pictures of

kind.
He
wa"

contrary,

great lessons in great principles. well and truly styled by Garrick, a"
"

of genre-painting may " The highest kind of Hogarth, which the works in be studied into a manners life and elevates ordinary his pictures high school of morality, and makes

Who Whose And

Great painter of mankind. the noblest point of Art ; reached the mind. pictured morals charm the heart." through the eye correct

GEN"

GEO

207
holds with
a

certainly poor daubs, but they that mere manual prove, nevertheless, artists turned to domestic painting. The introduction of a new in the religion, service of which Art was enrolled, delayed
were

Thew

shoe, and
We
meet

sponge

in

one

hand.
among

GENRE-SCULPTURE

the biblical and middle Germanic

ages ; and

in legendary subjects it
was

the

carried

on

in the

the progress of life-painting for more than thousand a that which years ; but when unnatural in Christian Art gave place was
to
a

period,though only in small works, and those of a secular nature and illuminations in viz., ivory carvings,
"

books.

In

the Museum in the

true

at Berlin

is

some

spirit, genre of the age of chivalry This spirit and minstrelsy. inclining style towards the poetry of real life, employed One piece represents a tournament; two for ecclesiastical purGENRE-PAINTING are rushing at one poses, knights in armour another ; behind but so many them are pleasingeffects were trumpeters. that religion was soon developed, neglected There is a balconyabove with spectators, and cast aside. The carpenter's much interested in the combat ; workshop evidently became popular, althoughit was not that of and a ladyin the centre holds the wreath of victory. To the sixteenth even Joseph ; the landscapewas beautiful, Century without the procession of the three kings; tain, belongsa beautiful genre-bronze on a founbehind the and the nosegay rivetted the eye, although Frauenkirche at Nuremberg, which was moulded and cast by P. not placedin the oratory of the Virgin. GENRE-SCULPTURE. We have evidences Labenwolf, the pupil of Peter Vischer. It is the figureof a goose-seller, of this branch of Art having been bearing under each arm the ancients. the the mouth After a goose, from attempted by of which the Great,religion, the water flows. and time of Alexander Many critics works affect such to but treat a slightingly, consequently Art, underwent great whoever looks them with ality, individuat for an there more was room diced unprejuchange ; at the union and a style of Art was developed eye, will be delighted with of of and nature which grandeur conception, correspondedto the wants of the will reasonably works of a expect to see such subjects age, and which produced many the chosen for efforts of the artist. We that know character. highest genregenre ST. The the last GEORGE, patron saint of paintingwas very popularduring banner is that of the counwhose try.* ages of Grecian Art, from the descriptions England, is generallyrepresentedas a He of the kitchen-scenes, "c., painted extant on who finished these littlepictures warrior in complete armour, mounted by Pyreicos, with a a horseback, that fetched piercing dragon spear ; a so exquisitely, they much higher price than large paintings and sometimes standingupon the prostrate dragon,which he strikes at with his sword, mens by other artists. There are several speciING GENRE-PAINT-

free Germanic

ivory work

romantic

arose

refreshed.

of

GENRE-SCULPTURE

extant, the
is the Venus

or

transfixes is

with

his spear.

Sometimes

with a lady praying beside represented most in allusion the or leading dragon, him, in the Museum at Naples. We Callipygos, which declares to his legendary history, find this style very often employed in Art ; there are Etruscan some specimens that he freed Egypt from a monstrous the king'sdaughter was dragon, to whom of it in the collection of bronzes, ing belonghe conallotted quered a as meal; but whom cular to Mr. Hertz, in London a cirviz., the rendered and lady tame, getting is formed vase, the handle of which and probeast into the the lead to city, the o f two mising struggling gladiators by figures ; if the to it, they people destroy handle formed also two a a by jugglers ; which they rare bronze,formed of an Etruscan slave, would believe and be baptized, whose physiognomy betrays his kneeling, * See descent ; he is employed in cleaning a cut, p. 66. remarkable of which he
"

208
are

GER"

GIL.

of is

reportedto have done to the number lo,000, includingking and court. There
no

saint whose than

is history St. of the most

more

England's
author the

George.

apocryphal Even

GIALLO, GIALLOLINO, GIALDOLINO This word, va(Hal.), PALE YELLOW. riously employed by the earlywriters oji
Art,
oxide
most

commonly
lead,
or

meant

the the

the Butler, Lives

voluminous

of

was Saints,thinks the ordinary of the French. evidently of the saint bestriding the representations employed to designate very dissimilar than an emblematical dragon "no more products.* GILDING. that by his faith and The figure, purporting process of covering Christian fortitude he conquered the devil, various substances with a thin coatingof called the dragon in the Apocalypse." gold, its extreme tenuitybeing modern ; Others incline to think the ancient gildersplacing a very thick that the whole coat on the surface of the article to be gilt, of story is made from old representations St. Michael contendingwith the devil ; and made of thin beaten leaves of metal. the history of St. George not more faithful in his "13th Juvenal, Satire," notes a than that invented by Richard Johnson, roguishpractice in the time of James I., pions for his Seven Chamknave Some will try pilfering From Neptune's cheek, or great Alcides' thigh, he As patron saint, of Christendom. To scrape the gilding ; or from steal Castor stands in armour, times holding a lance,someAll of his plating that their hands feel." can having a banner with a red cross, and One There are three methods of GILDING. the lance is a palm-branch; sometimes by fire, called amalgama ; the other, in broken, and the dragon dead at his feet. the manner oUa spadaro (after of Italian, GERTRUDE, by the mice ST.,is known is effected of a sword-cutler) ; the former At and rats usually surrounding her. gold in aqua regia (nitroby dissolving with she is times representedspinning, muriatic acid),the latter by laying on mice running up and down the distaff. which gold-leaf. The last
" "

of

MASSICOT, But it

yellow fin juuiie

process,

mises pro-

GESTURE.
we

Under

the article EXPRESSION, the

to
GILDING.

is ELECTKOthe others, supersede There

are

have

indicated

part gesture

also three subdivisions

in as water-gilding, Art, reduced whilst is to which the gold spread and in a fluid state by solution in mercury ; manity, to huMuch of this is common of Art. performed by cementing thin leaf-gilding, and seems to us necessary ; on leaves of gold upon the work, either by the of the other hand, there are also qualities of size or oil; "n^japanner's-gilding, use that derived from nature a is, positive which in powdered gold-dust is made to of the views and customs the particular of adhere to the pattern formed by means
the

plays in

it. producing

The

interpretation of

known

of the proper significance of gesture is very important for the understandingof works

"

nation.
to

Here

there is very much and

indeed

adhesive

gums

or

varnish.

be learned

the artist in in works

guessed at, as well by tific studying life as by the scienof Art. and Even the obscene

GILES, St.,THE HEIIMIT, SAINT GILLES (Itul.) This saint (Fr.), SANT. EGIDIO frequently has obtained great popularity both in England
and He is

unbecoming

cule gestures of ridithe South

was as

Scotland, as well

as

in France.

old man as an usuallyrepresented rich in ancient as it is in modern times, with a flowing white beard, naked, or often very important.* are clothed in white,the colour of the habit of He was born at Athens, the Benedictines. * The tion comparison of ancient gesticular acand died in France, A.D. 725. He is the with Neapolitans is that of the modern Jorio, curiously treated in a work by the Canon and lived a patron of beggars and cripples,
entitled of the

in which (sannce),

Aitjioliiano,1832

degliant. invettigatanet gestirt in an entertaining notice ; and work, in the Dublin Rtoieu, No. 24, for
Mimica

See

Mi

s.

Merri

fie Id's
:

Ancient

Practice

of

July, 1837.

Oil-Painting, Ac.

London

1849. Vol. I.,c. Ivi.

G1P"
"collided life in
a

OLA.
battle-scenes. It
was

20*
used
as

cave,

where
a

he

wa"

rished nou-

late

""

the

by

the milk

of

hind.

of France, hunting in that wounded accidentally

an

Battle of Flodden. King neighbourhood,

The
not

him

in the knee with mit per-

arrow, to be

which

the saint would

curedjand hence he became a with cripple.He is generally represented

an arrow

in his knee, and the faithful hind

beside

him.
are

The

churches

dedicated

to
a

this saint

usuallyat

the outskirts of

town,

as

if connected

with

alms-givingto
In London,
"

who beggars,
one

there. congregated
was

of his churches

founded poor

at

Cripplegate,"where
were

such for

persons

wont

to assemble

charity.

word (From a gibeciere, pouch, bag, poke, or scrip.) The purse worn and which at the girdle, formed of leather, and was or velvet, silk, carried both in the constantly sexes by middle ages, suspended from the waist by silken cords or leathern thongs; hence the term to a person who "cut-purse" applied steals money, and
to utimately
a

GIPCIERE.

the old French

thief in

general.
GIRANDOLE. with branches for
a

(Fr.)
of

candlestick GLADIATORS.
GLADIATORS
were

constructed flowers. A

times lights group ; someresemble bunch of to a

Among
men

the

who

Romans, fought with

branched

candlestick, or
A belt
;
worn

chandelier.

and deadly weapons in the amphitheatre in other places, rals, funeat various festivals, "c. The ancient been the Etrurians
are

GIRDLE,
sustain such

ZONE.
sexes

round
to

the loins of both

used chiefly

to have

of originators

posed supthese

the tunic during active exertion, which of classes, grew out of the custom hunting or travelling.Also worn slaves and retainers on the funeral sacrificing round the cuirass, constituent part, a as their As the of masters. taste pyre and tp support the kilt. The girdle was taken in for such sights increased, captives also used instead of a purse to hold money. each were other,that war against pitted In Christian Art, the GIRDLE is an attribute their captorsuntil theymight "amuse" of St. Thomas, in picturesof the berty. liand the victor thus purchased one fell, " Assumption of the Virgin." afterwards trained to Slaves were GIROUETTE. (Fr.) The ornament on the same brutal trade,until it became a the summit of a gable; a vane, or weathercock. certain confined to a regular profession, of modern (SeeEPI.) class" like the bull-fighters
as

GISARME.
affixed soldiers,

weapon

to the end

and

used

to the similarly

trained to by foot- Spain. Such men were regularly exercised and dieted long staff, their business were bill for attacking to increase their strength and activity" of
a
"

borue

with a cavalry. It was scythe-shaped, from one side. longsharppikeprojecting It is

was

and

were

under who

the government of a superintendent, let them out to hire on

as

in the twelfth century,and constantly represented in mediaeval

known

greatoccasions
"

"

such
iumi

feasts or public of money

were

nerals fufre-

for which

110 left by the wealthy in quently their favour. Their costume Rome after to implorethe clemency of gladiator or both tr t o on one death,or spent duringlife, propitiate spectators, by sinking
was

the
*""",

peculiar,

and may be seen to much advantage in our illustrative the cut of word CAMPESTRE; it consisted of with batee the face, a helmet, covering aperturesfor sight ; but the Andastated to have of been

are

unprovided
dering blun-

with any mode

that their seeing, amuse fights might the more The Mirmittonet
are

tators. specsaid to receive

a

that

name

from the

of figure

fish (mor-

myr)
and Greeks

upon and

their helmets.

A
worn

high

crest

like that floating tail, Etrurians*

was

to appended

their helmets.
to

by the occasionally The bodywas

;

unarmed:and naked,
the kilt
or

givefreer motion

or a subligaculum campestre,

kind of

and

his uplifting second

left hand

open,

or

with

the tunic,being fastened round the waist by a belt, and hanging around the our shield A t he left the hips. protected arm, rightbeing covered by flexible bands of leather. The Samnites were distinguished by an oblongshield curved over the arm the Thracians by the round one ; the legs were covered by or generally protected The Hoplomachi were greaves. entirely armed ; the Meridiani, who fought with wild beasts, The Retiarii so. very slightly and tunic no and prowore a helmet, only tection for the left arm ; their onlydefence fork. They was a net and a three-pronged
"

firstfinger as pointed,

in represented bas-relief
on

cut, from

tried dexterously

to

the envelop
men

Mirmil-

lones and better armed

whom against

they were

Samian bowl discovered in London. If the felt that he the had fledround acted with spectators doingthis, they arena, trying his life was to prepare the net for another cast, and purbravery, spared ; if they did sued his not to h e their w ho would respond appeal, was killed by by adversary, try to kill them before

engaged,in this net, and then wounded them with the fork ; if they missed

theycould make

second

his

These antagonist.

scenes brutalising

were so their adversary, highlyrelished by the Roman attempt. When they entangled that immense sums lavished were they struck at him repeatedlypeople, the arena. The numbers on with the fork; but the death-stroke was of gladiators lasted given by another of his own kind,as is were enormous, and their exhibitions divided into in our from were bas-relief a days. They represented many classes, cut, to their arms, modes of fighting, found in a tomb at Pompeii, where the according and other circumstances. The varied and wounded Retiarius killed the is man by by action of these combatants caused It was usual for the defeated energetic " Samnite.

them
"

to

be farourite

with subjects

the

See

cut

to

the word

BUCCULA.

Roman

artists. Several

fine statues and

OLA
ban-reliefs
have

tii

with Romans, straight, obtuse pointed an (Fig. 2); both being adopted'for in the muGladiator," thrustingand cuttingon both edges. '* of the Capitol, and the " Gladiator "eum GLAIVE. A cuttinginstrument,used of the Borghese collection. The combats and believed to have originated by infantry, of the GLADIATORS, tume although their cosfrom the Celtic custom of fixing a sword to could but little correspond to the the end of a pole,as a defensive weapon Greek of Art, gave sense occupation at sword broadagainst cavalry. It resembled a least to subordinate who artists, painted in the form of its blade, which had walls and adorned monuments. sepulchral but one cutting edge. Glaives are stillused We such that assume gladiatorial by the Chinese Tartars. may out hewn tombs on or embossed combats, on GLASS. The manufacture of decorative sometimes the place grave-lamps, supplied in to have originated objects glass seems of actual combats, and, instead of the full with the earliest civilisation in the East. for the dead,were honour meant to furnish It was the custom with the older authors
our

been

preserved to
celebrated

times;

among so-called " Dying

the most

is the

end

"

the deceased GLADIUS. nations of

was

with

semblance sword of

thereof.* the classic

to date its

invention

no

farther back
even

than
serted as-

The

the Roman

period;
the

and
met

that much But that

in

was

antiquity. With

the

broader leaf-shaped,

in the

Greeks,it and middle,

and timidly, and cavil from have investigations

with

doubt modern it
was

learned.

proved
success

practisedwith Egypt, under

and

great
the

ancient

reign of
"

its native Pharaohs, son* Wilkin-

in the time of Moses.

at least
as

earlyas the the of first Osirtasen," upwards of reign of 3500 years ago. The process ing glass-blowdates its use is
at in the paintings represented

Benithat He
tains con-

Hassen, executed
monarch
engraves
a

during the reign of

successors.

and his immediate

which bead of this material, in who

was

the of
a

name

characters hieroglyphic

monarch
:"
"

reigned 1500

B.C.

He

says mode

Such

the skill of the

tians Egyp-

in the manufacture of

and in the of glass,

stainingit
other
an

of various
success

hues, that
the
thyst ameeven

they

counterfeited and

with

stones, and precious

have been unable
to

arrived at their and

excellence

in the art which

successors
our

retain,

which

of their

Europeanworkmen, in spite improvementin other branches of

V
l. i.
a

unable to imitate;for still are manufacture, not only do the colours of some Egyptian varied devices most offerthe on glass opaque distributed with the regularity the exterior, hue and but the same of a studied design, lines directly device pass in right the same with the
"

taperingto
"

point (Fig.1) ;
Ancient Art and

Manners

Vide

MUller's

itt Jtimaint.

an*

Customs and "ol. iii. p. 89.

of ttitAncient

21*

GLA. the
oh it" surface figures appear as if sculptured A Greek in the style of a cameo. glassvase of similar execution was found in the house of the Faun," at Pompeii, in 1833. with foliage It is covered and Others but is an imperfect birds, fragment.
"

substance; so tnut in wlmttion seca ever part it is broken, or wherever the same may chance to be made of it, and the same colours, appearance, the same device present themselves, without being through
found
a ever

to deviate

from the

the direction of external surface

from line, straight

have

been

also discovered that

a

and

it is not

to the interior."
are
some

In the British Museum this

little curious but

a

fragments of extraordinary Egyptian glass,which

laminae
or cylinders

few years
"

taken out, patent was since,for the application

kind minute

of

consist of of different

of moulded

colours, arrangedaccordingto pattern,and united by heat,rendered eflectheir surfaces by means of a flux tive on The them. to emerald, the applied green and other expensivegems, amethyst, purple and a necklace were imitated, successfully
afterwards of false stones Theban could be
as

and

in glassto the surface pillars" which of glass vessels, ing" pillar-mouldin Roman had been practised times, of which in many specimens occur
"

museums.* The much and with mounds.

were glass bowls of the Romans prizedby their barbaric neighbours, are

not

found unfrequently
races

buried
grave-

purchased of
much

the

Celtic The

in

their

with jeweller

as facility

earlySaxons

at a London

shop of

The Greeks

the present day. used small vases for .unguents, coloured tured glass, manufac-

consisting of
in
a

similar manner, that the vaso riegated strise passed completely through
A

the substance. blue alternate of

brightyellowand deep
wavy lines
over

making, but with them and degenerate art ; their works, though occasionally displaying grace of form,being the marred more by ugliness, frequently the commonest glassitself being always of by air-bubbles;the kind, and disfigured
manufacture
commonest
was on a

glasspractised it was a peculiar

in

the
were

surface

these

vessels,which

wine-bottles
ages,

par with that of the of the present day.

adopted, and perhaps manufactured, in tion Egypt for their use, after the subjugaof the country to their power. celebrated was particularly time of the Romans for the Murrhine artisans in which andria Alexin the

In the middle have metal been

were

glassvessels appear to rarelyused horn, wood, and used for drinking and it was
" "

not until the Venetians

resuscitated the Art,

skill of its

in

the
"

were glass. The vases, for of Venice in the taking to the participation priceswere paid by the of Constantinople supposed to have A.D. by the Italians, generally Romans, were she all that in the been of this tinted glass. The beautyof probability, 1204, owes, in the time of introduction of her manufacture of ornathe glassmanufacture mental had, which have received a glass, Pliny,almost superseded the use of the may the immigration of preciousmetals for drinking-cups ; they fresh impetus from in 1453, on the and imitated of the richest colours, Greek artists into Italy, were the downfall the Eastern cut of by lathe, empire.They now preciousstones,or were One of the most in the style of cameos. began to revive the ancient processes, and enormous

fifteenth century, that "glasses" It is your only drinkingvessels."

remarkable in
"

of these

ancient and its

works known

is
as

now

invent

new

ones

they became
of

celebrated

our

British

the and bottles, and devices paintedwith arms purchaser, The body of the vase is in enamel ; for mosaics,formed of delicate Earl of Portland. which has been in the old Egyptian formed of dark blue glass, threads, fashion, which, white with coated glass. entirely opaque See Apsley Peilatt's Curiotitie* of Ghuiworked This has been gradually away with in formation the Art, and making for much skill and example*. beautifully-engraved labour,until the many Portland
" on

Museum, Vase," from

the

for the manufacture

glass bowls,salvers,

OLA.
was "U[e"'

transformed with

into the

beautiful

ture,*used picwas a

to hold

togetherthe
a

different pieces,
so

'glowing
nature, and

varied the

tints of

constructed ingeniously form and represented, subject colour could

that .it

to expressing

eye, by

should each
an

strong black boundary to

thus become

the relative ''nice of colouring, 'jradation of and distant near seem objects, "pogitibh the ambition of the

where composition be excited to have glass strong used, and only shadows if at all, who strove to render their own rarely, appeared. The painters, author imitation of nature, an Art more just quoted observes,that " the completely existence of the yellow stain in a glassterial and to produce in a transparent maand the picturesque painting is a proof that it is not earlier atmospheric effects
so

"ssential part of the

exhibited successfully fresco

by

the

than
manner,

the
a

fourteenth

century.

In

like

reflective surfaces of oil and The

ings. paint-

of applying colour to facility brush, at the pleasure of of the afforded by the discovery the artist, about the middle various enamel colours,

glasswith

the

of the sixteenth extensive

century, soon
It
was

led to their ever, not, howthat

employment.
the

which exhibits glass-painting stippledshading or ruby glass,having of its coloured surface purposely some abraded, may be pronounced not to be earlier than the fifteenth century. Again, the use of enamel colours marks a glassbeen executed the as after painting having middle of the sixteenth

until

eighteenth century

century, while the

the use of coloured circumstance that the glass has trifling superseded they entirely been with works. cut in a originally large diamond, will glasses " of enamels,though introduction denote the work is not earlier than the The occasioned a great extension seventeenth it certainly century." The ordinary enamel in the scale of colour in glass-painting, of glass-paintings its disadvantages. The the fifteenth century, devoted to historic not without was than different more paintings lost in transparency what they subjects, rarelydisplay in of and tints in of variety tints, brown, heightened by bright tion proporgained were their picturesque qualities as they being regularly yellowstains, painted increased by the substitution of enamel on a plain untinted surface of pictures colouringfor coloured glass,their depth glass,the outlines of the figuresbeing diminished. defined by lines which of colour sensibly generally strongly of enamel "The application supply the placeof the older leads,and practical thus gave the painter scope for greater colours to glass seems always to have been of execution and conducted the power of nearly as at present. Some of delicacy enamel of the earlier with the the additional painting rivalling examples painter, in transparency to advantage of greater transparency. Some are, however, superior the case This is particularly of the works of the glasspaintersof the the modern. of the seventeenth seventeenth with Swiss glass-paintings for century are remarkable and close of the sixteenth century, their beauty of designand power of colour, to colours are constantly those who in which enamel particularly practisedin the and the windows at Gouda be met with, firmlyadhering to the glass Low Countries, those in Holland,* and at in lumps of one-sixteenth of an inch in Liege f in thickness, and so well fluxed in burning *
See
as

if not quite, as rent transpanearly, as glass."* pot-metal the lead, In the older glass-paintings,
to be
"

Work*

Weale's magnificent work, Certain of Early Matters in Christian Decoration,

are

An

Inquiry

into

the

History of Ancient

in England, with pracPainted Glati,especially tical hint* on Glass-painting by an Amateur 2 vols. 8vo. Oxford, IH47. (Mr Winston).

highly appreciated, that it has become a pression proverbial exto characterise perfect artistic any work, "Het is as derglazen" (itis like the glass!) of St Jaques. t In the church They rival the Gouda elaborate in windows, being most The oti"odesign and brilliant in execution.
and
so

where we beautiful

told

that

these

indows

are

so

in

themselves,

Belgium
our own

are

almost

world-renowned.
we some

In

the aid of solid tioii

to

being possess very to the execution specimens, particularly in harmony and mellowness such as would of a picture, be produced by King's CollegeChapel, Cambridge; Fairand St. Margaret's a coloured varnish. The colour employed ford Church, Gloucestershire; In the should be of a darker tint than in GLAZING Church, Westminster.* which the solid pigment over it is laid. seventeenth century the Art declined. One remarkable revivals occurred formed GLAZING of the most a very important part in when Sir Joshua in the eighteenth, nolds the practiceof the Venetian school,and Reycommissioned in those derived frtin it. Those who paint to design and was New window for alia prima can a College produce the desired effect superintend It is elaborate and Oxford. without an glazing.* Chapel, In ceramic manufactures, the glaze la ably designed work, but so completely the the transparent coating which covers inferior to ancient glassin richness of colour that it only of effect, surface of pottery, and is composed chiefly and brilliancy of of lead and silex. affords another proof of the futility of held in the hand It is misdirected. GLOBE. When once any genius when be successand may of the Deity, it denotes power over fully figures thin, poor, and flat,
country
remarkable which by inferior works the of true appliances displaya knowledge rivalled of the art of power effects. and glass-painting, its peculiar the world hand power. of

pigmenU alone,the inteugive a natural and agreeable

terrestrialand
a

celestial. denotes

In

the

sovereign,it
is sometimes

worldly

It is the attribute who

also of St. Dominic,

in

obtaining certain prismatic

a

with represented it. t the head

dog by
GLORY.

his side The

a

settingfire to
radiation
or

GLAZING

is that

part

of the

practice

round

which of oil-painting of colour

over
an

consists

in the

extremely

thin

or application layer of well

figure of
as

deity, saint,
emblems. The

angel;

aa

the

sacred

(See

BUS, NIM-

another, for
its tone. earliest times of

the

purpose

of
use

AUREOLE,
it also
to

"c.)

Eastern

nations

modifying
from the

It has been

practised
to

of representations glorify

and painting, used

a

that he it is said of Apelles,

or

glaze

heroes,and great kings. warriors, These GLOVES. hand-coverings were

known
to the

tone

his of
a

pictureswith
dark tint.

transparent

ancients,and

called xllf"~

varnish

The

pigments

hand-coverers. 0/jjcij by the Greeks,literally

though, termed them chirotheca and The Romans generally transparent, althe such in without made as in some instances, separate manica; they were of clouds,dust,smoke, "c., the thumb only being free. la representation fingers, when admissible similarlyconstructed pigments are Europe they were opaque with In the fourteenth used. a large mixed in minute and quantities sparingly the into fingers divided them oil. find of painter century we By GLAZING, proportion such variably parency transcertain effects, as when worn by the rich,and reaching incan produce with and mellowness, impossible they beyond the wrist, where indicative wide. made were They were of rank, and made of the in the later part of the ceremonial style and enrichments pies

employed

are

Eenaiftance
"

are

good. particularly
was

costume

of when

an

ecclesiastic in full

cals, pontifiwith

as a originally intended to King the magistrates of Dort present from pletion, VII.. but the king dying before its comHenry of into possession of the Abbot it came

The

latter

they
the back.
to

were

decorated

jewels

on

Similar of

costlygloves
the of of the time

Waltham. it

At

the
various

dissolution hands, for

a

of monasteries

belonged
coronation
*

the

state

royaltyin
In
Practice
154

passed into
Monk,
at
to

General
it uiuk-r

who

and ultimately to long time concealed

ceremonial.
Merrifisld'g

ground, afterwards
New

placing
whence it

it in
was

his
stored re-

See

Mrs.

Ancient

chapel

Hall, from

Oil
t

Painting, Jte.
See
an

Westminster.

account

of that

tsftit,p.

U1.U"

GUA. limited extent and in

Elizabeth

and perfumed,
on

made of silk and they were given as presents frequently It

was

painting.Tho

most

ried va-

great occasions.
wear

customary for

lovers to from
a

them

in.the
were

hat,as

favours

mistress. ornamented

They
with

rately often elabo-

objectsextant are tha vessels used in religious services ; and as it was most properly employed in the sacred vessels and sanctuary of the old temple, so
the chalices and tabernacles of the
new

beautiful

needlework, and gloves

stance subdinous tena

spangled,and
ribbon.

edged with lace and coloured

and machine-made
recent

and dispensation, have been

Knitted
a more

belong to GLUE,
is

period.
(Fr.) This
the skin and

COLLE

FORTE

from prepared Dissolved

partsof animals,preservedin
state in cakes.

dry

saints, metal ; precious of all kinds, and in ecclesiastical ornament sometimes with its multiplied gled minfibres, with silk and purple,it enriches the and the hangings of sacerdotal vestments
moulded
of this

the shrines of the

in

proper

portion the altar. proGOLD and

called in

of water, it yields a jelly-like mass, vehicle which is as a size, employed In the Wax-Painting,

wisdom, dignity, signifies purity, in it used for and is painting glory,

which surround the heads of the the ground the painted, the tery mysof

distemper-painting.
GLUTEN.
name

the nimbi

given to the compound of wax, elemi resin, with the essential oil of spike or or copal, the pigments are lavender, with which
mixed.

forms saints ; it also frequently which sacred subjects are on better to express the It is

majesty of
a

depicted. and glory.* brightness

GONFANON. the
A
a

proper

emblem

GLYPH.
of portions

The flutings or (Gr.~)

cut
as an

dicular perpenupon of

small
"

flagattached
instead
a

to
a

channels

ornament

pole of
in

lance.

It differs from

the Doric

frieze.* A kind
graved en-

banner

this

respect, that
fastened
to

of

GLYPHOGRAPHY.

a drawing, producedby ground upon metal, and taking a cast therefrom by the aid of the electrotype, which produces a raised line like a woodcut; of else the surface or by corroding and BO the platewhere the ground rests, were to the lines which obtaininga relief

etching in

soft

being square, and bar, the GONFANOX, fixed in was figure,

tonsure
same

though
a

of the made

frame

to turn

incised therein.

GLYPTOTHECA.
The sculpture.

(Gr.)
ancients Cicero
were

for gallery minute

fond of such left

a

buildings ; GALLERY),
GOAT. Art
as

and

has

of description

that formed
seems

by

Verres

(see

which

to have

combined also. tian in Chrisquently conse-

the attributes of the Pinacotheca This

an

animal

is used of the

emblem

and lust, old

employed by
express

artists to

that detestable vice. it is

Like similar

emblems,
as a

under seats, usuallyplaced and abhorrence. like

a

mark

of dishonour This

modern

ship's vane,
or

with

two

or

GOLD.
and both

firmness

in purity is employed others, surpasses in the plastic arts and to a all

metal,

which

three streamers
OONFAXON
more people
"

tails. The

of the object

was

to render great principally

conspicuousto

their

followers,
Orita

See

Putin's Glostary of Ecclrtiattical

Coxtunu.

"

Sec

OIOLTTII

and

TtiCLYrii.

mtut

and

GOK" and
to

GttA. ench Grace in individual* of

the terrify
*

horse*

saries." of their adver-

healthyformation.
the human
are

to belongs especially movement*' of

more

GORGED.
to any

A-tenn

in
a

heraldry, applied form, -the

which collar,
a

which

nitely infi-

animal

wearing
A metal

is

more

varied and other

delicate than
;

sometimes

in the form

of

coronet.

those for the

of any

animal the

still

we

can

GORGET.

covering
man, to

recognisein easily
other

worn throat, by an armed the juncture between the

protect
and the

animals,

horse, stag, and movement or carriage

helmet

allied closely of habit has

a

to grace.

Every
no

individual
or

breast-plate.
GORGONEION,
head
;
one

good form, in
natural

whom

accident

bad sesses pos-

GOKOONEIA.

Masks
or

in dusa's Me-

distorted

the

movements,

relief, representingthe Gorgon's

of forms of terror

grace ; it

asserted by some of the grotesque sentations reprewhich occupied union of the sentiments the action
an

proceedsnot, as from a perfect writers,

of the soul with

of the

ensemble

body ; it is the result of of the motions, and resides in

or

the transient

continued

independently attributes,

of the emotions. GRADATION

(SUBORDINATION). The
one

of the parts of a whole from separation another namely, the height from
"

the

depth,the strong from the weak, the heavy from the light, the near from the distant, If and the simple from the elaborate.
a

considerable rank
The

in the

the Greeks.

tilling up
was a

of

art of plastic a regularly

contrast

be not arrived at in order to

a

work

of Art,

the

in artist, needs his

acquire a just gradation,

circumscribed
The work round mask
was

space

law

in relief. in raised the under

nearly
Here
"

thersame in

of the means wise economy be but this cannot command;

that the henna

statue.

was

also it

on

the purpose a surface

"

to this form.
GORGONEION

Of

this

learned,it depends upon the taste and of the artist ; yet the impression rightfeeling tenance of Art makes rests wholly upon a work fixing of a counthat gave its origin a just gradation or subordination of iU the which the most for of was the want description parts,
was an

regard to

tectonic archi-

fastened

on

walls and shields.

beautiful

and

tasteful without

execution which

cannot

They
way from

Dionysiua in this walls ; and in this cycle of gods, on which the mask nated, emasystem chiefly careful to produce a regular they were oval form by suitable treatment of
also fixed masks all kinds of ornaments. As
a

of

compensate, and
becomes
monotonous.

the work
as an

We

will take

example
rooms

of

the arrangement of gradation,

a

in a palace. We enter and pass thence to vestibule,

simple
mented ornasee

the
we

the hair and GOTHIC. is

ante-chamber;
beautiful these
we

next,

the

term

in

it architecture,

reception-rooms ;
find this

and

beyond

appliedto the mediaeval works, now termed the pointedor Christian more properly
style.
used
taste.

ments. apartsplendidly-decorated
no growing gradation,

Without

As

term

in

it criticism,
a

is

impressionwould
in hand with

to indicate

anything in

barbarous

upon our In Architecture, gradation goes the rules for

be made

ings. feelhand

GRACE.
in
manner

One

animated
of
Sir II

of the attributes of beauty beings,resultingfrom the and

AiLrms

action

repose
were

proper
sometimes

to

Nicolas.

and proportion of colour ',gradation perspective ; I'MPainting and lightis needed to express depth and to show and relief, to define distances, the stati- of the atmosphere. GRANDE-GARDE.

called

c.ONrAHONi.

(J/-.) A

term

foi

218

OKA
in the tournament

-GEE.
or yellow; predominate,.there produced the various hues of brown.*

Used pieceof plate-armour,

as an

the

red

are

extra

for protection It
was

the left
to
no

shoulder the

and

breast.

screwed little
or

GRAVER.

and breast-plate,

allowed

of the art of

Ike- tool -used in the tice practimes engraving. It is some'

termed burin.^ being only used " GREAVES, in on horseback, (lat.) Part of the armour joustsof peace." GRANGER SOCIETY. A society so of a proworn by the ancients, consisting tection for the legs, made of bronze, brass, phical named, after the great writer on biograSamuel Granger. It portraiture, for the instituted in was 1842, purpose of a series of ancient English porpublishing traits and familypictureshitherto unenscription graved; the plan of action being a subthe members Of one guinea among
movement

to the left arm,

a-

year,
a

for which copy

each

member

was

to

ceive re-

the print published, number so publisheddepending on the received. Some quantityof subscriptions full-lengthporinteresting exceedingly traits were published ; but after about three ceased to exist, owing to years the society the small number
so

of each

of members

secured

to

expensive a thing as of old pictures. copies PLUMBAGO, BLACK LEAD. GRAPHITE, It is well Carbon, in a nearlypure form. though black title of under the known lead,alcarry out there is not
a

rately-executed elabo-

of lead particle

in its

employedin composition.It is extensively lead so-called black the pencils. making A GBAPHIUM. ment implepointed (Gr.) the wooden waxfor writing on
covered used tablets the
memocients an-

by
as

randum-books, ornamented
or

soft ma* or gold,lined with some silver, fitted with great exterial. They were actness and fastened sometimes to the legs, and richly with straps and an ancle-ring, and embossed.

GKEAVESJ

worn are writing-books in by the modern Greeks,but made such as velvet,ornacised of soft materials, mented general. The inwith gold,and secured to the legs line produced worn by by this instrument by hooks and eyes. The GKEAVES has rendered the shaped knights in the middle ages were familiar to modern the term like the antique,and buckled across nected conears, when sometimes with terms for various branches of of the leg; they were back and ornamented Art made of cuir-bouitti, as zincography,"c. by chalcography, and black is compounded of and GRAY gilding. stamped patterns white in various of the or proportions, " See Hundertpfund'* Art of Painting restored three primary colours red, blue, and and turetl Principltt. London, 184!). to its simplest t See that word. yellow. According to the predominance borate j Our engraving exhibits a remarkably elaof either of these, there are produced blue beautiful one, found in the ruins of and Pompeii. grays, purplegrays, green grays ; but when
" "

UHZ-ttltl.
GHKEN. A of the if the blue
a

pounded secondary colour, comblue and yellow: primaries

applied to a stone-ware or yellow-green, drinking-jugg, commonly used warm-green. GREEN, in blazonry, sinople, signified lore, in the sixteenth and seventeenth centuries, had a bearded face in relief joy,and abundance. Among the Greeks, and which
name

the compound is predominates, blue-green; if the yellow predominates,

a

it is

gory
GREYBEARD. A the upon
term

releasingthe "oul "The Trajan;" and Stigmata."

cf the Miracle

Emperor
of the

large vessel for holding liquors. designated youth,and spring spherical hope, joy, GRIDIRON. la the emblem of St. (the youth of the year),which gives the suffered martyrdom Laurence, who by hope of harvest. The emerald may be It is also an taken for the standard of this colour, as beingbroiled to death on one. attribute of St. Faith, who used in church was In Latin it is similarly ornament. called viridis, and sometimes prasinus. tormented ; and of St. Vincent, who waa wvered with iron roasted on one Green of of itself bountifulness partially signifies moral and in spikes. virtues, God, mirth, youth, A fabulous animal, and gladness. The GRIFFIN, GRYPHOS. blem green field is the emwith the body and of felicity and prosperity usually to perperepresented tuity, and the head and wings of and is the symbol of the resurreclegs of a lion, tion. the union of strength an eagle,signifying of griffins with The were GREEN PIGMENTS derived figures agility. are chiefly
the
same

green Moors also

and symbolised victory, it had

among

it signification;

the upper part of the spout. is still appliedin Scotland to a

The

from

the mineral
to

world,and

owe

their

lour co-

used frequently

as

ornaments

in works
we

of

the

the most
or

of copper. presence valuable to the painter are green, terra native carbonate chrome
green.

Among
chite mala-

Art, the earliest instance

of which

havo

mountain

ronese verde,Veof copper, The only is

ployed em-

green, cobalt green, and

vegetable green
The
were

is sap green, which in water-colour occasionally greens used

ing. paintancients

by

the

appianum, creta viridis (Veronese chrysocolla (malachite), green),theodotiont of and verdigris (acetate copper). GREAT. The last GREGORY, St.,THE canonised. The of events Pope who was
his.remarkable
his great life
are

any record is the bronze ordered Samians to be 640. emblem tombs The
GRIFFIN

Patera made

which about
as

the
B.C. an

well known, caused them

and
to

is

employed
is met

has popularity
of

and of vigilance, and

with

in

sepulchral lamps,in significance guarding the remains of the the seated on a As an attribute, it signifies and bears the pastoral deceased. staff, the in hand of one a BOOK gods. throne,holding (his destroying power In oilPIGMENTS. OF and with his peculiar GRINDING homilies), attribute, ing hoverthe pigmentsare generally ground a or dove,restingon his shoulder, painting his head. The as in poppy or nut oil, over they dry the best, subjects most If these the colours. and do not deaden frequently represented in works of Art " The in the be Mass in which oils St. of not bright and are purest state, Gregory," pure if they be rancid or rendered imthe Saviour appears to him with the attributes or clear, of the Passion they vill surrounding him ; by mixture with other oils, tbe desdeu the painting, "'The Supper" of the saiut ; "St. Greturn yellowon
a source prolific

be

for subjects the tiara

as

the

He usually wears painter.

Pope,

of the act of

"

2-vi
"

UlU"

GUO.

and dry with difficulty. A good oil olour, ought to be so dry in five or six days,that the picturecan be repainted.Formerly it
was

by brown.
or

mak Many painters in a brown pictures, is w'iSeen grisaille

An

first sketch of their

the custom the

for each in his

own

master

to prepare

the term to which tint, t imes misapplied. GROLIER scroll and

"

pigment*

and studio,

SCROLL. curved

ornamental

the firstoccupation of the in

pupilconsisted

washing and grindingthem, by which with the much practicalacquaintance of pigments was acquired,the qualities
proper oils with which each should be

embracing lines, half-circles, angles, and greatly resembling the strap-work of the sixteenth century,
"

except in the addition of foliations.

ease

The

with

which

it could

be

adapted to all

made it abundantly ground, the composition and properties ornamental purposes soon since the time of "c. ; but, of varnishes, from popular. It obtains its name instruction has taken a higher the Chevalier Jean Grolier, the Caracci, of the four one of France and the knowledge of this mechanical treasurers direction, (who was born 1479), has been of Art he lover of neglected by was a part books,and adopted great obtain from content who is this to the artist, of decoration for the sumptuous style all the materiel of his Art the colourman bindings with which he enriched them, he is said to have designed and which ready for use ; it cannot be denied that the painteris a loser by this practice. A himself in moments of leisure. So remarkable the list of the at for and taste mere are care glance pigments prethey pared for sale will serve to convince bestowed cally on them, that a book intrinsiany mind that a very largeproporworth five shilling has fetched at a intelligent tion of them than fortyp" unds. are merely " made to sell," sale more and the tyro is confounded at the firststep surd GROTESQUE (Ital.)Fanciful or absides, Bewith the wealth of his colour-box. crous" ludiof or heterogeneous ; composed many of the
lire pigments cannot
are

sold'irfa in
a

parts. The

term

is said to

have

ground state,which
dry
as

be found

state ; all such

pounds. comempirical

examination practical

(such

in Italy, the discovery of originated upon some whimsically designed paintingsin of Roman the artificialcaves which houses,

"c. would imitated in the grotto decorations were ensure) of those grinding, pigments which are truly indispensableof modern villa residences. would reduce the number The first layer of paint GROUND. to the painter, and industrious to the comearnest so much, that the mencement canvas previous placed upon undertake willingly of preparing them for his own over therebyacquirea command that would force to his artist would the labour
use,

of the artist's work The The substratum

a

and

of house

a picture. painting. on

liis materials

lowest part of

work A

in relievo.
to representation

impart

and certainty

GROUND-PLAN.

and fully a execution, given scale of the various apartments compensate him for his pains. and generalarrangement of a building or GRISAILLE. (JV.) In grey. A style place. The PEIMINO. subof painting employed to represent solid OR GROUNDS, which the and bodies in relief, with such as friezes, canvas stance are panel mouldings, them covered render fitfor of on. ornaments to painting bas-reliefs, "c., by cornices, either absorbent sorbent. non-abGrounds of grey tints. The objects are or means sented repreAbsorbent are grounds are prepared supposed to be white ; the into a paste shadows which theyproject, and the lights, by mixing chalk or plaister animal with flour from those most the reflected or to glue, paste. The vividly covered "with various non-absorbent least, are grounds are properlydepicted by the is usually the oil-colour ; as of canvas grey tints produced by the mixture white with black pigments,or sometimes bought ready preparedfor use, the artis'

OUI-GUT.
the standard of
borne
a

company

of

and soldiers,
""

.UUMI'TIUX.
.

..S"".MAOU-I-.'
is in request by supposed "lost

This

GUIGE.

their cornet. '" b'y (Fr.y The the. shield of from the
a

elegant and
a

name expressive

strap of leather
soldier when
was pended sus-

nostrum

much

appliedto in painters
medium"

by

which

search

of the

neck,

not

in

an

encounter.

of the old masters, and to which cribe they astheir unapproachable excellence.

GUILLOCHE.
kind
and lines,

of ornament

each other.

Notwithstanding the favour with which this compound is regarded,it has never desired been known to accomplish the their contours to in parallel ceived rational mind be dein the upper portion object It is seen ; nor can any into the delusion, that it was any such trifleas a medium that could impart those fruits which are due only to genius and well-directed industry. The old masters not mere were painters; they were, for the most part, men possessing highly cultivated minds, and truly devout ; who
GUILMXCHIS. A (jFK).

composedof:undulating

would

have

achieved The

greatness in
formula

any

other vocation. this

medium, givesa

for ing preparmixture of drying

mastic varnish, which or simple linseed oil and gelatinises; sugar of lead.

linseed oil and

.GUN.
termed of this ornament, engraved from vessel in the Jfusto Borbonico. GUIMET'S
a

implement, originally into use in "hand-cannon," came

earliest notice

This

broiixe

the

fifteenth century, the

thereof FRENCH and

as

beingat the

of siege

Lucca,in 1430,

by a contemporary writer affixed iron to which was club, A factitious pigment of ULTRAMARINE. filled with sulphur tubes, which, being blue colour, fine azure a a compound of and nitre, by the force of fire emitted iron and of trace a alumina, soda, sulphur, balls." They were quickly adopted in offered as a useful substitute for the iron, other parts of Europe, and were common ultramarine. It is not, when more costly in England before the middle of the century. deficient in any of the prepared, properly " Two noted as are hand-gunnes of the lapislazuli, and for good qualities four shillings, in a roll of expenses the artist, well for ration, costing as as purposes of decoof the castle of Holy Island, Durham, in It ia a answers every purpose. and when Edward IV. landed at 1446; valuable addition to the palette, being Ravensburg, in 1471, he was attended by and durable. transparent armed with "hand-gunnes ;" 300 Flemings, GULES. The heraldic term for red, but were fired by a they had no triggers, derived from the Latin yula, the throat ; match appliedby hand the Arabia gitk,a rose. or ULTRAMARINE,
"

described

"

GUM

ARABIC

dissolved in water

stitutes con-

the well-known

vehicle in waterwater.

in and

Ingenuity supplying
in the

appears
names

to to

have this

exhausted panacea
on

itself for
becility. im-

In the thus and

different

treatises

painting

colour, painting
"

gum-

It should

be made

of the cleanest and whitest

pickedfrom the mass, and when strained through muslin,and a small portion of white sugar-candy added to prevent its crackingOF"sealing when "iwd.

pieces dissolved,

colourmen's find it catalogues we list is too curious The variously named. significant to be omitted : magelp, magelph. maxilp, magylp. magylph. megilp, megelp, mesrylp, megylph. macgelp, macgelpb, macgilp, macgilph, macgylph, macgulp, magulp, megulph, mygelp, mygelph, mygilp, inrmygulph, Gumptivn 1 gilph,invtfulp.
"

GUT"

HAB.
kinds of

223

A holy hermit, who ST. GUTHLAC, in 714, in the swampy island of brated where m celeCrowknd, in Lincolnshire,
died
'

combat, and

the"e

were

aUo

cated indi-

in the statues the victors ; but the

to all
"

erected
ATHLETES

in honour
wen

of also

monastery
to his memory.

was

afterwards
was

founded

as in sculptured frequently

actions which the

been

much

tormented

he is sometimes with
a

scourge,

submittingto
GUTTA.

to have reported by demons, whom as represented punishing to flight or as putting ; or their molestations, while

He

were

common

such

as

anointing

the the very

body,praying for victory, encircling

head often with in the victorious
a

quite

and fillet, quilly simple and tran-

angelsconsole him.
of glass, with generally
a

some

time

firm posture. These statues, which often falce received names ago the

for (Lot.)A long-neckedvessel, (for example, genius prtettes'), small

globular most part held garlands in their hands; to hold precious oils or perfumes, and base, palms also served, as in Hermes, to point named from its resemblance so to a tear ; the numeAmidst out their significance. rous and sometimes, in' Catalogues of antiquiwhich in ties, figures appear, particularly described as tear-shaped vessels. The of the vase as superintendents paintings, is also applied to the goldendrops at name we exercises, expect to find may chiefly the angles of the chlamys,employed to the aliptte, whose or teachers of gymnastics, b ound fame was with that keep the ends of that part of the garment intimately up their and closer the of to pupils. pendant, (See person. PLASTEK PARIS. phate cut to CHLAMYS.) In Architecture, it is A sulOF GYPSUM, the conical-shaped of lime,found in largequantities used to designate at ments ornaunder the of triglyphs
a

frieze.

Montmartre,

near

Paris. in the Arts

It is extensively for

(See cut to GUTTE*.

to

METOPE.)

employed
much harder

malting

(Fr.) An

designatea after the manner of the hearsedrops, or cloth, hangings of a funeral-chamber. GYMNASTICS. (Or.) Public athletic exercises and games constituted that phase
with of

heraldic t"rm, used shield or charge covered

moulds, taking casts,"c. by the

of

It is rendered
a

addition of

small portion

of silicate of potash,or soluble The Art

making
material

fluid is
as

images
and

of that

is named

by Pliny*
day.

glass. plasterand very ancient, practised by

works
are

Grecian

life which

was

most account

pletely com-

the artists of his

too
own

Such have

of
our

reflected in Art, on natural in affinity From

vase relievos,

of the

which

it stood to
as

ture. sculpfrom

to a character fragile time,except in rare

reached

instances.

Some

this source,

well

as

and gems, a very paintings, can cyclus of representations complete stillbe enable hitherto
or

in ancient Cilicia ; f they consisted of small figures cast in a mould, have been found like those vended

by
were

the modern

Italian

composed; and
us

these also

certainly image-men, J and

than has from
were

made of fine plaster,

or

to

penetrate deeper
done into the

calcined believed

gypsum to

and alabaster, made about

been

gymnasia,
ancient

have

been

methods

and

artifices of the

A exercises. Short curling hair, corporeal (See HAUBERGEON.) robust limbs, a powerfuldevelopment of small heads, form, and comparatively characterise the entire class of gymnasts ; the bruised ears and prominent muscles the boxers and in particular distinguish aim with anIt cient was a leading pancratiasts. with Art to represent, truth, perfect teristic the particular form of body and characmotion! belongingto the different
,

150 years B.C. HABERGEON.

soldier's outer

tunic.

* lib. ZZZT. Nat. Hint p. 153. who says : Hominis autein imaginem gypao e facie ipM in earn forexpreuit ceraque primus omnium
"

"

infusaemendare instituttLysistratui mamgypsi Sicyonius, frater Lysippi, de quo dixinm.v" in Mr. Barker's Laret described t They are don Lonand Penatei; or, Cilicia and Hi Gorernort.
:

IM.VI.
name

antique yyptoplcuia.
t The

for UMM

workmen

vac

"14

MAB-11A1. MONASTIC.
are

HABIT,

Tlw

different

nastic mo-

the, statue,uud frequently person it represents.

"

lours distinguished by the copeculiarto each, the knowledge of which is important to the artist. The Benedictines wore black,the Dominicans

orders

All the Greek

divinities

are

tinguished dis-

by
modified in but
some

characteristic

eot/ttre,
arts progressed,

respectsas the
altered in

never

character

black
was

mantles
worn

over

also

by
black

-"l"rek "from the- original model, so that any person the Augustines, the Serwith the works conversant of tolerably white -tunics. and the Jesuits. Greek the of Art may almost

viti, the
White
over

Orutoriani,
was

invariably recognise
the

worn

by

lites the CarmeWhite

and is
worn

the Pramonstratensians.

from deityrepresented the hair." * Thus, the

disposition

hair of

Jupiter

the Port Royrises from the forehead to fall back in long Cistercians, alists, the Trappists, the Trinitarians, and wavy locks on each side the face ; Apollo the Camaldolesi. has the long locks twisted and tied over The original colour of the Franciscans the head, and flowingdown was the neck and grey ; the reformed " Franciscans wore shoulders the dark brown tunic. ; Mercury has close curly hair ; HAIR. from the like a lamb's Hercules,thick close curls, Among the ancients, earliest times, the hair of the head was fleece ; Juno has the hair partedin front, and falling in dignified locks ; Venus an has objectof especialcare and attention. the hers in at first worn a Among Greeks, it was gathered simple knot behind, "c. "c. The Roman ladies dressed the those of long by adults ; boys,especially hair with until the age of puberty, in the early their Sparta, wore great simplicity hair cropped close. At a later period, times of the empire; but in the latter days it "of-Roman luxury varied and intricate modes was their hair to wear customary for men of hair-dressing cut short. The Athenian the custom were was adopted, continually in the reigns of Augustus, of the Spartan ; the hair was dius, Clauopposite particularly worn and Hadrian the and cut upon arriving at monuments long in childhood, indeed, ; manhood. fied identiThe cutting of the hair was of the latter periodmay be readily an the and act of solemnity, and performed with many by laboriously-constructed ceremonies. In works of Art, the ephebi exaggeratedcoiffure adoptedby the ladies. used to heighten (youth who had attained the age of eighteen) Gold-dust was frequently its and did and the athlete are effect as so luxuryincreased, ; always represented with it
was a

by

the

short

hair

Among

the

males, the fe-

cost

and

care

of the

ladies in hair-

the custom to confine the dressing. barbaric nations delightedin the The times band, or with net-work,someof their locks, the ornamented with and particularly richly profusion gold and northern Germanic and in other metals,examples of which tribes; seen are find usual ornamental their graves it is to in the paintings found at Pompeii. In combs buried with the deceased, other representations, as a most find the hair enclosed we The early Britons were valued possession. in a kind of bag, made of various textile materials. The coloui most prized noted for their long bushy hair ; and the ancient Irish cherished the "glibbes" or the most was blonde, although black was ders. In times of mourning, the hair matted locks which fell upon their shoulcommon. The cut short. prided was Saxons, particularly, their themselves This apparently on light-coloured of flowing unimportantportion locks ; and so did the Danes, who bestowed ever, howfashion the dressing of the hair is, much in combing and arrangingthem ; of extreme moment care to the artist and who was about the antiquary, as by a knowledge of its it is recorded of one warrior, hair with
" "

he peculiarity
"

can

detect

the

age

of

to suffer
*

that decapitation,

his last request

and Roman

See

Mrs.

Jameson's

Legend* of the Monastic

Smlth'f

Dictionary of Ortet

Antigmtift.

HAI"
to the executioner
was

HAL. HAIR

324

neither

to allow his

PENCILS,

or

are bntthes,

made

hair to be touched
nis
own

Ac., for the purposes of that cognomen from his the swine, hog, "c., for coarser and fair locks ; work. the old northern poets seem almost to conor fuse ing They are mounted in quills tin,accordthe sexes when the use to their size, as or to which speaking of a man they " beauteous in his locks." be The Normans A appropriated. perfectpencil may the hair long,the ladies encasingit should swell all round wore from the base,and in silken nets,or entwining it with ribbons, diminish upwards to a fine point,which it should be solely allowing to reach to the ground. In the produced by the tapering thirteenth and fourteenth centuries, of the tips it was of each hair toward the centre ; the entire form takinga conical shape. worn by men very H ALBERT. A weapon thick,and curled at formerly much used by soldiers, which consisted of a pole the sides (Fig. 1) in a very peculiar about five feet in length, surmounted by head of steel, a manner partlycrescent-shaped ; the ladies ; it from the German words confining derives its name generally alle-barte (cleave-all), which theirs in a golden sufficiently indicates its use. It is first mentioned caul of net- work, or in the Edward of but it flow the to reign IV., pole-axe allowing in use long prior to that period,* confined by was and freely,
blood.
"
"

nor by a slave, by Harold Harfagre obtained

stained

of the finer hairs

of the

martin, badger, the artist; of or

band

across

the

head, except for

dressed

short

period, when
horns upon

they
cut

it like

great

the forehead. the hair Richard

In the fifteenth ing closely ; and durthey cropped the face in

century,men
the

reign of

HI.

it round
a

very

peculiar

way
two
serve

(Fig.2). The engravingswill

to show

how

accuratelyperiods
may be indicated of hair by the style During the adopted.

sixteenth
it
was

century,
rished lock che-

again worn
uncut, and

long, and
termed the
"

one

which with
a

hung
ribbons.

below

a love-lock," waist, decorated

Queen Elizabeth

introduced

style of decoratingthe hair with jewels,ribbons, and feathers a fashion continued in the succeedingreign. The Puritans cropped the hair; rigidly
most

elaborate

"

may

be considered which

as
a

the prototype of this of fangreat variety

weapon, kind, and

Fairholt'f

took

hence

the term

"

round-head."

With

the
illustrative engravings, see many Costume in England, "tc. * exhibits of the many Our two cut forms, and for the ornamental otherwise, adopted of the time halbert. Fig. 1 is a plain halbert of

Restoration, flowingcurls came ; and were it which succeeded by a varietyof styles,

would occupy
further
a

volume

to describe.*

Henry

VII. of

"

For

information

of

more

detailed

of the time

Fig. 2 an ornamented Henry II. of France.

halbert

226

HAL"

HAM.

decorated Vili.,the most agreeableand beautiful of occasionally blade being frequently any he painted; the Princesses Elizabeth with It with ornamental devices. and Mary when remarkable are perforated young, decorative for the clearness and power of handling a mere ultimately became for display in public possessedby the artist;a curious fullto be used weapon, and as length of the poeticEarl of Surrey ; the nalia ceremonials, part of the parapherWill Sommers of home-troops, or palatial guards- king's jester, men. ; and many iiful

forms, was gilding,the

others of that time.

Of

Queen
Mark

Elizabeth Zuc-

HALF-TIMBERED.
for designation
a

An

architectural

there

are

several curious

portraits by

in the sixteenth and seventeenth

More, Mytens Van Somer, Janssen,and other portrait and the foundations painters of the period, are well principalsupports and all the interstices of stout timber, were represented by their various works many remarkable for artistic feeling, and all for of the front of the buildingfilled in with sometimes ornamentallymoulded, a truthfulness which stamps their pictures plaster, with indelible interest. Vandyke, Rubens, the beams richlycarved being frequently and stained, vourably picturesque and Gerard Honthurst, are also seen fagivinga singularly
centuries ; Cornelius Janette,
"

building styleof decorative housei n extensivelypractised Europe

chero,Lucas
Sir Antonia

de Heere, and

Garrard.

character

to the whole.

; while A beam in Gothic the such

Lely and
in the Courts

Kneller

shine to of the II. and

are where no-

HAMMER-BEAM. architecture and forms

a

advantage
of the

delineation of Charles powers here.

which

from projects

wall,
mer-beams Ham-

beauties William
so

sort of bracket
an

support for the

roof.
an

HI.,
well

that

their

tie-beams

of

ornamental extend ends

are

as displayed

pendently Indemany

never

across

ment; apart-

of the

there portraits,

are

and

their

with

corated other pictures scattered through the rooms commonly dewhich excellent lity are carvings, very frequently examples of the abiemblazoned would of the show and respective artists,
to

angels bearing representing

shields.

which

greater advantage unmixed

HAMPTON
The old

COURT

GALLERIES.

with

the inferior works

by

which

they are

palaceat Hampton Court contains of of the few public one picturegalleries the It of is open England. every day day), week except Friday (and including Sunfrom the hours of ten in the
ing morn-

surrounded.
The ever, howgreat feature of the collection, is the
cartoons by designed on paper foi to adorn patterns for tapestries of the Vatican,and to be exhibited

world-renowned he

Raphael, which
Leo

X.,

as

till six in the of

Apriluntil

the

evening, from the and 1st of October,

1st the

the

Palace

in St. Peter's the

on

of the year from ten collection is of a very heterogeneous remarkable for character,and is chiefly The the ancient it contains, and portraits There
are are

remainder

until four.

the
some

cartoons

historic

by Raphael. pictureswhich
as

such VHI. of
at

able, very remarkthe "Embarkation of Henry the

"

days during year. after being cut up at Brussels for the use of the tapestry workers, appear to have been who neglecteduntil the time of Charles I., either the at of them, purchased instigation of Buckingham. Rubens, or the Duke
When the remarkable collection of works I.
was

few great feast These cartoons,

Dover, 1520," and

VIII. and of

Meeting
of

of Art formed

by

Charles

scattered

Henry
"

Francis I. in the Field the "Battle

of the

Cloth

Gold,"

civil wars, those cartoons, which that king had obtained chiefly to improve

by

the

Spurs," King Charles II. departingfrom The portrait? number Holland," "c., "c. them fine Holbeins, among many very of Henry a particularly youthfulportrait

the manufactory he had established for found making tapestry at Mortlake, were and would have packed carelessly away, been sold with the rest had
not

CromwclJ

ILkK.
secured them
wars

"127

them

for
same

"300, intendingto
but

retain

of
one
"

owning
who

the

"

divine

"

works

; and of

any
the

for the hindered

purpose, this from being effected.

the civil

studies the of the

fine cartoon

Murder
our

Innocents," by Raphael,
will Gallery, has how been
at
once
tee

At the restoration of Charles monarch Ambassador and

; Lord

II.,that

generate dein

National

sold them

to the French

the mischief
"

which

done

by

the
perior su-

Danby

however

fered, inter-

and restorations,"

very

much

it is in colour, leavingthe drawing, and all the country. They were, however, totally requisites of high Art to those of Hampton neglected ; the pieces into which in fact, different in all they Court. It is, totally
were

prevented

their

cut were

stowed
state

in this wretched the

to

boxes,and theyremained,until
away III.
was

in

the

attention of William

directed

at Hampthem, who built the gallery ton topher Court, from the design of Sir Chris"Wren, expresslyto receive them. The liberality of the king was, however, not equalledby good taste, for he engaged named a Cooke, to restore very bad artist, the injured and paid him a miserable pictures, for doing it. The " talent" displayed sum be the from fact of judged may Cooke having copied them for the anew Duke of Marlborough, himself a miserable judge of Art, and yet he was so disgusted with them that he consigned them to a garret at Blenheim. "Walpolehas well observed of William HI. : " His majesty neither painters nor patronised poets; he and not sought artists to fought battles, commemorate

which constitute qualities them without greatness. Cooke repainted knowledge or taste, and without any reference to the original design when portions had
"

essential

been

as lost,

in

the
"

case

of the

Death

of Ananias" of

and the

Miraculous

the Fishes;" in the latter, Saviour's robe,originally crimson,is now white,though the red shadow on the water still remains. In the " Beautiful Gate," the old man's head, over the figure of St. forehead wrinkled was John, whose by
age, has had
a

Draught

these wrinkles the

converted

into

broad

filletover

entire

for forehead,

which
"

they were
a

mistaken
was

Death

of Ananias"

by Cooke. The in so fragmentary

feet of the

that nearly two state,

them." fame of the

He

could

stand underthe

has been lost ahugether, and upper portion in a reproduced marvellously contradictory " St. Paul and styleto the original ; and Barnabas treated. at Lystra"was similarly The

the

cartoons, and

purest is

"

St. Paul
s

at Athens

"

yet

them ; he was regal credit of possessing locate them to properlyfor this willing he allowed Cooke to but tacitly purpose ; of Raphael, and put himself in the place bedaub and destroy the di"restore" vine
" "

master's It launch
cartoons
as

work. for most when Court

"

is the custom into heroics

at

writers

to

the describing
to assert

Hampton
exist

that

they now
fortunate

they

are

the

noblest that
more

works the than

of Art the world

possesses, and spectatoris to do no The truth

is,we look upon little work of Raphael's very noble that has been the design(and except the has rest occasionally tampered with), been marred by Cooke' s repairs. This is visible that the merest "0 tyro in Art,

loudly admire.

engraved that of Raphael, without and perpetuated as reference to the tapestries the slightest which have been constructed themselves, when in a perfect these cartoons from as them, and which state, Raphaeldesigned t he only exponents of bis are, therefore, ideas in their original purity. Many portions Court of the cartoons at Hampton note his power, and generally they dedisplay educated but his wonderful design no ; than look with any other feeling eye can his work, at the daubs which cover disgust and destroy the proper contemplationof their beauty. Raphael re-coated by Cooke
of the is the very converse Ass in the Lion's skin." HANAP. cup of metal fable of
"

all this work

of Cooke'

has been

the

inblinded

would by prejudice,

be ashamed

with

((?"".) A covered drinking elongatedstem. Th* an

223

HAN"

HAK.

German

(Fig. 2.). The hands of our Saviour, pierced,were frequently representedin in their manufacture. sculptureand painting. The wound on In Christian Art a hand is the HAND. the righthand is termed in old devotional indication of a holy person or thing,and books the Well of Mercy, and that on the in left o ccurs the Well of Grace * pictures representing frequently extended from cloud as a HANDLING is the manner martyrdoms, of execution M. Didron has engraved, in a saint. over by which the artist produces FINISH ; it a curious representation his IconographieChretienne, is the method of manipulation peculiar of the souls of the righteous to each artist in the use of his pencil. in the hand of God, under the form of a The handling, or execution,of Rubens figures, grasped in a differs greatly from that of Rembrandt, or group of tiny nude the clouds. hand from issuing gigantic Teniers,or Guido, and it should differ quently with the same in the act of benediction is freA hand to the size, artist, according with in earlyChristian Art, met and treatment of the subject style, ; still and generallyrepresents the Almighty a broad and free method of handling is Previous to the twelfth century, Father. not incompatible with extreme delicacy. the Supreme was alwaysrepresented by a The band or strap affixed HANGERS. extended from hand a cloud, sometimes to the girdleor belt,and to which the with from the proceeding sword rays was open, hung. The sword so suspended in the act of benebut generally diction was also termed a hanger. fingers,
sixteenth HANGINGS.
to

goldsmiths of the fifteenth and centuries particularly excelled

The

term
as

anciently applied
to the to

tapestry,as well
and needlework

cloths

of

gold

used

decorate

the church.

HAQUETON,
a

ACKETON.
or

In armour,

tunic quilted wadded those who

skin garment of buckwith cotton, worn as a defence could

not

under

by
and
"

afford

hauberks,

with viz.,

two

raised fingers

and

the and it

by persons of distinction to protect body from the pressure of steel harness,

sometimes in lieu of it

of the the rest open. The representation with divine benediction is not the same the Greek
we as

by

them

also ;

with the Latin

can

theless, Church, neverdiscover the thought easily

concealed In the

under

this double

form. symbolic index and the others of the

by being gold thread.f This term, appliedto a work HARD. that rigidity of Art, designates of drawing
was

ornamented

stitched with

silk and

Latin

Church
are

the

which

characterises

the works

of the

me-

middle
are

fingers

the two extended,

diseval artists. It is also

ing, appliedto colour-

bent and
; thus

shut

againstthe palm
the three

hand

is indicated

august

is

The persons of the Trinity, (Fig. 1.). Greeks extend the index, bend the middle, the thumb crossing and the which Christ. bend four the letters

when of softness and delicacy a want apparent in a picture. It is generally which rejects the used to designate a style
to the mere

ring finger, upon thus forming little finger,

the of the the Greek

adheres graces, and too rigidly of Art. mechanism HARDNESS. academic "Want of

refinement;
than artistic

alphabet
of Jesus

drawing,

rather

iota; the middle

the I, finger represents C sigma, ; the the chi,X; finally, ring and the thumb, the little finger,the sigma, 2." ISXS the ancient

compose The index

monogram

feeling.

Pugin's Glossary of Ecclesiastical Ornament

Costume.
AMBESON,

and

t See also G

to which

it assimilate

iL

330 bat-relief
on

HAT" the Antonine

a

HAU.

column, Borne.

1); the (Fig.

crown,

The

hastapurawas

headless spear, often

CAUSIA, which h"d a very low belonged to the Macedonian,^Ito-

and also, Thessalian lian, Illyrian, perhaps,

'TV
1. 2.

costume

We

may

also mention
was

the semi-

oval sailor's very

to which bonnet,

given a

borne

by

Boman

emperors

on

in Samosignificant interpretation thrace. The Phrygian cap (Fig.2) is not met with in Greek Art,in its unfrequently well as as more complex form. casions, simpler ocpeaceful

token

on represented of their placidity ; or or

their medals,in borne

by deities
tary, the mili-

Coveringsfor the head and feet characterise or grades of men gods in antique costume,
to trace

of bland intentions.

the varieties of which for the

more

is of importance,

HATCHET.
or

An

axe

used

by

accurate

nation determiare
a

by executioners. It is borne by ancient covering for the head, and far more the apostles and Matthias, Matthew as an and convenient than the modern useful of their martyrdom. emblem which presenta cumbrous, fashion of hats, The HATCHING. term appliedto a useless elevation, and leave the ears and side by side, series of lines placedclosely neck completely e xposed.* to producethe effect of an uniform tint in HAUBERGEON. (Fr.) In Armour, a engraving,and laid on by the strokes of the over garment worn quilted gambeson the crayon or graver, at anglesmore or and under the jupon. or haqueton, dow. Jess acute, accordingto the degree of shaHALBERCUM HAUBERK, (Laf) In of It is also used to produce some tunic of ing descenda ringed mail, Armour, and in in fresco-painting; the shadows
MINIATURE

of heroic

HOODS figures.

most

it is very

effective when

well

below

the

knees, with

wide

sleeves

executed. HATS. have

reaching a Coveringsfor the

head and

littlebelow

feet

cut up before and

; being behind, a littleway, for

the elbow

diversity * The felt hats latelyintroduced, and, as we probablyundergone more of shape than any other portionof our to perceive, are likely to be generally gratified identical in form and material are adopted, mined deterand have more especially apparel, This kind of head-piece has with the CACSIA. of different nathe varyingcostume tions. it" material, form, everything to recommend it is classic and and colour and, moreover, did hats not belong to In Antiquity, picturesque. It is truly melancholy to reflect the ordinary costume of life in cities; they upon the singulartyranny that for two generations and sometimes has inflicted upon denote rural, an people so intelligent equestrian, unsightly,uncomfortable, and altogether warlike occupationsas the Kwirj, which of thought" a covering for the "seat
"

suitable un-

"

in Bceotia bore the form that Thessalia, hat is known of

an

of

fir cone

; in

the petasus
and form of

by men worn especially by horsewith in the the ephebi, chlamys,

was an

umbrella ; the arcadian its very largeflat brim ;

hat. It has, in fact, nothing to the modern recommend it ; very little rough usage renders it shabby; rain spoils assemblies it; in crowded
as

it is
source

an

of

incumbrance, always in the way, and to the wearer, anxiety and annoyance
purposes What
a

while

for artistic avoided. of

it has
can
a

to

be

diously stuor
"

painter

umbellated

flower reversed

sculptor make

modern

hat?

HAV"
convenience in thus riding,

HEB.

231

It

WM

it had the apligence it has always beeii considered, pearance in short trousers. terminating of far greaterimportance among Christians, introduced in the twelfth century, than the rest of the body. Accordingto of

Durandus,

the latter may

but the former

be buried where, anycrated only in a conseof

place; hence the

RELIQUARIES

custom

making
and

under the form

of heads

busts, and the frequentintroduction of in heads, with their distinctive coverings,

Christian decoration and
saints
are

sculpture.* Many
St. Denis of in their hands,

like represented,

their heads France, bearing

to their martyrdom by decapitaalluding tion. It has been supposed that this may have been originally intended merely to them this last and soas depict offering lemn faith the to testimony ; and that the afterwards made fit the to legend was

materialism of the picture, that asserting thus theyreally which means by symbol. HEAD-PIECE. and is
walked
a

after
was

decapitation,
made
of
a

fact

The

helmet

of the soldier.

The ornamental

supposedto have been invented in the top of the of a chapter. Germany. It is said that the name given the commencement this In bute Christian Art, the attrito vestment by the Normans originally HEART. of St. Therese and other saints ; it is for the throat ; but a signified protection the term could onlyhave been appropriate sometimes placedamidst glory above the when the capuchin heads of saints. The flamingheart is a the formed a comor cowl ponent of it.* of symbol charity part ; it is an attribute of St. HAVERSACK. A soldier's knapsack, Augustine,denotinghis fervent piety. It in flames, neate is sometimes represented to delicontainingpersonalnecessaries for a campaign. It is a corruptform of the French the fervencyof devotion ; or pierced
term

at engraving placed first page of a book, or at

havre-sac.
In Christian the introducing within

with

arrows,

to

indicate

the wounds

of
in

HEAD.
of

Art, the custom heads of sacred personages

is quatre-foils

sorrow.

The heart

of the Saviour

is frequently

circles and
and

in the first manner, depicted, Catholic pictures ; and that of his mother the latter of her
"

in

very them also

ancient

significant."We
on

find

enamelled frequently
on

early shrines,
chalices. alone is Lord
a

daggers,indicative mode, seven seven it,and sorrows,"piercing

sort

the

knops
the head

and of

feet of
our

forming a
is not

of radiation

around

it. It

Sometimes

uncommon

both these to represent

to opening the breast, in situ.

in the represented cross, within

NIMBUS.
*

centre

circle

processionalsacred personages the heart which forms the display

of HEBE-

As the head

is the seat of intelAncient

VASES.
so

Small

vases

like
carried

See and

Meyrick's Critical Inquiry into

cotyliscos,termed because

Arm*

Fairholt's Costume in EngArmour; land; Planches History of British Costume. The engraving is copied from the Bayeux tapestry, and

by Hebe,
*

the

generally of nectar dispenser

to

represents

warrior

of the time

of William

the

Conqueror.

See and

Pugin's Glossaryof
Costume.

Ecclesiastical Ornament

HK1" the gods, and their filling it who is

HEL.

cups from To HEIGHTEN.

make
means

lighterand
of it. ST.

of touches

placedupon
HELEN,

sive GALEA HELMET, (Lai.) This defenfor the head was protection originally made of leather, and afterwards strengthheighten a tint is to ened and ornamented more prominent, hy by the addition of it light opaque colour, bronze and other metals, until finally constructed of lined was metal, entirely such
a

representedj usually
vessel.

met wadding. The form of the helto that a simpleskull-cap It was surmounted her zeal which led to the establishment with a lofty or ridgeand crest, made of of edifices for the Christian religion plume. The crest was frequently horse-hair ; sometimes she in the holyplaces the helmet had two of the East. Hence and even three crests.* with a model of The appendages is sometimes represented to the the church of the Holy Sepulchrein her the cheekwere helmet-proper a nd the beaver other she bears visor this latter times or a large pieces, hand; at

Empress

and

mother
A.D.

of

with felt or

Constantino the Great.

She

died

328.

varied from

"

worn usually by the gladiators.f The Anglo-Saxon helmet was by which he was merely a affixed to it. She is generally wards represented conical cap,J with a nasal,which afterin royal became improvedinto a face-guard, with an imperial on crown robes,

of of her allegeddiscovery cross, typical Saviour and that upon which the died,

barred helmets

or

perforated ;

of this kind

are

the

also bears the three nails

her head.

HEUOCHBOMY.

(Gr.)

compound

word, literally sun-colouring, signifying

and
to that process by which tographic phoapplied in their natural colours pictures

are

obtained. HELIOGRAPHT.

("r.)

phic photogra-

upon process, in which resin is spread steel plates.The parts exposed to light
are

rendered

more

soluble

than

those

in

leave shade ; and hence,when evaporated, has bare. This the plate lately process Heen revived,and used to prepare steel for etchings, plates many very promising character. HELIOTROPE.
stone

of which

are

of

used

in

(Gr.) A precious cients. by the angem-sculpture

It was a green agate, mixed with and hence occasionally spots of red jasper,

called bliod-stone.
HELIX. the tendril of

(Gr.) The delicate volute curls over a vine,which

the abacus
are

like the
or visor,

3.

4.

beaver.

It

underwent
names.

many

and just beneath leaves,

of

rinthian Co-

and modifications,
*

took many

|| A

capital.They from one springing couples, forward till they touch or in summit, at the angles, the capital.
HELM. from soldiers,

arranged in and bending base,

each other's of the centre

See

cuts cuts

to BDCCULA.

to CAMPESTKE. to that word, and of the Greek and Roman ordinary helmets in our be seen engraving* soldiery may

t See

The

on

The

helmet

of

knight

or

the old Norman

French

word

pp. 42, 43. t See cut to HAUBEBK. " See cuts illustrative of that word. CASQIE, BOCBGINET, BASCINET, H See AKMET, where in this dictionary, CHAPELLE-DE-FER,"C., each is described.

ktatutmt.

HEX" few of the

more

HER.

233
crest

surmounting the helmet helmet may in our of Gunther, King of the Romans, from hi" seen present group ; of these,Fig. 2 is the most in Frankfort Cathedral (fourteentn curious,the effigy visor projecting like a bird's beak. It was or century). It also shows his jousting the and in the reign of Richard II.,and made to common cover head, helmet, tilting in the drawings of that periodis reprefor rest upon the shoulders. The apertures sented the the heads cross-bar of the soldiery, on face, covering cularlysight in the partiing, in the MS. in the British Museum,* and the cross-shaped aperturefor breaththe deposition of that sovereign. should be noticed, as well as the coindescribing head and shoulders w hich the covers Fig. 1 is a joustinghelmet of the time of toise, such behind. as were worn by knights Henry VII., of arms in tilts and tournaHERALDRY. An Art which has arisen at the practice ments. of distinguishing It shows the perforations from the ancient custom at the leaders by some badge on peculiar summit, to affix the orle and heraldic crest military alluded 3 is German helmet their of the wearer. custom a a toby Homer shields, Fig. and abundantly of the middle of the fifteenth century, and other writers, proved of Art; partiwhen of all kinds became corative, from existing monuments armour cularly very deremarkable forms of the

presents the

be

and and

was

enriched shows

with

gilding

the

vases

of ancient

Etruria

and

fluting. Fig. 4
termed
a

met, the close hel-

Greece,

which

frequently represent the

and period,

warriors with shields bearing distinctive of the same bourguinot, "c. of the groa good specimen tripod, tesque charges,such as the serpent, and The military taste which characterised the German ensign arose out of this, of which liest some visors, occasionallymay be traced in the standards of the earis features of monsters and civilised nations.
as now heraldry-proper,

represent the
birds. HEN
of God's introduced

The

"science"

of

used,may
the time of

be said of the

AND

CHICKENS.

As

an

emblem

to

have

about originated the

this subject is often providence, in old sculptures in ecclesiastical

Norman exhibited

Conquest. William
on

Normandy

mast

of his vessel the

edifices.

of Normandy leopards

In ancient
messenger
an times,

official an times,

was

well established
were

; and when his rule in England, his lowers folners, ban-

in modern ; officerwhose duty

ings distinguished by familybearon

emblazoned which
were

their shields and

it is to

public superintend

of the

service in greatest

decide on the ceremonials, mour proper badges or coat-arrecord nobility, grant arms, "c. genealogies, HERALDIC Some device
worn

of the

CREST.
erect

their retainers in war. About marshalling the time of the Crusades, the necessity and of heraldic distinctions were utility great, and then we begin to find their peculiarities d efined clearly by something like a fixed rule. The fervour of the religious Crusaders
was

upon the helmet ; it always rises from either a coronet, cap wreath of

also visible in their

"

coat-

maintenance,

or

may from

helmet, thus be distinguished has no a badge,which

Our

when ; and without the

sented repre-

families who armour," for many " in the "War" introduced fought Holy of their sign pilgrimage the cross,
"

had the and

The early coat of the escallop-shell. Russell family(Fig. a 1) has a lion gules, chief sable above, without any oharge upon

the

such
*

accompaniment.

engravingre-

written MS., H19; Oliver de la Marck, named warrior in Kngland during this

Harleian

it; but, after the crusading period,the three escallops the chief were on "s placed by a gentleman of the part taken in that a. proud memento who served as eventful reign. war (Fig.2). The gloriousdays of he-

234
were raltlry

HEli. the middle ages, when and tourneys were tilt,

knightly
in the

and with

the dresses of the ladies heraldic colours and

were

covered

prowew,

that so figures,

they became similar to the tabard of the knight.Our cut, p. 43,exhibits the heraldic the Black Prince, to of Edward surcoat
which
we

here add another

example;

it is

that of John and and

Earl Fitzallan,

of Arundel

Lord

is buried

Malt ravers, who died in 1434, in the church at Arundel, him representing effigy with the
arms

his monumental

in of

this surcoat,emblazoned Arundel Maltravers In the

I.

ascendant

; and

and quarterly. splendid pageantry of coronations, 9. tournaments, or jousts publicprocessions, closely- of peace, as well as in the battle-field, heavily-armed,
at heraldry
a

helmed
the
on seem arms

by knights could only be known blazoned borne on their shields, or

have

this time
a

playedso prominent
knowledge
of coat-

part

that

proper

their surcoats.
to

of the mantles

is essential to the artist who would Fightingand heraldry armour tion of the chiefly occupiedthe attendepict historic scenes of this portion their and artistic that without o f is it British time, nor nobility history ;

of state, dresses, rich colouring to the use broidered value, em"c., were as it brings with their arms, or formed of the of the painter, who, by a judicious ment arrangeof its brilliant
most

useful

effects, may make his to design. adjunct

it a The

illuminators

of the fifteenth and

sixteenth

centuries availed themselves of it greatly ;

and may

the
be

in which it was displayed manner studied in the curious advantageously nicles.* in Froissarfs Chrohistoric pictures of the art essentially of decayedwhen the policy
at

Heraldry

was

and feudalism, struck VII. Henry if not propriety,

a

its root.

It

was

in the middle necessity, terwards, It became gaudy vanityafa mere ages. for occasions paraded on public rather ostentation merely a badge of pride
"

than

policy. With

the extinction of
uses

mantic ro-

knighthoodits

ceased.

The

in times of visual distinction necessary when ignorance became a childish parade

education advanced, which

laid aside. gradually

men

of

sense

Its value

cannot

be

colours

adoptedfor
as a

the

"livery" of
Badges
of
arms,

their
melled enawere

ledge doubted in mediaeval times,and a knowthe antiquary of it is necessary to and who genealogist,
4324-5.

retainers

distinction.

by
A

its

means

may

their metal,*containing
also

displayed profusely by noble

"

families ;

See

cut

to

BADGE.

* Harleian MS. been have them from by Johnes ; of Froissart, recent edition,published in the still more in 1843, by Smith, of Fleet-rtreet.

series of engravings published in the edition in coand fac-similea lours,

HER. detect many facts of use to the artist who would the
scenes

to him.

Its

uses

Sometimes
of the

the head

was

01 double,triple,

depicttruthfully even
were

fourfold. Many statues of other deities

same

of

have been already pasthistory

form

enforced.

the bust frequently

at all.

and Ilcrmae, representedno deity

as

the

TERMINI (Gr.), (Rom.) Busts, usuallyof the god Hermes, affixed to a stone pillar, quadrangular wards diminishingtothe and base, of

HERMJE

HEROIC. human
that of

This

term, appliedto the

figure, designatesa stature above but not so large as common life,

or

of

heightsimilar to man. They were

that
set

the
form

GIGANTIC

COLOSSAL.

HEROUM. of
a

(Or.)
to

A monument

in the the
cient an-

the boundaries up to mark of lands, at the of roads, at the junction

corners

consecrated by temple,

Greeks hero.
Several

the memory of a deified such have been discovered

of streets, and

at Xanthus, and engraved and by Fellowes,

in

other

prominent
the Romans, Of all

described in his Travel* in Asia

The

Minor.

Among places.
HEKM.K

Romans

kinds

were

in great request

manner

for the decoration

which

of their houses and

villas ;
as

theyused
a

them

funeral and

mately adoptedthe custom,and ultiin a minor it extensively for funeral bas-reliefs, several of be seen in the Townley collection, may British Museum, representing the feasts taking place within a temple, used the face of
a

postsfor ornamental

forming
or

small

phagus sarco-

railing to
The
HERMA

garden.
was

monumental

slab.
A somewhat
fined unre-

the

HERRING-BONE.
and
to

result of the
at

first attempts artistic of

unscientific term, adopted totally of continuous each other from details, sloping thus. walls

the

an designate arrangement

development
blocks of

the
and

ornamental

stone

Some
are

ancient

wood,

by which, in the

construct-

all the earliest period of idol-worship, divinities were simply by represented, adding to them a head, in the features of which
the characteristics of the

ed in this way with small stones ; hence termed herring-bone It is characteristic of later masonry.

god

were

Roman

and

earlySaxon
A

work. of

to supposed

be

other members

first with

Phallus, the

expressed ; and afterwards of the body were added, at symbolicalmeaning. The of the repropersonification ductive
tial of nature, formed an essenbeard A pointed symbol.

HERSE.

frame

wood-work light

powers

part of the
mantle

to the Hermse, belonged originally hung over was frequently

and

the

legsand arms were altogether wanting, and, in placeof the to hang garprojections arms, there were lands whole the torso Afterwards, upon.
shoulders*.
At firstthe
was

and
to
*

pillar, placedupon the quadrangular chiselled i tself t he was finally pillar of the legs. representthe separation
Our
cut

is copied from

one

in the

British

Museum.

covered

with

cloth

(PALL), and

orna-

23G

MET" with
a

HIM.
in modern these
are

mented
over

banners in

and
funeral

set lights,

corpse

up solemnities.

Art,
familiar

in

Raflaelle's

cartoon*,
are so

but instances,

controver in-

Herees

with
one

iron,and brass,are met metal, there is on monuments; sepulchral wick, in the Beauchamp Chapel, at Warof Earl of the over effigy Richard,
Confused and

of

the standards in

they may be taken as by which to judgehigh Art

tiers, at Poi-

that

and painting. sculpture born HILARY, ST. A bishop, noted for his constant

Warwick. HETEROGENEOUS.
"

Dutch

masters

in way incidents of style and led

a

improperlyconnected. erred in particularly representing that Scriptural subjects,

there narrated in the

to opposition He is usually tradictory the heresies of the Arians. conThe representedin pontificals, bearing three books indicative of those he wrote this against sect ;
or

on treading

lusion serpents,in al-

garb

and

to his

miraculous
an

similar event is

among

themselves ;
reason

them

from

of banishing power island uninhabited by

frequently represented in a of prison through a with soldiers Dutch guardroom filled and armour There heavilyequippedwith arms by
the

St. Peter

angel out

of their presence ; or with a child cradle at his feet, allusive to his restoration of
one

to

life. St.

is another

Hilary(ofAries),
an

of the seventeenth iu the life of in feature of

a a

century ;
Saviour

or

the

scenes as curring oc-

who

has also the

as serpents

attribute,

our

depicted

in allusion to his is

Jerusalem
town

with every minute

Countries.
worn

triumphover with generally represented

his
nun. ear

sin ; but he a dove over sometimes

as

in the Low
or

his

HEUK.
middle

A cloak

mantle

in the

head, or at a consecrating
HILT.
The

; and of

ages.* Art, a the figure, signifying mystically

of God
"

handle

sword

made
as

of

HEXAGON.
sided

In Christian

sixtributes at-

various

such materials,

ivory,
inlaid

and or silver, wood, gold, with

glory,power,
honour. A

majesty,

and wisdom, blessing,

stones ; the ancients precious able considerusually displayed

HEXASTTLE.
six columns
to

portico havingonly supportthe roof.

This term, derived

talent in HIMATION.

designingthem.*

(Gr.~) In
was a

HIEROGLYPHIC.
from the

Grecian
round

costume,

large
which

literally signifying which longs besacred sculpture, properly of the to the pictorial language has ancient been, Egyptian priesthood, neation however, constantly applied to any delione which, representing subject another ; or carries with or action, typifies Hence it a hiddsn meaning. symbols and symbolic arts of all kinds have been called hieroglyphic. That elevated style which HIGH ART.
eschews the

Greek

and

drawn square garment generally from

the left arm,

the back, and held it fast, across then over the rightarm, or else

leftarm.f

towards the through beneath it, The good breedingof and the manifold the free-born,
were

characters of life

nised recog-

by
the may

the

mode

of

wearing
than in It

the HIMATION,

still more
CHITON.

girding of the
be considered

slightest attempt
satisfies the

at

tricious mere-

but display,

ments requireis shown with the

our

can

which of the most rigid connoisseur; challengeand disarm criticism by its Such possessionof innate excellence.
are rare. necessarily

as an enlarged chlamys of the form in which it but identical in our engraving, exhibited in and worn as pallium,

cut

of that word. illustrative

The

HI.

works
we
*

In ancient Art,
*

find them
See

in the
a

"Elgin Marbles;"
a

The

cut

represents

an

ornamental

Roman work
on

dagger, figure of brass, engraved p

from
cut

Montfaucon's
PIPLOIS.

great

lady,from

monumental

Classic t See

Antiquities
to

*n.

HIP"

HOL. indicative than

or
a

ing one

in increment.
met

Examples are

quently rather frehouse

Thus positive.

with in ancient remains.*

a city represented ; a man throwing down the stones of the wall,the destruction of the city an encamp; a tent, ment the down a tent, a departaking ; ture ; and a ship,a fleet ; a few captives warriors an a conquest ; a few represented

wall

army,
even
a

and

two

or

three dead

with bodies,
on

single individual still bent a slaughter, victory.The mosaic of battle of Issus, at Pompeii, testifiesto
power have with which the
scenes.

the the

ancient artists represented

The their

actual
left much The
to

Romans
in ability
were

the Art.

prove mediseval artists

no

inefficient, having reducingthe events

HIPPODROME.
for horses and

imagination ;

very and
prehension com-

of all ages to the in

costume
' '

(Or.)
was

race-course or as

of their own, if

them by treating and

chariots. A raised wall constructed

or

contemporaneous

bank

of

earth

down

its

manner. as

centre,so that the horsemen

were

charioteers
one

They were but Polygnotus,

True of
a

as fully

indicative "

without

ray of similar

compelledto
then
to the

turn, and
course

go up

pass the

down

side, genius.

other,in their
The
"

the result painting, and deep knowledge of history, is picture, the

seen

historic

goal.
PAINTING.
one

all the accessories of life at the time of the

HISTORIC
sacred Art. and who
to the

highest
of

action of the
recent

class of Art with

exception that
its

It

owes

artist

originto Greece, of Thaos, Polygnotus,

about 463
"

date among nowhere be better of the French HISTORIC

a

comparatively moderns,and can

in the works de la Roche. A

of

than

Paul painter,

arrived at Athens says De

B.C.

"

As

PICTURE.
known
event

Homer,"
of founder

Pauw,
was

was

the founder
He

in

lineating depicture history profane

epic poetry, so
of historic

Polygnotus the
was

in truthfully

all its accessories.

It is

painting."

employedto decorate the Lathe or public but without ambulatorynear the temple of Apolloat resemblinga small cantharus, and the destruction like the modern handles, Delphi. The series represented very much of Troy, and the events nected congoblet. therewith ; the pictures HOLMOS. A rare and peculiar of consisting vase in the three ancient of groups of on rows consisting a ranged Etruria, globethe stories in a series of on wall,carrying shapedbowl on a tallstand. We engrave
tableaux, f
* Our cut Montfaucon.

realisation of the page of the historian. An antiquedrinkingcup, HOLCION.

the

accessories of which
a

were

one

found

in the ancient tombs at Cervetri.

is from

baa-relief engrared by

enlarged body enables it to receive a considerable portion of liquid, and its comparatively
Its renders high pedestal for the bearer
so

supposed design and arrangement on by Mr. W. Lloyd in an illustrated in the Huitum of Clauical paper Two German vol. i. artists, the Antiquitiet, l"mthers to attempted Riepenhausen, hare these works the from restore description of Pausanian: Peinturtt dt Ptlypnote a Dtlphet, detnntti tt graven faprii la Detcription dt Pauianiai. See also Gothe's Polyynot'i Qert Their
been has descanted niald* in dtr Locke
tu

it easy lift his shoulders to it to ; is

likewise the neck its contents

manner.

adaptedto pouring
most
secure

out

in the

and

commodious the water

The

cover

prevents

from

out. flowing

Long handles

Delphi, among

his essays,

MtrJta*

the idea of easy management. convey The sphere, formingthe main body of th"

HOL" rase, is i* formed

UOR. HOMOGENEOUS.
of portions sides
a

239

composed
of thin

of two

and pieces, of
means

it

(Or.) A design,all
tend to
one

sheets
the

hammered of nails ;

which

great end.

brass, put together by

HOMOLOGOUS.
two
are

whose (Gr.) A figure

like those dulyproportioned,

of

Greek

vase.

HONEYCOMBED.
cells of the

Any

surface

having
the

small irregular punctures

over

like it,

honeycomb.
PATTERN. Greek
ornament

HONEYSUCKLE
term to a applied

The
much

by that shown clearly

word STELE upon in form of petals

used

ancient

is very in the cut illustrative of the upper

people. It
part of

; the

the

ment orna-

which

bears considerable

blance resem-

to a cluster of the

unopened

that
A

plant.

HOOD.

coveringfor the head,sometimes attached to the tunic or cloak, times someconstructed entirely
as

covering moulding

for the head and

neck.

HOOD-MOULDING. which
a

The
a

surmounts sort of hood

is also

termed

ing window, formor weather-guard. It weatherdripstone, or

or

door

the artisthas mechanical

process, but

been proud of evidently

his

moulding.
HORIZON,
drawn

throughthe principal pointor centra of with level the horizon (or a into it ornament. picture, an converting that of view where the the exWATER A metal HOLYPOT. treme portion vessel, of the earth distance and the sky shaped like a small bucket,used in the Catholic Church Roman meet), which determines the heightof the to contain the consecrated water. They were frequently eye in a picture. HORIZONTAL PLANE. The chased and otherwise decorated on their plane the to horizon. surfaces ; and were carried by a hooped parallel HOROSCOPE. When the water was handle. to be used (Gr.) A diagramnoting of the stars at certain times, the position an aspergillumwas dipped into it, and used by the old astrologers in casting thus it was around. nativities, sprinkled
HOLTfor
a

not onlydisplaying his skill, even making a boast of it,by

HORIZONTAL

LINE.

A line

WATER

SPRINKLE.

A term

"c. HORSE.
well

A mathematical

instrument

club set with military

severe

which spikes, blood

resemblingthe

planisphere.
ancients excelled in the kind of animals the nobler

inflicted
to

blows, causingthe

The

and thus jocularly named fly, by the solaccount of its resemblance to on diery, the sprinkling of the consecrated water by

of representation
as as

in the human

form, next
to have
manded com-

to which

the aspergittum.
HOLY-WATER

appears their greatest admiration. furnish

some

the horse

The

STOUP.
beside

A stone

"

Elgin Marbles"

fine

mens speciOther
as

basin, or

hollowed

for holyreceptacle

of the skill of the the treatment

Greek

artists in

water, placedin the wall

church

of this noble animal. be

or doors, justwithin them, for the use of the congregation enteringor leaving the

specimens may
the

distinguished ; such
Aureliui
at

horses of

Monte

Cavallo, those at
Borne,

"acred edifice.

that Venice,

of Marcus

240 those of the

"

HOS"

HYD.
was

Gallery. immediatelyconnected
form Roman seldom in

The

Balbi,and one in the Florence " was horse,"says Miiller,

with of

converted
a

by

milk-white

crucifix the

between

ing stag bearhis horns. He became

a

the human

renounced in the

world,and

mit her-

Greek

and victors, Although equestrianstatues. slender and high, the horses of of Art, however, are works very

Greek

statues

where this Ardennes, is said to have happened. Hia miraculous conversion has been a favourite subject with artists ; Albert Durer particularly celled exin his version sometimes miniature of the
as a

forest of

and fiery Christian emblem

full of life ; those of Roman more clumsy and massive." Art

ecution ex-

tale.

He

is
a

In

represented
stag restingon

with bishop, the book

the horse is regardedas the

in his

of courage and generosity ; it is cates also taken in an opposite sense, and indi-

hand.
as a

But he is most
crucifix borne

depicted generally
the stag.

noble hunter, kneeling culous to the mira-

luxury;
with it in the

it is not

unusual

to

meet the
one are

by

and Holy Scriptures

an

HUE.
of the the

Fathers,both

as

emblem

of virtue and

compound colour in which primariespredominates.Such

greys, which
are posed comequal un-

of vice ; all animals having their good and their bad side. In the Catacombs,the horse denotes sometimes to denote the
a

various

of the three

in primarycolours,

swiftness

of

and life,

we

see

strength and
in which blue in

proportion. A
a

that

palm-wreathabove its head, the palm of victory is not

swift.
The horse is an bute attri-

predominateshas
which red

grey blue

hue;
has
a

one

predominates
often stitute sub-

alwaysto the
and

of St. Martin, St. Maurice,St. George,

hue, "c. This term is who carelessly employed by writers,

red

it for tint and shade, which St. Victor,who are are representedon also Leon in is in horseback ; as St. primary or secondarycolours, pontificalstrictly the people. robes, blessing various bread of the word the

degreesof intensity.
A
stone precious

HOST.
hostia

The

consecrated from

HYACINTH. violet colour. HYALOTYPE.

of

sacrament, derived
sacrifice of the
to the

the Latin

(a victim),and
Saviour. the of laity

of significant

compound
rvirtiv,

from
to

the

It is exhibited in
a

Greek vaXos, glass, and

print,

Catholic Church
a

vessel transparent

termed

monstrance. of measuring connected glass

HOUR-GLASS.
time

A mode of
a

a peculiar picture, indicating photographic in which tke negativesand positives are fault of which both taken on glass, by any

by

means

double

by a small tube ; in one a sufficientquantity of sand is placedto occupy an hour in passing through the tube to the other.
The
ancients sometimes termed used
water

in paper is avoided and a more The invention obtained. perfect picture texture and
term to Langenheim, of belongs

ladelphia. Phi-

in

HYBRID.
or

Partaking
A fabulous

of diflerent

tures na-

placeof sand, and

clepsydra.
HOUSING.
used
on

the instrument

characteristics.* monster of antiquity

HYDRA. for a covering and which occasions, with

the
or

The

horse
was

reported to invest
and Peloponesia, each
to have
a

Lake

Lema,

in

state

hundred

heads

emblazoned generally

arms

the

rider in the

tournament,
A small

processions.
HOWITZER.

capable of unless public amputated, by fire. It was

Hercules
of
HYDRA

of

double

if reproduction
was

the wound
one

stopped
of The

of

the

labours

brass mortar.

to

destroy this

monster.

HUBERT,
huntsmen.

ST. He
was

The
a

patron saint
of

of modern

is a heraldry

beast with

nobleman

Aqui-

nine heads.

taine,who
and
was so

lived in the eighth century,

chase,that he

entirely engrossed by the hunted on holy days; he

See
iMLKA

AMIMAIS (HYBRID) and HIPPOCAMPFI

in this

Dictionary,

HYD"

HYP. if of bronze
or

241 like silver,*

was

HYDRIA.
the nations fluid for hence it of

(GV.)

A water

jar,used by
contain
or

the
at

one

here

antiquityto

pure

which represented,

found

Pompeii,

culinary purposes
was

drinking;

of much generally capacity moved, being filledfrom more which were carried to the portable vessels, as spring. The form of this ancient vessel, "c. is urn-shaped, with seen on bas-reliefs, base taperingto a narrow a large mouth, and seldom
,

and is of

is also in the Museo

an

Borbonico.

This

elegantform

and

with character,

dles; at the base of the hansimpleornaments but they sometimes exhibit much with
two

handles

at the

top, and

times some-

workmanship. costly
HYDROGRAPHICAL
devoted exclusively of
seas

with two iu the middle

additional ones, but smaller

of the

CHART.
to the proper

handles

were

belly. The smaller diately occasionally placedimme-

A map delineation

and

rivers.

ment (Or.) An instrufor testingthe specific gravityof of and testing different fluids, the strength distillation. spirituous HYDROSCOPE. (ffr.) The wateralso termed' CLfiPSYclock of the ancients,

HYDROMETER.

DKA.f

HYPOCASTANUM,
a BROWN, horse-chestnut

'or CHESTNUTlake from prepared the

is

brown

in

wanner colour,

arid 'rich ; it is transparent than brown pink,and

very durable both in water and well. latter it dries moderately

oil;in

th'e

HYPOCAUST.
beneath the

A subterranean (Lai.)

baths or dwelling1 for heating' stove-room ditional larger ones, to giveadand which the used Romans, by rooms, in our in holding, as seen security of 'flues' warmed means was by usually cut, from a fine specimen in the Museo "Sue'h 'sides; the and beneath the floor, up exhibits at Naples, and which Borbonico, discovered 'in are constantly of decoration apamount a considerable plied apartments
'

'"

to

them,
When

as

well
was

as

to the

rim of the

the

debris

of Homan
our own

villas and' towns,

vessel.
a

it

it was character, the head, like the Asiatics.

to a

unwieldy they must c arried on frequently ordinary water jarsof

not
"

of too

in particularly have

country,rw}iovi3
from the

suffered

damp
tionary. Dic. .

modern

The

term

is also applied

See

Rich's HOUK-

Companion
GLASS.

to
...

the
....

Latin
..

....

or water-pail

can,

particularly

f See

242 and
was

HYP"

ICO.
Towards the monk

inclemency

of

the

atmosphere.

It

made tilllately a constant mistake by writers to and antiquarian topographical

term

the end of the fifteenth century, Savonarola revived the latent

the of objects his fanatica"

hate.

Among

all such

rooms

"

Roman

HTPOGEA,

SYRINGES.
hewn

all naked representations, were deprecation terranean Subwhether in (Gr.) paintingor sculpture ; and,

baths."

structures

out of the rocks.

indeed, any
been

female

representation seems

offensive to him. In 1497 he They abound along the Nile,throughout to have obtained such influence over and under the his followers the Libyan ridge of hills, that it was equalled of sand. onlyby his fanaticism. contiguousplains A celebration the of the carnival of ICHNOGRAPHY. During (Gr.} trical geomeedifice. A instead the that of usual bonfire in view of an ground-plan year, of any the market-place, Savonarola had a large of a building. A representation horizontal line at and this he intersected a scaffolding by prepared, upon object of the excellent most works of its base,such as the simpleelevation of the piled many "c. A transverse cathedral, section of a building, showing the different dimensions thickness of walls, apartments, of doors and windows, "c. ICONOCLASTS (Gr. from icon, an ERS. IMAGE-BREAKto break), image,and klao, eide of
a

artists, paintings and sculptures, of includingthe busts and portraits several beautiful Florentine females,and condemned foreign tapestries, on many
account
were

Florentine

of

their

nakedness amidst the

all consumed

they of rejoicings

and

This

title

was

bestowed

upon

two

the
on

Byzantineemperors of the eighth century, caused who, enemies to the Christian faith, the worshipof the Church, as well as its from their dominions. images, to be extirpated
In their 728, the Iconoclasts, their

populace. He repeatedthe exhibition much largerscale in the following

the works of interest year ; and among sacrificed on this occasion was minated illuan

Not the least copy of Petrarch. lowers,remarkable folthat part of this exhibition is, di

commenced

which,with
continued
the

structions, deFra systematic Bartolomeo, Lorenzo other induced slight were interruptions, artists,

Credi,and
common

to contribute

upwardsof

century.
this

Leo

in.,

their

own

works

towards

the

crusade Isaurian, commenced againstimages ; it was pursuedwith still tino greater vigour by his successor, Constan-

destruction.*
their example,war Imitating been
as

has

quently fre-

waged

against the

pictures,
for the

V. and
the

The

popes

of the the

West,
use on

on

the

well

as

the images, introduced

to Christian

contrary, encouraged
contest
was

of

images ;
such
pire. em-

carried

with

purposes the templesdevoted

"

of instruction and edification into

worship
sect of
an

vigour that
The of

it convulsed

the whole of the

not

by

the heathen, but

by

one

party

in

favour

use

Christians

againstanother
and insane The

"

with

criminate indisof
a

triumphed through images eventually the influence of the Empress Irene, the of the Emperor Leo IV., though widow and the Emperor the strife stillcontinued,
the Iconoclasts. protected Theophilus(829-842) The
was

zeal

worthy
from

better
devout remains mated

cause.

loss to Art

this

fury is incalculable, yet enough

to exhibit the the which ai"ifeelings and the image-maker image-

ever, howzeal of the Iconoclasts, directed

"

breaker. ICOXOGRAPHER.

not

Christian images
the
can

the

againstpagan, but of images of Christ,

idols. Art

Virgin,and
have works.

the

as saints,

image, and grapho,to of images. maker

ICONOGRAPHY.
I
i

cut

(Gr. from icon, an or incise.) A

suffered little by the destruction In the ninth and tenth in

(Gr. icon, image,

The science of

of such

write.)

image*,
227.

centuries,images were
the Greek Church.

again

tolerated

"

Wornum's

Epochs of Painting,p.

ICO. which be considered under

"

243'

can
: a

twofold

relation 2nd. As

1st. As

science. practical

in the same that manner archaeology; to ordinarylanguage is often powerless

theoretical science.
ICONOGRAPHY

science, of poetry, so men' by the image-makers of all ages ; harmonious expressions and at one expressingby sculpture, have need of sculpture paintingto period, fails and painting, human actual persons and that which language carving, express events ; at another,seeking to represent, to impart. It is a study of the utmost at the forms,abstract and spiritualimportance to the artist, especially by sensuous gories. alleas in symbols, emblems, and notions, tion justappreciapresenttime, when a more As a theoretical science, GRAPHY ICONOof Christian Art, and its claims upon is the knowledge of that natural of is felt. Hitherto the means the artist, which fathers foreof Christian our GRAPHY ICONOthe or language mysterious study pursuing
thus

of the soul, which As a practical convey the sentiments is the Art exhave the is then to to ercised recourse obliged

confided to monuments, and have It supplies transmitted to us. us

have

been difficultof attainment

;'

with ideas

by

the aid of which

we

can

plain exour

those ancient the makes

our

figureswhich edifices. religious

which
to
us

decorate

by the they have happilybeen removed of work of translation a a publication of and have frequently which we quoted,
on every artist seekinginformation should this curious and important subject

It dissipates which
and

clouds known

envelope them,
the secret

ancestors, their manners,

in the

thoughts of faith, gress prostate of

possess extant

himself;*
on

the most

book complete of the

this

importantbranch

Arts, and

the finally,

in the society the history of upon graven

or

Hence different ages. the world, written not and

it is

ologists arts of the middle ages. By its aid archaeand name learn to distinguish can and the statues, sculptured figures, and mural

papyrus upon

only but deeply parchment,

bronze;
Here

stone, marble, and

of our cathedrals. glass paintings will find there instruction and Sculptors painters necessary for them which of restoration with in the works

in vivid colours. reproduced concealed

our

the

is clear and history the facts further this

are

but sometimes precise, under

a

they

which veil,

entrusted.
in the

The

three persons persons

be may Triof the nity, mentioned

excites

curiosity ; therefore
itself into natural

demons, angels,
Old

science

divides

Testament, the

saints,the

when iconography;

the images represent

persons and events,without either symbols of or allegories bolical are ; and into mysticalor sym-

iconography when,
"

in order to

plain ex-

personifications symbols,and allegorical the virtues and the vices Christianity ; with their costume, minutely described, a nd physiognomy, age, attributes,
the that
errors

them, it is necessary to lift the veil the iconothat covers them. Frequently
details are at the same graphic and figurative ; such, for the most

ancient the

torical from time his-

part,are

the

from figures

the Old Testament.* is the

interdicted people,the Jews were feared production of images ; it was the chosen people would fall into the same their porary contemthat prevailed among
nations. It too often in the
some

happens that

kind man-

ICONOGRAPHY

poetryof
with idols
van

worship the image to the being represented, and render of stone, wood, or metal, the worship due
confound
to

Iconography history. At the

were

marched
same

in

the

with of the

only
*

time

the first historians deeds

giving to posteritythe great

and the heroic actions benefactors of mankind, of the brave, sculpture and crated, painting conseits pencil, the one its chisel,the other deeds their venerated and to retrace to preserve of Nineveh, of The ruins their lives. Pompeii, and 1 lereulaneum, the frescos of the of Athena, all and edifices of Rome ancient
to the truth testify

Iconography; or tlie History of Christian Art in the Middle Ages, by M. Didron. from the French Translated by E. J. Millingillustrations. vols.,with numerous ton, in two London: 1851. (Bohn's Illustrated Library). Manuel curious containsthe The second volume
translated by M. DuIconographieChre'tienne, from the Byzantine MS. brought from rand Mount Athos, written by Panselinos, a pointer

God. Christian

of this remark.

But

among

of the twelfth

century.

244
which

1CO-IDE. characterise them

in the and
at the

different

IDEAL.

By

this term
goes

is

understood generally

of the middle epochs them in the Greek

guish ages, or which distineast and in the west, Latin

thiit which

beyond nature,
Since the imagination

yet is modelled
can
can

upon

it.

churches.

The

create

first parS in the ua

instructs altogethertechnical, the for painting, preparations and the brushes second for fresco and mural

only
come

be

nothing, ideal beings aggregates of those objects

senses

which ideal

before the human

; an

pigments

painting ;
described.

part is occupiedas

blematic (Or.) Pictorial or emof representation ; a description or statues. pictures

ICONOLOGT.

being is,in fact,nothing but the modification of beingsexisting in nature. Such the are chimeras, satyrs, centaurs, of bers sphynx, winged genii,composed memborrowed
;
a

from

man

and

various animals the

a

IDEA.

ARTISTIC

IDEA.

To

the internal with Art" the

tisfying sa"

Janus, with two faces ; singleeye ; giantswith

"c.*

Cyclops
hundred sistency incon;

in thought as represented life whose spiritual is the expression apply the term AUTISTIC

arms,

But
it

there

is much

and corresponding
artistic form
IDEA,

in the sometimes

employment of this word

we

standing under-

thereby,in quitea generalway, from of the mind and activity the mood the of the which proceeds conception ticular parform.*
an as

the highest degree signifies idealised of perfection the object to which is capableof beingraised not by altering its normal form, but by improving it through chaste and elevated conceptions.
"

The

artistic idea is

never

In

such

manner

the

ancients
us

in

their

idea

in the

ordinarysense, inasmuch
into which different

divinities gave sculptured

IDEAL

FORMS,

the latter is a frame

phenomena
one

must

refined may fit; but this more intimate the in most stand

to combining the most perfect proportions, which the certain ideas form was embody this view, intended to represent. With
can

agreement with the altogetherparticular we

form of the itself be
must work, and, therefore, hence, altogether particular;
a

unites found Thus

say, that the in one form

IDEAL

is that which excellences forms.

all the

only in different individual

the ideal of the human
sex, the Medicean

the idea of also, be rendered

manner

work

of Art

can

never

form

in

thoroughlysatisfactory in
is

the female
as an

being Venus, if

by language, which
ideas
or an IDEA

merely of a
the

the

considered of portrait

the

expressionof
AKTISTIC

motions. idea
at

The liar pecusame

individual

is rather

aggregate of many
contributed under the its this view

ideal,is not a statuemodel, but is an models, each of which

But
IDEAL

individual kind, Avhich is

time united with of the
a

excellence f peculiar
the is

strong and

ing feellively idea and

soul,so

that sometimes

and real,

in one dition conlie combined spiritual feeling by the term the idea of the mind; sometimes this forward more detached,but yet in :omes * A perfectly the creation, as well as in the adoption of developed natural form furnished little as by experience as the artistic form, the feelingremains predominant. mathematical but it

is trulyonly understood usually ledged beau ideal. Raphaelacknowthe by one practised plan as is what
is just
a

pure

"

The

creative

fanciful

conception

of

the

is accompanied by a subordinate but closely connected tion activity" the representacall which we of the form in the materials" of Art copied from EXECUTION. Even a work life in its internal has still, however, nature artistic

form

the
to

emotion in the mental artistic idea, that is, which the contemplation of the object gave See Miiller's Ancient Art antiits Remain*, rise. 1850. edition. Second Translated by Leitch.

felt be proportion, may from what has been experienced, and seized in and of inspiration. The true the moment art rests on genuine idealityof the best Greek the strivingafter such a conception of organism. of Art which represents not a t Any work iterial object, but the mental m conception of of the a material object, is in the primary sense word, ideal; that is to say. it represents an of Art which idea, and not a thing. Any work object is,in represents or realises a material of the un-ideal.the primary sense term, Modfrn fairters, vol. ii. chap. xiii.

24fl
know

IMA." the effects of

IMI.

to amount to a deception as cording be so perfect light upon the body,acthat there be o* to its position, or means some colour, secondly, substance, that it is a moment provingat the same as proper to each ; and, above all,have to see received from nature that aptitude deception.The most perfectideas and which of imitation are, therefore, when well and to render well those things pleasures is contradicted of and the the one sense constitute genius sculptor by another,both evidence on the subject as positive bearing painter.* IMAGINES A VESTIR. Figures as each is capableof alone ; as when the (Ital.)
,

used

in the Italian

churches

to

decorate

altars and
"c. ; the

of projection, roughness, appearance finished. "c., is given with a smooth They are designed hair, velvet, artistically surface ; or in waxwork, where the first which to be dressed in showy draperies, is perpetually evidence of the senses conceal all such defects of construction ; tradicted conand it ia a part of the business of devout by their experience. But the

saints, shrines,representing being rough blocks of and feet onlybeing, wood, the heads,legs,
bodies

eye says a thing is round, and the finger never says it is flat ; they are, therefore, felt in so high a degree as in painting, where

ladies to construct them

are

such

dresses

and

to the

church.

Many

sent preof them

moment

we

come a

to

checks

us, for

marble

marble,our definition figure does not

and valuable materials, look like what it is not ; it looks like costly destined for when of and like the form of a man, but figures marble, particularly which the Virgin, abundance of then it is marble, and it is the form of a an upon often of a singularly man. It does not look like a man, which showy costume is lavished, it is not, but like the form of a man character. which inappropriate Ornament IMBRICATED. is. Form is it and dulating unhaving form, bonajide actual, each other, whether in marble or in flesh not an imitation portions overlapping which is said to be imbricated. resemblance of form, but real as in the Greek fret, or of most
"

It is derived
or

from

the imbrex
was

form.
tree
on

The chalk outline of the bough of

is not
an

of the ancients, which gutter-tile and

hollowed within IMITATION. looks like what

kind of

""Whenever it is not, the

overlapped. anything
resemblance
feel

imitation ; it looks paper like chalk and paper, not like wood, and that which it suggests to the mind is not

properlysaid
bough, it is then, we see
of
a

to

be form

like the of
a

form

of

we being so great as nearlyto deceive, a

the

bough.

Now,

excitement
same

an pleasurable surprise, able agreeof the mind, exactly the as

the limits of

an

idea of imitation

in its nature from this

that which

we

ceive re-

; it extends only to the sensatios. and deceptionoccasioned by trickery

juggling. Whenever we perceive in something producedby Art,

the work
we

that is to say, whenever

to resemble

is

seen

seeming different thing intentionally what it is ; and the degree of the ence dependson the degree of differpleasure
from and the

of the resemblance, perfection idea of receive what I call an not in the nature of the thing represented. is not, we imitation. Now two things are requisite The simple pleasureof the imitation and most pleasurable would be precisely of the same to our complete degree (if ception perwhether the that the resemblance the accuracy could be equal) of this ; first, the his hero or horse. of it were subject other collateral of There sources are " sure pleatinct dishaa three The totally imagination functions associative, contemplative; associated with penetrative, which are necessarily it combines, and by combination which but that part of the pleasure this, forms ; it treats, or new create* regards,both the imitation is in the the simple images and its own combinations, same depends on in peculiar ways, and thirdly it penetrates, Ideas of imitation, both. then, act by analyses, and reaches truths by no other faculty of surprise. the discoverable."" v ol. ii. iii. simplepleasure Modern producing J'ainters, part

something which

know

it

"

"

IMP" and and

IND. IMPRESSION.
with This

247 word is used

that not of

in surprise

its higher sense

nonymousl sy-

but of the mean and paltry functions, which is felt in jugglery. These surprise
are pleasures

ideas and
Art."
*

the

most

temptible con-

Or ENGRAVING, PLATE, when it designates which a sheet of paper is pressed inked of the plate steel, upon

which

can

be

received
term

from

IMPALE. the of
arms

An

heraldic
two

of conjunction in
one

to designate coats separate

copper, zinc,or stone, and a fac-simile of the design upon the plate, "c., is produced. PKOOF called also IMPRESSIONS,
are

shield.

Ecclesiastical
arms

PROOFS, dig- from the nitaries

the earliest impressions taken

stone.

or plate

the generally conjoin with "with those of their those the

own

of

a see or

INCISE.
carve on

family ; husbands
old

To engrave on metal ; to cut wood ; to produce a sunken Cut in.

A term
to applied
or

of their last

wires, if heiresses, line.

INCISED. INCITEGA. the lines produced by the burin
graver. mestic doAU-

"c., or

of an representatives

family.
IMPANNATA.
to

(/""/.) A

term

plied ap-

cloth. signifies

oiled paper, but which furniture strictly The " Madonna dell ' Imand bottles, PHOHJE, its
name

(Lai.) A piece of employed to sustain

other vessels having

pannata" of Eaphaeltakes

from

rounded

or

fore bottom,which therepointed

in the back-ground. the oiled paper window PAT" IMPASTO. (Ital.), (Fr.-) This term
or

expresses the thickness of the layer by the painter body of pigment applied

to

his

canvas.

According to the
exercised
or

method

of the

handling

by

different

artists,

is thick impasto

thin. Rembrandt.f
a

used Salvator Rosa,and others, and

thick impasto

others, an ; Raphael, Guido, impastoso thin that the threads of the

canvas seen

and

the

crayon

outline

may

be

through it.

IMPLUVIUM.

(Lat.)
a a

The Roman

cistern in

the centre of the atrium of

ornamented frequently mosaic-work.

house,
and

by

fountain

IMPOST. the summit

an
"

The of
a

horizontal mouldings on
which

requireda support to keep them of wood, clay, made erect; they were and bronze ; some specimens stone,silver, the British Museum.* in are preserved
INCRUSTED. ornamental
of embossed plates A
term

arch

from or pier, pillar springs.

used

to

nate desigwith

furniture metal.

covered

At Knole

from the have We extracted the above of Modern first volume so Painters, because this subject false ideas and on many vague have writers Art, and we on prevail among
-

House,

Kent,
work

are

some

bra, candelatables, mirrors,

"c., incrusted with

nowhere
as

else the work refer

seen

tuc

matter

so

in

from the

which
reader ideas
to

we

We for

must
a

full

analysis of"

of imitation."

so clearlystated have quoted. been formed from the work itself, INDEFINITE.

silver repousse that they appear to have entirely solid metal. Not
a

marked distinctly
a

t This master particularlyadopted a solid in some instances style of colouring, which of paint. the light*into a raised mess converts This roughness was occasionally objected to torted by his sitters or patrons, but he invariably renot that he was a dyer ; a painter and
and
an

in

some

instances
a

merit,in others
In

fect, de-

in

work

of Art.

well-defined
but in

quiring anythingreit betrays outline,

ignorance;
"

the works

of Turner

when

his visitors ventured

upon

too

close Our

thus diminishing its inspection of a picture, that to them effect,he suddenly announced the smell of paint was very unwholesome.

example painting on
as

Thebes,

an is copied from the walls of the J by Rossellini. engrave

earlyEgyptian Temple at

248 and

INI). Martin
it is often the ideal works with of the adjunct The embodying spiritual

sublime

; and

etherial imaginings,or delineating finite, indeand properly beings,are necessarily mental of the the emotions leaving this to, who, by means, spectatorappealed feels
more

white,it forms valuable flesh tints. Indian red,brought from the Persian Gulf, is of a darker hue, and sparkling lustre. The ancients obtained this pigment from the island of Elba;* it was
a

favourite wall-colour In
wag

in Roman ages, the

tion. decorared matite hae-

thoroughlythe

sentiment

of

the

middle

the artist's

group in Raphael's" Madonna which fades gradually is a great circles, grandeur of effect small mind space,

of cherubs

imaginings. In this way the surrounding the Virgin

de San

called lapis or mi/ierai amatita, RUBBER.

A

cinnabar.
INDIAN obtained South

Sisto,"

away element and

into indefinite in

by

incisions in the

vegetable sap syringatree of

it escapes in
a

producing
in
a

America, from which

and

immensity

milky form,

by consistency acquires

the sensation of the carrying the limits of the picture. beyond INK. in A pure water-colour

INDIAN INK, CHINESE used black, extensively

The
secret

tree is particuto the air. The larly exposure abundant of sap in rainy seasons, when it bleeds freely, and is stoppedwhen

its life is future smoke

endangered, and

re-cut

on

the basis of which painting, of its

no

is fine

black. lamphas It

occasion. of burnt

It is blackened natural It is

by

the

preparationis
imitation

kept by

the

Chinese,and
its known
to

being a
in moulds

wood, its paleyellow brown.

of

colour

shaped

yet attained
is however of the

excellences. peculiar
be
a

preparation charcoal,made with into cakes some vegetable gum. adopted early in the last century in in this it is extensively are prepared Very largequantities Europe ; nov employed is very good. in Art and manufacture. of which country, much Indian ink of the Chinese,which is The INDIAN YELLOW. A golden yellow charcoal is from much a from valued, prepared India,the originof pigment brought
finest kinds of manufactured from the wood of
some

Its use in pressure. removing pencil lines and dirt on paper but was and vellum is unrivalled, only

clayby

tree, and, after the most

mixed grinding, sugar, kind is known of musk and
some

careful
gum, best smell

said to be ticular which is uncertain ; it is usually parderived from the urine of camels ; analysis shows
urea

into

paste with

it to consist of It is much is not

of phosphate

essential oil. The

and

lime.

used in water-

by evolvinga strong
rubbed PAPER.
on

colour

but painting,

usually nent, perma-

when

the

palette.

a part for Representing for tree for a a ship a fleet, a paper has from India It " c. It is almost China. a or fined conbrought forest, exclusively and receives sions the to the infancyof Art tint, yellowish impreswarm, among with great ease and perfection, and and the early ancients, days of its revival cately in the most deliwith the utmost the moderns. certainty among

INDIAN

A delicate absorbent

t INDICATIVE.
"

made

from

vegetable fibre, originallythe whole

engraved parts.
firstor finest

It is used

to take

INDIGO.

deep

blue

vegetablepigment,

proofs.
RED,
PERSIAN

passing into

tints, violet-purple

INDIAN OCHKE.
under of

The

pigment now
is the

this name

used in water-colour much RED, RED painting,and for in dyeing. It usuallysold use extensively prepared Red H"matiie is (pertolerably transparent, permanent, and the
*
"

oxyde
of
a

found abundantlyin iron),

Insulam
""

forest of

Dean, in Gloucestershire. permanent, and

water-colour very useful
; painting
"

It is

metallis

exhaust Ovid.
to at

is

chalybdum

generosa U
nufactured ma-

deep lakey hue, varying in tint,

both mixed

t According
matter

Mertme'e, the pigment

from
a

Calcutta, from
tree
or

opaque, in oil and

obtained

the colouring shrub called

memecylon (inctorium.

ESF"
mixes

IOD.
INSCRIPTION. other sentence, used
or

249 A motto, to denote

as
an 01 quotation,

well with other pigments,forming

greens and

excellent

purples. Its
be recommended.

use

in It the

cannot oil-painting is procuredin its

age

of

or building,

the purpose ornamental

best

from quality the

It was adjunct. and sixteenth

customary, in the fifteenth

to centuries,
use

dies, of the East Inindigofera pseudotinctoria and world the known

was

inscriptions

introduced

to

modern

by
as

the

sixteenth

Dutch, about the middle of century. A deep brown, indigo-brown, and a deep red
as

for this purpose over the walls,or upon

were or scrolls,
so

the doors .of houses, Such tapestries.

on

scription in-

placed
were

ornamental

the letters
as

structed confancifully

resin,known

indigo-red, may
blue

be

tracted ex-

to

become
extreme

ornamental

in

by
from the

purifying the
this

colour obtained themselves. cursive have such

The

beauty of the
eastern

dye.

The

old blue

Britons was aboriginal wood (isatis tinctoria).

dye of procuredfrom
and
as

of alphabets them

the

nations for

rendered decorative

fitted peculiarly and

INFULA.

(Lai.)1. A
a

flock of red

Mahommedan

purposes, houses are covered with

the walls of
with such and

white

wreath

wool,worn by
on

combined inscriptions,

ornament

the

flowers. INSIGNIA.

Romans and

festive
sions. occa-

Any

ceremonial

badge,

of office; sword, mace, an In sacrificing, order of k?iigthood the medal of a soldier, ; tied with a it was that of a private body such as the or white band to the Freemasons, "c. "c. head of the victim. INTAGLIO. (Ital.) Figures cut into the material 2. IXFUL.*:,in ecused for seals, "c. clesiastical matrices, INTAGLIO-RELIEVATO. costume, (Ital.) A kind of intaglio are pendentsto the peculiar practised by the mitre.* ancient Egyptians.(Sec CAVO-RELIEVO.)
"

solemn

"c., indicative

INITIAL.

The

firstletter of of chapters

proper

INTENSE

BLUE

is ft

of preparation

a book.f name, or The sacred initialshave been constructed in a

the firstof the

decorative
are

of greatestpower, indigo,

very durable and The

transparent.
INTERCOLUMNIATION.
between the columns of
a

of variety

forms,not
scenes

the least of

curious of which and carved richly

those formed

with

from

wood, Holy

templeor

space colonnade.

Writ. Of these the letter M is most

frequent,

INVENTION.

term

employed

to

being that of the mother of our Lord. One of these,in the collection of the Louvre, is
most

the conceptionor representation designate the selection and disposition of a subject, of its various

decorated with elaborately

small
of the

partments, com-

parts,and

the whole
to

means

representingher

adventures. teenth sixolder

by

which

the artist seeks

The invention A.

portray his
have played disare

They

are

the generally

work

thoughts.
most

who painters

century, and succeeded the which they resembled. diptychs,

INLAYING. The
art of

in their works

Raphael,Rubens,
Rembrandt.
their Some

Poussin,Durer,

and

wood, inserting tortoiseshell, "c.,into grooved metal, ivory,

poses. patterns in furniture for decorative pur(SeeBUHL, MAUQUETERIE, "c.)
The cut,

artists have

invented

giving a
from

fula, is copied

Boothe, Bishop Church, Surrey.

t They tainted and
were

copy of the clerical Inof John the fine brass of Exeter, 1478, in East Horsley

well as delineated them, as subjects, with a high moral aim, too, like the poets was Cowper and Pope; such a painter the artists of our Hogarth. Among time,
none

have

approached Kaulbach
SCARLET,
PUHE

in

vention. in-

generally
LETTAKS

most

elaborately A

IODINE

SCAKLET.
of

gilt. See

HISTOBIBES.

pigment

prepared from

deutoxide

260 mercury,

101)"

1VO.
Roman red. ochre The
"

of

more

brilliant colour

than it is

is very similar to Venetian

and vermillion,

of

equal body ;
to

but

extremely liable
cannot

decomposition, and
for
use

iron, and

may

colour is due to the presence of therefore be considered permanent.

be recommended

in

ing paintITALIAN
stilsde of

Mixed

with

it yields luable vawViite, The

of this pigment has ; yet the brilliancy been sufficient temptation to the artist to of sunsets, employ it in representations with protected "c., and when firelight, gum it has stood
a

flesh tints.

PINK.

pinks

are

the

grain of the French. They consist yellow vegetable juices, precipitated whiting.
the Indian of juice

used,and carefully

employed,as
IODINE

most

It must be long time. upon from an ivorypalette-knife from metals change this colour

pink is prepared or better yellowberries,

It is sometimes

bark. quercitron

all tints from

yellowto
A

black.
novel

YELLOW.
an

producedfrom
an a

acid solution of which iodine,

colour, lead by
forms

called yellowlake. Being transparent, this class of pigments has been recommended
for

shadows,but

their

is durability The

tionable. ques-

alkaline solution of of precipitate

a

It is very great caution

ITALIAN VARNISH. very brightyellowtint. under this name liable to change, and requires known
in its
use.

adding white
to

wax

to
one

preparation by in drying linseed oil,

is obtained

IRON.

The

oxides of this metal

many All the ochres

valuable

pigments
and red

the
owe

supply painter.
their

the

earths

colour to the presence of oxide of iron, and dian Inthey possess the greatest durability.

red, Venetian
orange, iron. A Mars

red, Mars

red, Mars

part of the former tc meltingit in a water- bath, latter, and afterwards thoroughlyincorporating both by the muller. When used,mastic varnish is added to it, and well mixed on the palette. The mixture has good consistency,
of proportion five of the flows is useful for and from the pencil, freely glazing. A generic term for works of in ivory as statuettes, bassi"

the
the Mars

yellow,are by verts higherdegree of oxidation conred into purple and violet ; hence
violets of different shades.
The

all coloured

IVORIES.
Art executed

when yellow ochres, brown reds.

burnt,yieldvarious
A (6"r.) rule in
cient an-

"c. relievi, IVORY.

and teeth The
osseous

matter

of the tusks

ISOKEPHALEIA. Greek

of the

elephant, hippopotamus,

Art, according to which all narwhal, wild boar,and seal. The best is the figures on a bas-relief were represented obtained from the narwhal. Independently of its artistic use for delicate carvings and whether of an equalheight, ing, standseated, formed from it for the are or riding. ornaments, plates
ISOMETRICAL
of

PERSPECTIVE

allows

miniature

painter ;

and

mode

has

been

with base invented, recently by which theyare cut of buildingsbeing represented the outer edge lines at any angle of view, but without by following very largesize, the the side such of to tooth of the other lines of any building making one large centre, slice of the whole, and then flatting it. or tural naconverging,as they do in ordinary to a vanishingpoint; Etchings are sometimes executed in ivory, perspective, hence everything cubical in is perfectly ground,formed by coveringit with a slight and side farthest the white the from of mastic,and asphalt, form, wax, tator specpure much the however it may half-ounce of latter being added to not diminished, one recede. for bircTsof each of the former ingredients. It is generally an ounce adopted which This ground may be etched upon with the buildings, eye views of extensive thus combine bit in with the advantagesof a ground needle,and then the subject and elevation. the plan acid, ground beingafterwards sulphuric removed ITALIAN EARTH. A pigment known by oil of turpentine.Nitrate of
us

burnt

Italian earth

"

probably burnt

silver will blacken

the lines thus incised.

IVO-^FAZ. IVORY
this

BLACK.

The

best

from pigment is prepared calcined in close left by the ivory-turner, crucibles. a fine, They yield transparent,

the tutelary of saint of Spain, and quality with artists. the parings popular subject

very

JAMES,
met

his death

This apostle LESS. ST., THE from by being precipitated

and then dispatched di;ep-toned pigment,extremelyvaluable, the summit of the temple, which both iu oil and water-colour fuller's club, by a painting. weapon is his attribute. The pigment,commonly sold under the JARDINIERE. of ivory is prepared from calcined name (Fr.) An ornamental black, stand for plants and flowers, bones ; it is much to be used as bro\vner in hue decorative furniture in a dwelling-room. than that prepared from ivory. This plantwas A green-coloured IVY. JASPER stone with used as a symbol of eternal life, red spots, used by the gem-engravers of anfrom its remaining contiquity, tinually but moderns. A wreath of tuted constisparingly a dopted by green. ivy the games;

prizeof
was

victor in the Isthmian

There

are

several varietiesof the

same

"

as

it

afterwards

the

The pine-garland. a red prepared pigment gum which in

warm

superseded by mediaeval painters

from the
or juice

countries of March.

flows from

the

ivy in

the month

JACK.

Defensive
centuries

body

armour

worn teenth seven-

by troops from
of
a

the fourteenth to the

inclusive.
worn

It
over

consisted berk, the haua

Egyptian red and brown, and porcelain jasper. JAVELIN. A lighthand-spear, used for throwing at an informs Livy enemy. us that the blades of the Roman javelin made in order were purposely very slender, that,when thrown, whatever they struck againstmight be sufficientto bend them,
and therefore render them

the striped jasper, agate jasper,

leathern surcoat
and sometimes
term

useless to throw

like quilted

gambea

son.

The

is also

appliedto
arms. a

naval

back again and annoy the attacker. JAZERINE. A jacket strengthenedby

small of plates

flagcontainingnational
JAGERANT.
"worn

metal.
called
a

It

was

of Italian

In

Armour,

jacket
and

and invention, resemblance mentioned

to
as

from ghiazerino,

its
It is

defence,in lieu back plates. See JAZEIUNE.

JAMB.
The side of
or
a

for

of breast

clinker-built the

boat.
formed

earlyas

latter part of
was

window

or

door,

the thirteenth

and century,

any wall.

other opening in

of overlapping pieces

fastened steel,

by by one

edge upon

JAMBARTS,
JAMBEAUX

JAMBS, (Fr.) In
or

with method metal

coated over canvas, which was velvet or cloth; it was, in fact,a

or padding a dress quilting make sword to it internally,

of

with and
the

Armour,

leg
cuir much

shin

pieces of
metal, during the
or

without bouilli, dagger proof,

worn

being visible to
metal
were

with

generally reign of small, and allowed flexibility, by being Richard II.* fastened down by one side only. Such dresses were much in Italy worn JAMES, ST., THE by nobles, GREAT. In Christian in the troublous the as period known the Art, this saint has for middle ages. They were also worn by Ids attribute the sword in their peasantryof the English border, from place well as in to place, as by which he was tated. decapi- journeys he is attired as a pilgrim, their occasional skirmishes with the mossSometimes troopers, his cloak covered with shells. He is who were generally equippedin of in sort their some armour cattle-stealing Such coats, strengthened with irruptions.
eye.

The

of pieces

copied from the brass of in Westley Waterless Church, Cambridgeshire.

*

Our

specimen
De

is

Sir

iron

John

Creke,

for ordinary use, as a kind of invisible termed were defence, frequently jaefet

2*2 in the and

JER-^JES. fifteenth and

that
name

sixteenth
are

centuries,

in

works

of

mediaeval

Art than

St. Jerome.*

under

tioned mencontinually

JESSE, TREE OF. In Christian Art, the by historicalwriters. In Costume,during the reign genealogy of our Lord was JERKIN. often a subject it selected the mediaeval artists of Henry VIII.,the jacket, as was for by or, sentation, repreeither in stained glass, the jerkin, coat or gown, sometimes called, ture, sculpunder the doublet, or embroidery. accordingto was worn painting, f The idea of treating Lord's genealogy under the our the fancyor convenience of the wearer. semblance of a vine,arose most JEROME, ST. A learned father of the probably from the passage in Isaiah. Jesse is usually church, who died A.D. 420. He is generally The mystic vine recumbent. as an aged man, in the represented represented of spiritual dress of a cardinal, employedin writingor (the emblem fruitfulness) a lion being seated beside him. springsfrom his loins, and, spreadingin studying, luxuriant foliage, bears on constantly seen There are few saints more distinct stems

the various
in which
a

and ro3-al

other persons and

tioned men-

There in
a

are

examplesof the

vine

terminating

St. Matthew,

chap, i.,among
Solomon
cupy oc-

the kings David

manner our

Lord crucified. This cross, with our of representing the genealogyof

distinguishedposition. Those
are
as

Lord,of

which

there

are was

exampleseven
very
common

before the

The
a

name

Babylonian captivity represented kings,afterwards as patriarchs. of each is usually inscribed on

to the

of the twelfth
*

century,
most

One

of the is the
"

Communion in
an

celebrated of

pictures in

istence ex-

entwined in the vine,close label, the summit figure designated ; near in

Domenichino,
It is

apartment
second

St. Jerome," by of the Vatican.

"

is the
In

placed opposite Raphael's

VirginMary
her anus,

with glory,

our

Lord

is considered and world-renowned work.

over

tion," Transfiguraonly to that

but the stem

does not extend

to

t Our the

illustration central

is

western

copied from a sculpture portalof the cathedral

aim,

on

account

of his divine incarnation.

of Bouen.

254

JET-^JOU.
a

several hours

day. The number of men and boys so employed is about one dred hunat at Whitby, and nearly as many Scarborough. The average annual value collected is about "15,000; of the quantity the price for the paidby the manufacturer
raw

at the Golden of
an

Gate

of

the Jerusalem, be assured

filment fulof

that by that angel's promise, he should

a

circumstance who daughter,

would

be the mother

of

our

Lord,
He is geneJOHN, ST.,THE BAPTIST. rally in a coat of sheepskins, represented in allusion to his life in the desert, and bears
a

material

varies the

accordingto

the size

ranging from pieces, to twelve shillings two shillings per pound. whole of the manufactured the jet Nearly
and is sent
to

of quality

rude

wooden

cross, with
"

sometimes

inscribed attached,
or a

a pennon Ecce Agnus

the

wholesale

warehouses

for
on

Dei;"
it ;
or

book,with
as

lamb

seated

in and fancy articles, jewellery and

London

the

lamb,

Birmingham.
trade has been in
some

surrounded vaded degreeinhand

by a

engraved page 9, and held in the right halo,

The

of the saint.

who imitate by the glass-makers, this is in black of glass capable jetwork ; which it does assuming a higher polish, less not lose by time, while it costs much in its manufacture.

JOHN, ST.,THE EVANGELIST, is either represented writinghis gospels, or bearing from which in a chalice, a serpent issues, allusion to his driving the poison, in that form, from a cup which had been presented
to

JET-D'EAU.
elevated

(JK) A column by hydraulic pressure,

The
a

of water and used

him

to drink.
a

He

is also sometimes

in represented from
was

cauldron also

for decorative fountains.

great jetat
feet ; is the

which then

he

of boiling oil, escaped unhurt, and

Versailles rises to
that at Chatsworth

to 267

height of 100 whicli feet,

banished
at

highestin
JEW'S

existence. PITCH. A kind

very old age saint, and

Patmos, dying of Ephesus. He is a popular in frequently depicted ; and

to

of asphaltum, England alone as many 240 churches as named in his honour. are (SeeASPHALTUM.) ancient and It has been used by artists, gin JOSEPH, ST. The husband of the Virbrown to is safe is the but not known staff which as a modern, by budding use, ; retain the he holds in his hand, and which lously miracuthese bituminous preparations fluid semito denote him as the chosen oil in which flowered, they are ground in a from originally Judea.
state ; and itis asserted of Eembrandt'
s

husband

of the

tribe

of

David.

He

ia

rence, usually at Floas an aged man. gallery represented with this JOUSTS. of peace beConflicts tween that the shadows (J".) painted in the middle material are still knights though quite soft, opaque ages, as trials In our tional of valour. Nadust. undertaken own with accumulated They were peculiarly the ladies ; a knight not instance to honour a still more striking Gallery, the superiority occurred in Hilton's picture. unfrequently of asserting of its fluidity his and which had been all of One of the eyes a figure, challenging comers ladylove, if they could, to disprove at the spearwith this material, it, was deeply shadowed The combatants used blunted spears, the face ; and down found to be slipping point. but were still to much danger from the disfigurethe onlyremedy to recover subject ment blows horseback. sudden Strutt says, on the was down, upside turning picture and tournaments curious A that it might slip back again! though often conjousts, founded in by himself, portrait the lesson to obtain in Art. with each

other,differed
was a

rially. mate-

JOACHIM,

ST. The

father of the Virgin

The

tournament

conflict with

Mary.
her
as

He
a

is

child to the

basket with there ;

divided into parties, and knights, leading many represented generally the time at the same or a a engaged was joust temple, bearing ; of trial where his ing offerskill, separate onlyone man doves,in allusion to The latter wag was opposedto another. or meeting St. Anne, his wife,

JOU"

KEE.

255

included in the former, but not ings at Thebes, executed by the frequently for and delineating the without many those exceptions joust Egyptians, ;

ancient
in
mon com-

might

be exclusive

of the tournament. A

use

three thousand

JOUSTING-HELMET.

helmet, made
and in
rest

to cover

the head

upon the shoulders and tournaments. jousts

wide, large and neck, of the knight,

It
was

select
on

some

years since. "We examples from the great work

Egypt,by Professor Rossellini. JULIAN, ST. The popular patron saint

to whose travellers,

rated deco-

of

comfort

and

tection pro-

himself;he is usually and his crest above that.* them acrosa represented ferrying The principal a river, OF THE the poor and afflicted, VIRGIN. JOYS or receiving of the Virgin were vourite fain allusion to his or accompanied by a stag, joys and sorrows and with the old painters, career as a hunter. early subjects the JUNONES. the series was on generally depicted (Lat.)The guardian spirits of the genii were walls of churches. of males. The joys were females, as seven, Annunciation ; and consisted of 1, The clothed are They take the form of females, and have bats' wings. 3, The Nativity;4, with drapery, 2, The Visitation; sentation JUPON, POURPOINT. The Adoration of the Kings ; 5, The Pre(Fr.}In costume in the Temple ; 6, Christ found a sleeveless overcoat, sumption composed of several by his Mother in the Temple ; 7, The Asand Coronation of the Virgin. thicknesses of material rood-loft in sewed The JUBE. a thedral cathrough, (FK)
"

with the orle

his displaying

colours,

he

devoted especially

or

from from

the

church,which partsthe chancel and which obtains its name choir,

of

and
or

faced

with

silk which the

velvet, upon
arms

the custom Domitie

the pronouncing

words

were

embroidered

jube
were

catholic

from it in the benedicere, service before the lessons, which

wearer's

ted ; it fitcloselyto the

also chanted ST. We

there.
are

JUDE,
manner

ignorant in what
his

body,and descending below the hips,terminated

in border
an

this saint met

or

death,whether
:

riched enrious va-

by

crucifixion
are

sawing asunder

his attributes

of

book.
a

club

martyr'spalm and the he is represented with Sometimes and a carpenter's or staff, square, in
the A vessel for

patterns;with
it was
much
worn

the military which

was

belt, upon
ornament

allusion to his trade. JUG.

pouring handle. Its obvious utility KAOLIN. The havinga single i tsform have preserved and simplicity firstapplied paratively name comby
unchanged
in all ages ;

liquids, lavished.*

jugs

the Chinese
almost

the manufacture the

much former
as

clayused in and consisting porcelain, silica and of alumina, entirely generallyas preponderating
to the

fine white

of

one-fourth The

over

the latter.

central strong tower of a also termed DONJON. castle, (See that KEEP.

word.)
KEEPING.
almost identical with those
on

An

modern
*

seen constantly of subserviency occurringin the painttables,

*

tone

attention to the proper and colour in every

We of

See cut to HERALDIC CREST, which example of a jouating-helmet.

is

good

brass

have selcted our specimen from tin SirJ.de Paletoot (1361) in Walton

Church, Hertfordshire,

256

KEP"

KRE.

hand ; and they are the insignia so that the generaleffect consequently part of a picture, the this is of When to the eye. is harmonious Papacy, and arc bonie saltierthe other of gold. They of silver, unattended one to, a harshness is produced, wise, which

gives improper isolation

parts, and
the

to

dual indivi-

are

the emblems

also of the Saints Serva-

tius,Hippolytus, Genevieve,Petronilla, of Paris. Osyth, Martha, and Germanus in tone DOWN. Subdued KEPT or They are usuallyof a decorative kind, similar to that in our engraving,from an of a picture thus that that portion so tint, subordinate ancient picture to some treated is rendered by Memliug, representing and therefore does not obtrude St. Peter. other part, Keys in the middle ages generally exhibited much the is tended infanciful design, which the eye of and on spectator, portant imto be rivetted to some were wrought with great care and taste. more
out

is said to be picture

of ketping.

of portion

the work. A of fine

KEY-STONE.
arch.

The

central stone

of

an

KERCHIEF.
used
as a

have

linen, square KING-POST. The great central post times head-covering by women, somein termed tinction contradisthe gable of a roof where it head-kerchief, supporting to the hand-kerchief, or else as we beam meets, and which post rises from the crossas the given it,without such prefix, passingfrom the side walls of a
excellence.
or

kerchief par

KERMES,
of the which oak.
most

GHANA.

The dead bodies

room, and used in the open ancient houses. KIRTLE.

timber

roofs of

female

insect of the coculus

ilicis,

In Costume.

A term

which

feeds upon the leaves of the prickly may be explained it to be synoby stating nymous the As a dye,it is considered among with the modern word goicn. durable of colours, KIT-CAT. This term is used to desiga scarlet producing nate used for portraits of a pecua canvas quality, liar which size or formerly viz.,twenty-eight twentythe place nine by thirty-six The name ginated oriinches. supplied
"

of

fine

Of COCHINEAL.*

from

the circumstance
Sir

of that size

GodfreyKneller,for he painted of the Kit-cat the portraits raldry Club, an association of eminent as a symbolin hepolitical denote who their to took and c haracters, literary office in state,as from or one Cat, name Kit, Christopher lain that of chamberwho them with the mutton pies supplied of the court, dish. which formed their staple
being adoptedby
is used frequently who bore such insignia. The of
anus

KEY.

The

key

KNAPSACK. KNIFE.
of St. The

See

HAVERSACK.

knife flaying who A knife

is the died

blem em-

houses religious the age patronof St. Peter that Sts.

Bartholomew,

under

torment.

is also borne

by by

(and also the see bear of Gloucester) the keys of the

saint. with alwaysrepresented
"
""

Agatha,Albert,and Christina ; and a the angel. knife by St. Zadkiel, sacrificing

KNOP,
ornament

KNOT,
of
a

KNOB. bunch

boss,or
of flowers

an or

round

St. Peter is

leaves.

Also the

on foliage

the

of capitals of lead ; in oils of

two

keys

in his

pillars.*
KREMS "WHITE.
A carbonate used it is the finest white-lead

The

worm.'

kermes In the middle

word

in Arabic ages, this

'little signifies dye-stuff " as

therefore called
Kon i:iFrench.
name

rermiculut

It is curious vrrmillion has since

"

in Latin, and vennilhow the to consider transferred to been Dr. I're.

red

sulphuretof mercury."

* See a very beautiful BOM. of the word

example

illustrate

LAB. leu
name

257
are

Ixxiythan
from Krems

flake white where city

it takes

its

God), 9toc (Christ

upon the

also found

times some-

the
or

it is manufactured, and Austria, is

ancient monuments

; and often

Crems,
Vienna

in

sometimes

termed

white. In Christian Art,

LABARUM,
the chrism is the two in Greek

CHRISM.
a

of the cross is placedbetween XP t NI (Christ the abbreviations, In the commencement of the Conqueror).

image

the two

monogram first letters of the

composed
name

of

twelfth

century, we

find the

chrism

placed re-

of Christ

by

the three

X P 2, which letters,

interlaced and crossed the two firstand the last letters of the characters, are seal which Constantine, of Christ in Greek. after Louis VI. had name his conversion, placed on his the Roman them engraved upon coins,and they I

jfc It is the

standards.*

The

labarum

is the standard

j were

preserved upon
all the ancient

the coins of France the renaissance

tered scat-

until the time when I.

the

traditions. Francis
who

was

last

king

admitted
successor

the

Greek abridged LABEL. \\

I.

name

; his

stituted subwhich

the Latin. A band

or

scroll upon

are inscriptions placed. In mediaeval works of Art, they are of constant rence, occurand are held by saints and angels,

inscribed with

words

and mottoes

times some-

they proceed from the mouths of the words indicating persons represented,
which
In for accompany the action

delineated.

used architecture, theywere abundantly of all In kinds. inscriptions heraldry, marks of cadency. One conare labels. sisting the shield, of a band crossing with three points marks the coat of depending, marked

with this sacred

seal itself. Sometimes

its retaining and surmounted,thus +. These upright, letters are often accompaniedwith the A and

and not the seal, the X, instead of is placed ordinary position,

an

eldest

son.

LABYRINTH.
were

The

earliestlabyrinths

of intricate subterraneous, consisting in the rocks, and devoted to passages religiousworship or funereal purposes.

Q, and

circumscribed

by
are

circle. in

The

more

modern

labyrinthwas

above

Such the

varieties of the chrism and catacombs, upon many

found

ground, with
each other. the
an

of the coins
CHRISM was

of the

Christians. early

The

same

winding ways running into of was garden labyrinth bushes forming design,clipped
The
on

delineated during the whole of the RomaByzantineperiod. It was reproduced in the twelfth century; and
it is sometimes found
on placed

imperviouswall
Geometrical

each

side of the of
so

figures, composed of coloured marbles,and various pieces thirduring the teenth

the

walks.

to form not as were labyrinths, disposed The formed in the pavements of first unfrequently anterior parts of altars. two and called " labyof Jesus,1 H, the French cathedrals, Greek letters of the name and the two other letters, X 0, Xpiorof rinthes de pave." They are supposedto have originated in a symbolical allusion to the and and certain Holy * City ; prayers standard of Constantine, Fig. 1 represents the delineated his coins. as on devotions Figs. 2 accompanied the perambulations
And
cata 3 are :oinbs

copied from
of the
at Romp.

monuments

epoch

Christian

of the in church

liest ear-

the

of finest

their

intricate

mazes.

The
nave

example remaining^

is in the

26S

Dame, at Chartres ; and a person important branch of Italian manufacture, and that its products and the ings turnvarious formed a part of female windings following walk would of the in the nearly figure, luxury age of the Antonines. ians eight hundred feet before he arrived at It was customary among the earlier Christfor females to wear the centre, although the circumference veils duringdivine
at Notre

does not

exceed

thirteen

yards.
of

Similar
and

worship;
in writers,

but

we

find that

some

zealous

existed at Notre Dame labyrinths formerly in

at the Cathedral Paris,

the age

that of the following

of the evasion of dynasty, complain ladies who were at Amiens.* by some proudof their charms, and fond of admiration ; they A term LAC. appliedto a concrete kind of network of a dark red colour, wore brittle substance, some reticu(vela embroidered with patternswrought called in Arabic lukah, and in English lata), which by the needle (acu picta), be gum-lac. It is taken from an East Indian may when in the and the of tree modern as lace regarded origin veils. laeciferuni), (croton and when is called seed-lac, form of grains, Mary de Medicis is said to have been the firstwho introduced the custom of wearing in thin, flat cakes,shett-lae. articleof personal lace into the court of France ; she brought This elegant LACE.

Rheims,

Flavian

this rule

decoration may
fimbria of

be traced to the

or fringes

the fashion from

Venice,where

lace had both

of the

antiquity.This form
to

of decoration

long been
sexes,
as was

worn

by
of

the

of nobility
case

appears

have

been

appliedto

indeed the

in most

dress in the earliestages. "We find fringed borders on the robes of Egyptian princes and
on as represented princesses,

wealthy states
some

ever, Italy. There is,howto prove

evidence had been

that laces of in

the

kind cently-discovered resome Northern

known previously

monuments;
directions for the
are

and minute

thread,laces of gold, of silk laces and "woven gold," distinctly merated. enu|nd But here the dresses would be word is such of posed combordering equivocal, for lace was of some texture a name equallylightand appliedto a tape or and transparent; and we think that a fringe, bobbin used for fasteningthe dress, to modern approximating lace, continues to be used in that sense at the very closely the dress of an Egyptian present day. It must also be remembered on may be seen which are necessary to the maKossellini's Ancient in nufacture Egypt. that pins, princess of exhibit the Ancients Costumes lace, so properly called, were Hope's of the borders of not used in England before the beautiful patterns on many year 1543 ; if made at all, all remarkable must have been the dresses of Grecian females, so that lace, limited in quantity of their design and coarse and in fabric. for the simplicity In examining the illustrationsof costume and are worthy of being recorrect taste, vived in illuminated manuscripts, After the ever, we have,howby modern manufacturers. that ornamental the of of custom proof Greece, wearing bortlerings, conquest of the nature of lace, lenic with many other Hellace was introduced, partaking were worn
looms
a we

given in the Levitical law borders of sacerdotal vestments. fringed in their As the Egyptians prepared light, gauze, so thin as to be called that the probable air,"it seems

Europe ; for, in a statute of Richard III., from prohibiting foreigners into England an) such articles importing
as were

manufactured of

out

of the country,

find "lau-3

fashions,into Borne,

and

it

soon

spreadover
we notices,

Italy. From
are

few incidental
struction conan

In the age of the Plantagenets ; but we have been unable to discover indications
to enable us to apsufficiently satisfactory proximate with any degree of certainty to

led to believe that the

of
*

laces,became or lacini"e,
interlaced

the nature
The termed

and

fineness of the texture.

Greek
a

alto

labyrinth.

scroll ornament is See the word A-I.A-

tikECQCE,

and

it* illu.-tratif" cut.

related to Network, which is so closely in England was lace, undoubtedly produced

LAC.

amter the
decoration

Embroidered Plantagenets.
are

nets for

of fine mesh

mentioned

as

worn

that one structed, 350 francs; and

pound
it is
BO

of it will coot

fine,that
is very

the

in the

of descriptions
are

ments, tourna-

thread will snap in

weather. frosty
work

Such
a

but the notices of them and

rally gene-

extremelydelicate

dear;

imperfect. vague Tradition ascribes the firstestablishment

of the
eome

and been several veil has cost 2000 francs, The effect the worker on years making. is great,and sometimes to this manufacture and in such continuous

lace manufacture in England to refugeesfrom Flanders,who settled of Crantield, in the west of at the village the county of Bedford, Buckinghamshire. adjoining "We have any definite but it is not from the
not

blindness, produces Machinery has,however, been applied

with

great

success

of inventing, variety

been

able to find ;

for authority destitute

we

this statement

that the genuine lace of hand labour is almost discarded for that of the machine, which which
some

of

Flemings
all
dress.

for probability, have undoubtedly

nected con-

for produces would have

seven

a shillings

fabric

cost

seventeen

pounds
Costume,

derived

almost with

our

manufactures

twenty

years ago.

There

is also abundant

LACERNA.

In (Lot.)

Ancient

the cessful a loose garment, with a hood, worn Flemingswere very sucb)of this beautiful Romans and in the production the TOGA, open in front, over provements, imand that theyintroduced many fastened by a buckle under the throat or fabric, both in its substance and design, on the right of shoulder. It was usually imitated in which were subsequently teenth England. In the early part rf the seven-

evidence that the

the lace century, held

of the Netherlands tasteful

nufacture ma-

for unquestioned superiority

were

design. Children
from
was a

trained to the

very

early age

; and

such

the

to the modern

demand, that a very near approach factory system was made at

was

in Flanders. this period

Buckinghamshire
the lace manufacture
the seventeenth it

the chief seat of

in

England during
from

century, and
the

thence

counties of adjoining and Northampton. It seems to Bedford trade for have been regarded as a staple ;

spread into

when

free-school was

founded

at

Great

in 1626, Marlow, by Sir Henry Borlase,

one

of the purposes
was

for which

it

was

dowed en-

stated to be the instruction of

and generally a worn as spinning, a dark colour, twenty-four girlsin knitting, in bad weather; but in early and the making of bone lace.* Twenty protection times exclusively Fuller notices this branch of as a garment. military years after, the After civil and Roman became its a use as thrivingmanufacture, wars, industry more is confirmed of his evidence that the general.* by
different itineraries. Flanders and

LACHRYMATORY. still reign supreme

of lace.
condelicately

a Literally use

tear-

Belgium
so

bottle. A fanciful

attributed

to

small

in the hand-manufacture The

*

thread is sometimes
Tl.is
:s a

in shape like the alabasglass vessels, tron, but with a longer neck, and said to
"

pillow-mce ;
on

bone

bobbins

which

termed so the thread was

from the wound.

The

engraving is

copy

of

Roman

bas-

relief, publishedby Montfaucon.

960 be intended
to

LAC" for

LAK.
and in capacious the rich
as an

holdingtears consecrated
their real
use was

form.
extra

It

was

also

used
or

the

dead, but

to hold

by
was

outer-garment,
same

perfumesor
LACINIA.
excrescences

ointments.*

robe of state ; and

two

the

kind of article its the

(Lat.) The
a

drop-like

worn

the

jowl of

growing, like warts, under which the ancient she-goat,

and capacious

by the poor, probablyfrom like simple character,

of the Arab.

"bernous"
term

Rich says, the

artists likewise their fauns and

-Appendedto

the necks

of
to

young indicate their libidinous

satyrs,in order
without

when propensities,
horns, f

used to designatethe was properly "peculiarkind of woollen cloth with a Icng loose nap," used by the ancients for outward

the?

them represented

garments of various kinds.*

An (Lat.) with double earthenware vessel

LAGENA.
for

wine,
and the

mouth form

handles, a wide base, resembling in general

jecting profoot.

but having a broad hydria,

or

base

LAKES.
term

LAC

(Fr.),LACCA
animal and

to applied matters

A (Ital.) louring vegetablecosolutions

from precipitated
as

on

and
to

alumina, chalk, it was limited Formerly, the crimson-coloured pigment obtained

oxide of tin.
LAC

such earthybases,

from

The
knobs

term

was

also
the

at placed

appliedto the metal of the chlamys corners

LAKES,
or are

; made

but from

we
a

have

now

YELLOW

decoction which

of Persian

French
into

to berries,

soda and alum

(seecut, page 113) and toga,to make them Hence and gracefully. the hang steadily
term
was

and being dried, added,the precipitate cakes ;

PURPLE

made
GREEN

LAKES,

and

appliedto the occasionally

borders of the dress itself.

ners cor-

and

lakes

prepared by mixing yellow LAKES, with blue pigments. The most valuable
LAKES are

LACQUER,
annatto,

LAOUE

(Fr.)A solution of

obtained

from

madder

which saffron, and cochineal, yieldIndian lake, matters. colouring carmine, crimson lake, rose madder, "c. tecture, DROP Brazil wood. is obtain from LACUNARIA. LAKE (Lat.)A term in Archiin the the used to The LAKES panels a ceiling, by early Italian applied series of sunken which are producedby a derived from KERMES. were painters in the rafters is that derived LAKE The finest RED compartments, originating and and covered disan were which supported was from story, cochineal, accidentally upper sunk the Franciscan to at leaving monk, Pisa, exposed spaces eye, by a the intersections as they who was between for medical obtaining, (lacuna) purposes, and aloes, other crossed each

shell-lac .in alcohol, tinged with

other,and
as
a

which of

were

wards after-

an

extract

of cochineal
a

with

salt of tartar,

retained

means

flatness of a unsightly of these panels beingdecorated and

breaking the ceiling ; the edges

with carved the centres filled

and

found

brilliant red

base.

MINERAL

by
French

French

at its precipitate is a pigment preLAKE pared chemists,and used by

a

ornaments, and gilt

decorative

artists.

It is

kind

of

orange

is also given to the The name chrome. painting. oxide of iron. UARMLNB LAENA. by orange-coloured (Lat.) A garment worn o f in ancient also known is as wool, or Rome, generally LAKE Florence, Paris, priests in with

Vienna
"

lake.

The

carmine is

of

Madame

See

GOTTA.

Cenette, of Amsterdam,
*

preparedby
Ac.

f Kich's Companion to the Latin Dictionary. The engraving is a copy of the famous antique Atun in Winckelmmon's History of Art.

Companion

tc the Latin

itvtwnary,

262
was

LAM.
not
content

with

Christ under
personages also were
or
"

the form

of

Jesus representing lamb a only; the New

of the Old and

Testament

under the form of lambs figured sheep as, for instance, Abraham,Moses, the
are

lying slain upon an altar" oc at the foot of the cross, shedding standing blood from its breast into a chalice, which overflows into a neighbouring river
"

Red

Sea

else

St. John

the latter form upon of the of

and the apostles Baptist, ; under that seen constantly ancient sarcophagi, in the frescoes

Catacombs, and
the Roman twelve

on

the ancient

mosaics

Basilica.

times Someare so

the

tribes of Israel

represented. When, however,more or less the sheep than twelve are represented,
"

faithful"

are

Entire symbolised.

scenes

from the Bible have been

as represented

formed per-

by

sacred personages

transformed

as "lastly, pouring forth blood from ita four i n feet, over a mountain, streams, flowing but alwayscarrying In the a cross. earlyfrescoes and mosaics,we frequently

find the

of representation

our

Lord

under

image of a lamb,lying on a throne mounted surWhen by a cross. representing the Saviour, the head of the lamb is surrounded by the cruciform nimbus, or surmounted cross.* and chasubles a by Upon altar frontals, the lamb is frequently represented the book as if dead, upon lying, with the seven or standing, and seals, with one foot (sometimes the fore, holding
at others

the

resurrection.
mode of

the banner the hind foot) of the This is the more popular
as an

and representation,

armorial

it enters into the blazon of several bearing

into lambs.

from subjects

In all illustrationsrepresentand societies. In towns, noble families, ing the Apocalypse, of lowing the lamb the Agnus Dei, the folrepresentations
seven

with is represented
eyes,

horns of the

and

seven

rules

breaking the seals

This in the

volume.*

mysterious body of the troduced inwith a red cross surroundingthe head symbol was generally banner red at the point, with a red centre of crosses, with the
of which extremities;
on a

observed : The generally lamb is white, a gold nimbus

are
"

; the
cross

at Evangelists

the

white fieldnext

to the

there

are

several

brasses. In ancient monuments, the lamb is represented various miraas performing cks
"

examples in sepulchral terminated by a cross. within a figured usually fieldeither azure a on foil,
from

which is staff, This image is circle or quatreor

gules.-t1

raising Lazarus

the

deadf

"

the loaves in the wilderness multiplying being baptizedin Jordan crossing the
" "

See

the

t The
held

by
this

DEI. AGNUS the lamb in which artists was so great, that

cut

under

favour

was

at first

the

human

"

Our

engraving is copied from

of the thirteenth

French

niature that mi-

century,

given by

Uidron, in his Christian Iconography. t Our engraving is copied from a Latin ture sculpof the fourth

almost was entirelyabandoned, emblem might be substituted in its place. In the year 692, the Quini-Sextum toric that in the future hisCouncil formally decreed the human tenance counfiguresof Jesus Cliri.-t,

figure of Christ

century.

of the Son

of

God, should

be substituted

LAM"

LAN.

LAM

DOTS.

of steel

(Jr.) In armour, skirts were flexible and overlapping, plates,

usuallyplacedon

stands

bra) (candela-

; another kind were ceilings. In Christian is the

suspendedfrom

lamp

symbol

also the attribute of

Art, a lighted good works ; it is the wise virgins ; the

of

attatched to the front and back the cuirass.*

of pieces

LAMBREQUIN.
for covering

virgins carry inverted lamps ; St. carries a lamp which an evil spirit LAMES. (Fr.)In armour, small plates is endeavouringto extinguish. In the of steel being the continuation of the portalof the cathedral at Amiens two from the branches of of and the front the over feet, jambarts, lamps are suspended thus forming the mixed of SOLLERETS a tree.
the helmet of
foolish

(Fr.)The ornamental a knight. See

COINTOISE.

Gudule

mail and

plate. f

LAMP-BLACK.
or

A soot obtained in the used turpentine, and

as a pigment. slowly

LAMINAE.
of metal.

(Lat.)Plates
Thin
or

thin

pieces
for

manufacture

of

slices of wood
of of all kinds. the most

used

It is very opaque,
in oil. In is necessary LANCE.
an

dries

decorative purposes,

ivory for
beautiful
of

the

it preparing

for artists' use wash

it

painter.Veneers
LAMP.
of

to calcine and

it. lance is
of St.

Among
are a

mains re-

In Christian
of

Art, a
and

which antiquity

have

been preserved,

attribute the

St. Matthew

great number

lamps, Thomas,

formed bronze.
relief.

of The

and clay, metal, terra-cotta, form of these is for the most the

of as Evangelists; as Saints Longinus,George,Adalbert, Oswin, Barbara,Michael,Demetrius,"c., "c.* For

we an

well

part oval ; flat on

Our

in top,with figures a portengraving represents able in lamp of elegant form, preserved

illustration of
our

classic lances

may of the word used

refer to

cut, p. 21,illustrative
a

AMENTUM.
as

the.Museo Borbonico.
in

Lamps

of this form

by

horsemen

paintings for the image of the lamb ; but, has notwithstanding this prohibition, Jesus
For represented as a lamb. details of this interesting section minute more of Christian Iconography the reader is referred M. Didron's to work, (translated in Bonn's Illustrated Library.) and Pugin's Glostary of
never
,

; but it was The JAVELIN.

It was generally fantry piketo transfix inused as also occasionally barbaric nations always

ceased

to be

theirs in the latter form, and the of the Gauls and Germans barbed ANGON
made

Eccletiasttcal Ornament.
*

of the may be considered as the prototype modern spear. In Saxon drawings we find with a cross it generally guard provided
at the base of the

They
the

allow

ipecimen representing the Triumph of the Emperor of London is a Maximilian I. In the Tower suit of armour, presented by that sovereignto our King Henry VIII., which is of a similar

before and behind, to cut away, his horse. Our to sit on is copied from the fine series of woodcuts
were
wearer

affixed to the

socket, by which it is and frequently shaft, sented represcenes

in battle

thrown

an against

In the middle ages the lance was enemy. of its barb, and assumed again deprived
*

Instruction.
t See
cut

under

J AMKARTS.

See

Husenbeth't

Embltmt

o/ootM*-

264 the form of the

LAX"

LAR.

antique ;
was

in the fourteenth made thicker

ward to-

LANDSCAPE-GARDENING.
art which particular

That
to combine landscape, in an peculiarities

century, its handle

the hand for became ultimately and hand grasp,
to

succeeds, by due study

of security
too broad

then be

space

was

grasp, -which for that purpose, cut for the

of natural beauties in the best of their

artificial way. LANDSCAPE-PAINTING. The art of

and

inserted, givinga
the

while

very secure form of the spreading

delineating purely natural

their proper LANGUE-DE-B(EUF.

handle produced a shield for the hand. LANCEOLATE. Shaped like the end
"f
a

scenes, effects. atmospheric

knee.
A kind the
to the cuirass on

LANCE-REST.
the supporting

lance in the

hook, for rightside, charge.Our cut

of

tached at-

A military (Pr.) of a implement,consisting blade,which / \ broad-pointed

/v

was

affixed to

and staff, from

an

received

the

name

its ox'*

resemblance

to

tongue.
LANIERS.
for for

(Fr.) Straps
armour,
or

securingthe
the holding
who

shield.

LANISTA.
person in ancient is

(Lat.) The
trained

tors gladia; he

Rome

in usuallyrepresented of Art

works

the instructing
of

combatants.

LANTHORNS
very
some

are

great

and antiquity,
ones

remarkable

have

is

from copied of

a
"

figurein the

"

Triumph
plication com-

been discovered
and differ but modern

at

of Maximilian

it shows the great

Herculaneum.
form.

Pompeii They
the

supportsfor the heavy lances of the sixteenth century. The rest is the hook m front of the rightbreast ; but to
the side is screwed
behind the
arm
a

little from

In the middle

and

queue, which goes curls over at top, to

ages, they took the shape of a circular box, with small oval

prevent the weight of the lance bending when its pointdownwards placedin the
and directed against an rest,

openings set with to transmit the light. crystals

In Christian Art, Ian thorns are the attributes of St. Gudule and St. Hugh. In Architecture, the tennis
a a

antagonist.

LANCET. architecture in
of lights

A term
use

in

of to a style applied England throughout the tall and

to applied

small

turret raised above

the

roof

of

the thirteenth century,and in which

a

building, having windows

LANX.
of silver and

all round

it.

window

are

narrow,

ending in an obtuse pointedarch,generally from resembling a surgeon'slancet,

which The
same

formed

(Lot.) A largedish (frequently used by embossed),

in sumptuous An

the Romans

banquets.
works in

thb

term inartificial

was

invented.

LAPIDARY.

artizan who

arches in this form.

take the style generally A

stones,either engraving,cutting, precious them. or setting polishing,

LAPIS
which

LANDSCAPE.

view general

of any

LAZULI.

mineral

stone,

portionof the

hending open country,not compreviews of street architecture or

furnishes the valuable colour called

ultramarine. LAEARIUM.

edifices merely.

(lat.)

The

apartment

LAR-LAT. sacred to the household tabernacle

or

"265 of the

gods (lares).A
for
an a

recessed

shrine

hold housewas

god, in

front of which

altar

placed.
LARES.

Trinity ; red or white to and the Virgin; violet to angels, apostles, saints. As the nimbus could not ordinary be refused to Judas, and being an apostle,
persons

(Lat.~)The
Romans,
room

household

gods
a

gifted with
with

of the ancient

in whose

houses

as such, it is covered power colour of the mourning. black,

constructed was (larariuni) into which the master for their reception, them retired to propitiate by orisons and believed sacrifices. They were to have all the household the power of protecting

separate

LATCH. The
name was

The

resemblance

old English cross-bow. from the evidently applied borne by the triggerto an

window ordinary which

latch.

and but

its property from

were
"

evil and

LATTEN, of misfortune, of brass,

household

LETON

(Fr.)

A finer kind

not

(likethe other

but regardedas divine, penates) of good and great believed to bo the spirits to guard devout worshippers willing men, ;

gods

the

thus Alexander his lares

a

Severus

numbered

strange mixture
Alexander See PENATES. the

among of the trious illus-

for plates (BRASSES), crosses, and a great proportion of the candlesticks, were churches, "c., used in the parochial The antique laton of Chaucer and made. mixed Gower was a metal, resembling
monuments sepulchral

the incised

brass in its nature

and

colour ; but white

was a

departed. Abraham,
and

pheus, laton is also Virgil,Or-

named,
tin.

which

mixture

Great

being

of brass and

In

Eliot's

Dictionary,

included.

1559,the proper definition of the metal is LA CENE LAST SUPPER." (JV.)-Ii, thus given: " JEs calclarittm, copper; is one of mettall." The moCENACOLO dern (as coronarium, (ltd.) This subject latyne
and frequently important represented in Art. Its treatment is either latten is composed of copper and and its goodness, a in great calamine, the of quantity the measure, dependsupon

the most

historical or devotional, dependenton

of application the When

the

tended latter it contains. Much inat of it is made picture. the mystical for altar-pieces, and in different parts of sion verAix-la-chapelle, the Eucharist ; who conis adopted, as typifying struct Germany, for the use of braziers, rate the other version has been adopted to decofrom it the vessels so constantly The "c. in the low countries. used by housewives refectories, representation certain within is Latten black of this subject narrowed is imported or brass, latten, in thin sheets of various sizes, limits,but when produced by a master great quantities mind, as in the famous work of Leonardo beingmade into wire,which is very da

Vinci, we

see

how

it

can

be

rescued

and flexible,
arts.

of much

use

a commonplacestyle.In the proper the Christ wears of this subject, treatment

from

Shaven

latten

in many chanical meis guished distin-

from and sheet.

ness, the latter by its great thinboth

was

cruciform nimbus
of exception

; the

with Apostles,

the
In

on brightness

sides of the

the Eastern
the whether for

Judas, are also nimbed. Judas is nimbed churches,

nimbus

The

red latten

used formerly

cause for ; be-

larger domestic

characterises poicer,
or

good

and evil,

not

sanctity
the

for smaller ones, "c.*

utensils ; the white such as ladles, spoons,

only.
nimbus

It is not

uncommon seven

to see

devil,
; the rity autho-

LATTICE.

window
bars

or

other

open

the beast with

heads,nimbed external sign of beingthe

power. and
was

space, having narrow each other diagonally.

and crossing it,

and

But

as

it

was

desirable the nimbus

*

to establish a difference between

There

is

an

old

jestof ahak";sperehaving
of Ben Johnson's dren, chil""

of Judas it

stood that of other sacred personages,

godfather to

one

The

colour of

sought gold is usually given

for in the

colour.
to the

and, being asked for his gift, declared, I will give a dozen of latten spooni, and you may
translate them."

266

LAT-LEB. Covered The

emblem
as

LATTICED. cross-bars. LAUREL.

among among

with diagonal
of
PALM

pens, as well as for a useful articles of all and used towards

numerous

series of
was was

kinds,it

luable, invaalso

victory
was

much

adopted. It

the
it to

moderns,

the

the middle

of the sixteenth

the ancients. The and Apollo,

latterpeople secrated conhis

wore priests

century for the hangings of rooms, in the

of place the older
arras

being tapestry, durable. as well as others who Much thereof, chaplets tended less expensive and more preof this antiqueleather- work exists in the Statues of Esculato inspiration. old towns of France and Flanders; and The also crowned with laurel. were pius his Voyaged'ltalie, in victors in the Pythiangames were undertaken Misson, similarly in middle of the the because seventeenth honoured, they were peculiarly century, that all the houses of the Venetian favoured by the god ; hence, also,those reports nobles and wealthycitizens were "who had received a favourable answer from decorated with such works, which were the oracle of the god, or may have been relieved by " colour and gold; from him. and known to receive inspiration as tapisseries supposed had laurel wreath awarded if heightthem. a decuir-dore';" or"cuir-arffente" ened Branches of laurel were placed at the by silver. It was formed of skins, doors of imperial at junctions and ultimately fastened together which would dwellings, became its religious signification merged, not interfere with the pattern, this being and was by stamping the skin in a wooden forgottenin its secular type of produced mould modern times,it is a victory.In more placed in a press, the gold and silver being laid on in leaves, and of peace. It is one of and burnished. "ymbolof victory the symbols employed upon the ancient A more expensivekind of hanging sometimes in reChristian sarcophagi.St. Gudule carries largefigures lief, represented which classical To and the Lybian a laurel crown. or were subjects, Eryduced prothnean the suroften given the laurel are face sibyls by hand-labour,or chasing
crown.

and

of the labour and

a leather,

work

of considerable

ST. Martyred A.D. LAURENCE, 258, alive hence he is broiled ally usuby being ;
in represented holdinga gridiron his

with
after

done occasionally expense, much artistic beauty.* This art, has been reinto desuetude, cently falling

and

hand. LAY
wooden for the

revived with

considerable amount

(JV.) A with c ontrived free figure joints, of study draperies.

FIGURE.

MANNEQUIN

but

not

with
as

so

largean

success, of patronage

heretofore.
Those of portions
an

LEAVES.

antique
see

LEAD.
casts

This metal

was

much

used for tions, decoraour

of

statues, "c., as
has been better than

garden
to stone.

and

found

stand

humid

climate

which fold over as we it, picture when in triptychs, particularly altar-pieces. LEBES. or (Or.) A cauldron,
meat. boiling

them
as

used

kettle of

LEATHER.

Skins

of

animals,so
to be

durated inused for bronze,

a

It also signifies
feet at meal
a

by chemical agents as
of Its manufacture
most remote

capable
the times.

used deepvessel, the hands Our

to catch the water

fluences. the ordinary decomposing inresisting poured over dates from known and period, in the

and is

example
at

was

cookingvessel found
*

copied from Pompeii. In some

excellent

middle

; the leather ages as cuir-bouilli then impressed being softened by boiling,

See

some

curious

and

examples,

with ornament,
which and
was

means

dried,by ultimately it became hard, exceedingly

and

engraved
toriqve da

and

described

in the

DescriptionItit-

For very ornamental. girdles, shields,portions of armour, also made purees, small shoes,

ifaitont de Rouen, par E. Delaque1841 ; vol. ii p. 173 ; and for an riere ; Kouen, of the process cf manufacture, " L' Art account de Travailler les Cuirs Dores ou Argentes," pat de Bondarj, in Ducription det M. Fougoroux Artiet Metitrt. 1702.

boxes, and

cases

for

I. FA).

2*7
some school, are

hs"tATic"'s

it

was

made

with

peinUnl
a

Christian

beautiful

example*
the deacon*

to be supported over fcottoro,

the fire in

of lectern*
"r canons

with represented,

which eagle,

is

from them. chaunting found in constantly

The these

metal stand
our

or

INCITEGA,

as

exhibited in
is of ancient

second

example,which

was lecterns,

introduced originally
As

with
were

reference

to St. John.

lecterns

firstused for mass,

in chauntingthe gospel

the

the representation of a serpent or found under the claws dragon is generally

of the in bird, probably

further allusion to
near

the
a

same

saint.

At

Hal,

is Brussels,

manufacture, and Cervetri, near Naples.

Etruscan

was

found

at
"on

lectern of the fifteenth century,consisting of an hexagonal shaft highly decorated

e*ch work

LECANE.
bowl

Etrurians.

lions. The top on pinnacles, resting from the embattled, richly of the orb is which centre LUTRIN on a LECTERN, LETTERN, (JV.), supported surmounted desk LESEPULT the from A the (Ger.) choir-desk, pivot, by eagle ; whence for the book is beautifully the antiphonsand lessons were worked in open of and reaches from the extremity chaunted. Also the stand from whence the tracery, sometimes one as in the example wing to the othur, gospelwas sung. They were from a constructed of wood, but more frequently shown in the cut, which is copied of brass, in the form of an eagle, with outspread drawing of the fifteenth century, in the Paris. wings. There are several very fine Royal Library, LECTICA. examplesextant, both in England and on (Zaf.)A kind of palanqir'n the Continent. In paintings and of the early or litter, borne by hones or slave*,
outer

drinking (Gr.) A basin-shaped with a lid, used by the ancient

open

of its sides,which receive the and flying buttresses from the

of the shaft is

'

'

268

LEG"

LIC. in the forest

near

used

by the ancient

eastern

and

classic

Limoges.

He

14

nations for

for his untiring distinguished particularly and ultimately the luxurious rich, zeal in releasing hence he is prisoners; in his deacon's dress, from place to place. It was provided usually represented with cushions, and curtains, and holding chains or broken fetters in his canopies, sometimes constructed of gold and ivory. beside him. hand, or protecting prisoners LECTTHUS. LEOPARD. In Christian Art, under (Gr.) A small elongated is represented with a single the form of this animal, the vessel, with seven heads and ten horns,of beast, handle, or without the Apocalypse. As it has received its der one, having a slensix of its heads allow to neck, power from the dragon, while the oils and perfumes to are nimbed, seventh,which is to death," is without the nimfrom it. " wounded bus. dropslowly The fathers regardedthe leopard LEGEND. The as of in evil which a symbol inscription perseverance ; applying sick pertransporting females, sons, pian Jeremiah, " Can the Ethiohis change skin, or the leopard a or ether figure on ? medal spots or coin, or those (GV.) A drinkingvessel, inscriptions LEPASTE. surrounds

age,
the passage
"

the head

in

his

on mediaeval placed LABELS.

differing only from

stem elegant

the

broad base to rest on, in

or fillet,

cylixin havinga of the more place

LEMNISCUS.

(Lat.) A
ribbon of

of that cup. It is named from its resemblance to the limpet-shell.

which

hunffrom

LESCHE. (Or.) A publicbuilding wool, of the of open courts Greeks,consisting various colours, among walls the covered with with porticoes, diadems, crowns, "c;,at
or was

the back part of the head ;

attached

as a paintings. It was used principally The nearest modern lounging-place. proach ap-

appears
or

to be

the

mercantile

change, ex-

the

Ruhmeshalle,at
us so

Munich.

Ancient

writers inform

that these public in request,

were meeting-places

much

that there existed in Athens than 360. LETTRES

term

alone

no

less

HISTORIEES.

as military crowns, "e., as an additional mark branches, Our engravingis copiedfrom honour.

to

such prizes,

palm
of
a

adopted by French the largeinitial letters used to decorate illuminated manuscripts in the
middle
ages, composed of and

The generic writers to characterise

which

are

sometimes

tain animals,birds, "c., or convases. within their convolutions pictorial brightcolour, illustrative of the occasionally and masticot, subjects, equalto Naplesyellow nearly The book. custom same was liable to not and adoptedin bat purer and clearer, and sixteenth the seventeenth in centuries reous change by damp, or exposure to sulphuletters for woodcut books. mixture the action of light, or air, LICENCE. In Art, is applied to that with white leads; or other pigments in from rule deviation mode of or ordinary water or oil-colour painting. enforced treatment the a in by particular school, LEONARD, ST.,was originally cation. eduthe firstChristian kinjfof or adoptedas the result of peculiar court of ClovU I., on figure one

of Hamilton's
A

LEMON

YELLOW.

France,from

whence

he retiredto

hermit-

270
termed

UN-

UO. formed
and

Opttsde Limoyia.*
was

One
a

of its pu-

by

culiarities
rent

the

of adoption

transpa-

which

gracefulfigureof any kind, of Hogarth, in his " Analysis

as a

enriched colour,

by

small

which, gave the effects of gem*, Leonard spangles beneath them.

established globule*, Beauty," satisfactorily from silver combining a kind of concave curve,
ousin Lim-

and

himself in the distinguished greatly art during the reign of Francis I. ; and enamoller John Lnndin was a distinguished there during the reign of Henry IV. ; his as well as those of Naudin, a descendants,

contemporary artistin the

aided and of the
we

same

restyle,

worked

in that town

at the

end riod pe-

reignof Louis
may date

XIV.,

to which

decay of the art (whichwas accelerated by the invention of in solid Jean Toutin, in 1630)of painting
the

convex

and which termination,

he has delineated

enamel

upon

gold.
In contradistinction
to aerial

LINEAR-PERSPECTIVE.
art which

is that perspective, An Italian invention of LINSTOCK. the d etermines mathematically fifteenth and the of which every line angle gradation century for the protection in reof a cannoneer should take in a picture a building ference and use ; it consists of a to the vanishing to point. pike,having branches on each side, A peculiar of LINEN-SCROLL. style decorative ornament, extensively uwd to fill the of in the latter fifteenth, panels part
and"

the palette at the base of hi* on of himself now in the National portrait and of which we engrave a copy. Gallery,

duringthe
from folded

sixteenth

century;
to
a

so

termed

its resemblance

small all

napkin
over

in close convolutions It is most

its surface.

constantly

hold

matches lighted
; the into
a

ordnance

to aid him in firing the implement pike converting of defence, and thus means

him enabling

to

LINTEL.

The the

placed upon
to
seen

constantly carry arms. superincumbentstone jambs of a door or window

wall.

supportthe
LION.

main

in

German

wood

sometimes
LINE

characterised OF BEAUTY.

'carvings.It is as ",the napkinThe ideal line

In Christian

Art,

the lion is a

pattern."

and symbol of power, courage, and virtue, of the Resurrection. It is an attribute of

St. Mark, assignedto him as the historian of the Resurrection, also to St. Jerome,*
*

See

the

article

oa

ENAMEL,

p. 170
"

of

this In this instance it his solitude. typifies

Dictionary.

."

t. ;

LIQ-L1T.

271

charist redoubtable as a lion to Satan himChrist,who self. Liou of Judah," is symAs the type of fortitude and resobolised lution, under the form of a lion, the lion was but much at the represented than by the lamb. less frequently The feet of those martyrs who had suffered with singular presented, only symbols under which Christ is recourage.

Beuben,

and

Judah.
'"

Jesus

is called the

lamb, and the lion, under an althoughhe is figured almost infinite variety of images,among
are

the cross, the

LIQUID
BIATE.
A

MADDER

LAKE

ou

EU-

brilliant, transparent rosefrom a concentrated tinccolour, ture prepared

of

the most
lion is

common

of which

is the fish The

.

madder, and

used

in oil or water

introduced in ancient continually

be
an

colour
as
a

pictures ; with the former it acts

and delineations, and is to sculptures regarded as a royalsymbol,* and as

dryer.

emblem

of

dominion, command,

and strength.The vigilance,

magnanimity, lion

from lithos, a stone, ("?/". The silver.) yellow protarguros, oxide of lead, which if added to boiling linseed and other oils, to them the imparts propertyof " drying." LITHOCHROME. (Gr.) Colour printing by the lithographic process, generally termed chromolithography LITHOGLYPH. An engraved ("?;-.)
and
.

LITHARGE.

gem.

LITHOGRAPHY.
couchant

(Or. from lithos, a

art

represents sovereignty ; when

tion; j.astant,resolu-

the rampant, magnanimity; instead of being cut into the stone, taliant, valour; lines, guardjnt,prudence; spection. (the substitute for the plate), circumdrawn counsel; and regardan', are tciant, in the stories it with unctuous The lion figures an or material, upon tecture " ink," to which the printing-ink of Daniel and of Sampson. In the Archiadheres,
and is impartedto the paper in the prowe see period, cess of columns, of printing lions ornamenting the capitals ; the stone being absorbent and the and sometimes the bases. During t at of of water, the surface is damp^ '., ink with f.'hich the design is printed the twelfth century, the capitals are sometimes with lions drinking being repelledfrom those ornamented so portions d oubtless and attracted in allusion to a from a chalice, wetted, by those with which in St. John the designis traced, "fac-si"iileia Chrysostom,who yielded, passage and is capableof being transferred and describes the Christian quitting the Euto an almost unlinr*ed extent. multiplied skilful the results In " are hands, truly Lions, as symbols of sovereignty and power, have always been selected as the supports of and elevate this branch of Art beautiful, nival thrones, after the example of that of in the estimation to a very high position Kiir.' Solomon. They are, likewise, usually of the

stone, and grapho,to delineate.)An nearlyallied to engraving ; in wiich

transition

employed

sticks. the supports to lecterns,candlean "c., coushant. and bearing the basis on The of lions conventional forms heraldic most painter*,are

of connoisseurs. in the

It is

an

art which

their backs. used

early part of the

by the old striking They

the The
or

Alois Senefelder, a

originated tury, presentcenGerman artist,

are

by produced ent-rely
metal, withont
most

trast con-

of colour hair and

same

and tails

any

shadow,

ingeniously twisted.
"

claimingthe merit of its discovery. It and was speedily practised improved by

until it others,
a

conventional

principle appliesto all the heraldic of animals representations

has

now

reached coloured

so

high
to

Crnamrnt and Fugin's Glottary of t-.celeticuiical Costume, pp. 66, C7. Our engraving exhibits the lion of the sixteenth conventional grotesque of the banners century, and is copied from one carrioJ in the

stage of

that when perfection

effect of
a

used

the reproduce it is most

drawing

successful.

Triumph

of Maximilian.

stones of the best quality Lithographic

272
are a

LIT" cx"taineu
near

LOU. the wood illustrative of the

Munich,

their hue

yellowishgrey,

uniform

drawing* on throughout, triumph of the

Hans and
more

is of

the the

and free of spots or veins. They resemble Since yellowand white lias of Bath.
art of

Sebald
Henrich

Emperor Maximilian. Beham, Albert Altdorfer,

among

Aldegraver are
an by following

the

haa lithography is

brity, risen to cele-

celebrated professors, who

and

werc,called
art which

and
Btone
as

the same in Europe, practised obtained by Senethat originally has the quarry been
near Solcnhofen, elsewhere sought

into distinction Albert Durer

Lucas
and

felder from

of

made
;

renowned

Leyden had and which popular,

van

Munich,
among the
on

the

new

that quarries, of the

of

Pappenis the seams,

parative com-

heim,
most

the banks

Danube,
with

printingpress originatedand popularised all over Europe. LITUUS. quently (Lai.) A crooked stuff frein represented works

the stone prolific,

lying in

and

being

capableof removal
The

of Art,as borne in their

by the

augurs

ease.

improvement

made

in the art of late years has enabled its professors The the to imitate with perfect success

and redivinations, presented in our engraving.

was

word

also

to applied

the trumpet, the mouth of delicate pencil most drawings ; the lithocurved to the reproduction which tint process adaptsitself suddenly upward, of tinted ones, while the

(LivRtE JV.) The colour used the retainers of a noble to distinguish drawing LITHOPHOTOGRAPHY. The modern house, and generally adopted from the form lithographicchief tint in their heraldic bearings art of producingprints ; it also of adherents all of worn photographic kinds, pictures was stones, by means by in war their surface. on or developed peace, as a badge of friendly LITHOSTROTUM. (Or.) A pavement of service. ainall pieces of colouredjnarble.-orjginally tributes LOAVES, held in the hand, are the atmost

phicprocess, by fac-simile perfect

aid of

ensures colour,

and which was used by the chromo-lithograthe and priests cavalry.

a

Roman

of

water-colour

LIVERY

introduced from LITHOTINT.

the late Mr.

Persia
A

by

the Romans. invented which

of many

saints renowned

for their

process

by
the

Hullmandel, by
a

effect of peculiar

wasfied
on

or

tinted draw-

to the poor. Among them are Sts. charity Osyth, Joanna, Nicholas, Godfrey, and St. Philip the Apostle. more particularly

ing can

be obtained

stone

by

the aid of

LOCAL that which

COLOUR.

The

local colour is

lithography.
LITTER.
but "wheels, A covered borne

by men

not on carriage, or horses, being

which suspended by strapsslung over poles Its and front. at back prototypes project and LECTICA. the antique DASTEKNA are See these words.

belongs to every particular of all accidental influences, object, irrespective such as reflections, shadows,"c. the varied influences of light, From it follows
that but very littleof the local colour
of
an

is ever depicted in a painting object ; of the curo chiarosrepresentation A name MASTERS. itsreflected lights, LITTLE with its half lights, applied worked who aerial modifies to certain designers usually shadows, its perspective, teenth the local colours, in opaque for engravers and booksellers in the sixexceptperhaps and seventeenth and centuries, bodies,to such an extent non-reflecting small whose that it may be said the local colours are on a designs are generally wood. and reproduced at all. The term on scale, rarely depicted copper or may be of the most able remarkis one most to such colours as Jost Amman correctly applied and in a for the abundance of these men to certain subjects belong peculiarly Hans and it the to minuteness of his works. Burgmair picture, express truly eye, or the for a nd made of the such the greatest as arc was school, painters adoptedby for the due

IXXJ"

LUK. bows.
It

273

"c., and draperies,

in colour.

so

as arranged

monize to har-

accordingto
LOGGIA.
of
a

the rules of composition

The corridor or gal(Ital.) lery palatial building.

The debased Roman

in fashion at the latterend of was the sixteenth century, and is not unfrequentlyseen in old portraits. LOZENGE. An heraldic figure in which

the horizontal diameter is equal

to the

LOMBARDIC.

lengthof
are

the

sides, upon
arms

tion, and generaldecoraof architecture, style diately immeadoptedin the north of Italy after the fall of Rome.

which

borne

the

of

and widows, in spinsters

lieu of

shields.

narrow LUCY, ST., Virginand Martyr, used for shooting 305. She is a sort of incarnation of A.D. arrows castles, It occasionally takes the ascetic purity, at assailants. and is generally represented form of a cross, each end of the limb being bearing a palm branch, and carrying her and is into circular in in a a allusion opening, to her legendary enlarged dish, eyes found in the battlements of sometimes which informs us that a young history, ecclesiastical edifices. she was nobleman, to whom betrothed, LORICA. declared that their brilliancy and beauty (Lat.) A pieceof armour the body from the neck to used to protect haunted him, so the saint cut continually of metal,horn, them out and sent them to him, The the waist. CUIRASS hoping either scaled, ringed, that he would release her from his attenlaminated, or leather, tions. or plain. They were miraculously restored, IX.), and having again refused him, and scatLOUIS, ST., King of France (Louis tered

LOOPHOLE.

openingin the

walls of

died 1270 before

gone with the

Tunis, whither
He had

he had
was

Crusaders.

fer-

turned

her entire fortune to the poor, his love to hate, and he accused her of Christianity ; she
was

martyred by piercing sword, a wound generally visible in all pictures her. representing He LUKE, ST., THE EVANGELIST. is and monasteries the he saint of founded and is usually East, artists, patron many and was constantly employedin representedwith an ox lying near him, hospitals, in improvingand with painting materials, acts of pietyand benevolence, or generally the laws and institutionsof France. or employed in painting a pictureof the is usuallyrepresented He holding the Virgin with the Infant Saviour. Metaher neck with
a

all the together virtues of a great saint and a greatking, of a true Christian and a true gentleman."* in the In addition to his active operations
" He Tently religious,

then

the cross, and sometimes in allusion to his crusades, Saviour's

crown

of thorns and

and phrastus this saint's there

are

the older Greek writers

in proficiency the

name

Art;

and

with
cross.

staff or pilgrim's A

standard

of the

LOUTERIAN.
as a

bronze large The

vase

used

bath

by

the Greeks.

pictures ascribed one pencil, particularly which was placed in the Borghesian Chapel of St. Maria Major, by Pope Paul V.
many to his

ancient

Greek

LOUVRE.
lanthorn

(Fr.)
built
on

open

turret

or

Another
of St.

was

sent

to the
was

church

at Constantinople,

roof of ancient gable the smoke which halls or kitchens, through which wood from the fires, rally geneescaped the

and

one

also in the vault

inscribed " Una Latina, a depictus." This tradition is of burned in the centre of the floor, as origin. Johannes Damasvery early lived in the eighth century, Kent. stillto be seen at Penshurst, cenus, who of the Virginwhich lock of hair, speaks*of the portrait A single LOVE-LOCK. and enSt. Luke painted allowed to grow to any length, upon a panel. There is with of Madonna decorated the in the Byzanwreathed with ribbons, a picture or

Mary

in via

de VII.

Luca

"

Ue

Meseray. /hit

tit Frantt.

"

"Opera."

pp.

631,631.

Paru, 1712.

274
tiue style

LUK"

LYR. tution.
It
was

paintedon

which church other D. M.

che

is attributed
of Ara

to

panel of cypres*, St. Luke, in the

There
are

founded, he
manner manner

says,

by

the

artists of

both those who Florence,

and of

lowed fol-

Cell at Rome.

the Greek

those who

similar works

attributed to

him.

adopted the
order that God for the

new

Cimabue, in

Manni, in hia treatiseDelf Errore di attri"uirsi le Pitture al persiste Santo Evangelista, in Florence published
in 1776, was the first who ventured to of pointout the error and inconsistency

they might return thanks to state of the Art at flourishing that time, that they might meet together and also be able to afford each occasionally,
other their assistance in
cases

of need. The

As statutes were drawn up and sancthese works to St. Luke. original tioned attributing artists of the peManni, however, erred in the particular by the principal riod and of the tradition to the of assigning Portarini the origin to family ; gave the chapel of the Hospitalof the confoundingan old Florentine painter their use Santo Mana Nuova. A similar society of the twelfth century of the name of Luca, was his and nicknamed for the established Siena at in 1355 there or also was Santo, Saint, ; of sculptors weakened at Siena, whose statutes by a society piety,his argument was who showed that the tradition translated into the vulgar were Tiraboschi, tongue The Parisian artists of an earlierdate than the old painter, as early as 1292. was Luca Santo of Florence. There was, founded a similar society in 1391, and also named after the Greek much earlier it saint.* of a a however, hermit, of Lucas, who painted in his library at Walpole possessed, age, of the name and folio tract of the thus St. Luke in manuscript a Hill, images Strawberry Virgin, of an the Hermit artists' club firstestabecame confounded with St. blished descriptive in England by Sir Antonio TanLuke the Evangelist.* Independent of the inconsistency of assigning the most dyke,and held at the Rose Tavern,Fleet termed the Virtuosi's, Street. It was the to con* or Byzantinepaintings meagre

temporary
when
and

of the first Roman

were

emperors,

St. Luke's Club.

LUNETTE. A semicircular window, high state, above all the masterpieces still or a space of antiquity a square window, which in the temples and the public is bounded by a circular roof. The paintings preserved which cover such walls are and all other imitations hence galleries, painting, termed lunettes, and may be illustratedby of the human forbidden form, were strictly in the Vatican. the Jews; and so far was the objection the works of Raffaelle, An LYRE. ancient that ment, artists themselves were cluded excarried, stringedinstruin from the Jewish provinces.-}monuments with represented OF. One of LUKE, ST., ACADEMY the arts stillin
a

the

earliest foundations
took the with

connected
name

with

Art, and which

in accordance
was a

of the saint founded

the tradition that he

painter. The

academy was

in 1593, and still continues to flourish. It originated in the older " Coniat

Rome

pagniadi San Luca" founded at Florence in 1345. in the Life of Jae"po Vasari, di Casentino, gives a brief account of the of the Compaguia of Florence, from origin which it was instia evidently religious
"

See Lanzi, Storia Pittorica dtff Italia, ii. 10. H. R Wornum, Epoch* of fainting elta-

various numbers
"

of

strings sometime*
"

See

ACADEMY,

p. 2 of this

Dictionary

MAC"

MAI). formed
wall
on

four, at others
It
was

seven,

and

even

eleven.

the voice employed to accompany playedupon, it was placed between the knees, or held uprightby the left hand, and played with the right.* is a lighter The CITHERA instrument of similar form, but of smaller volume and The lyreis an attribute of Apollo power.
in song ; when and

by advancingthe parapetfrom the and leaving corbels, spaces between

each open to the parapetabove. MADDER (Fr.GARANCE, Or. KRAIT). Several valuable pigments of different colours are preparedfrom the colouring
matter

of

the

root

of this

plant;
them

and
ceedingly ex-

possess

which qualities

render

painter. They and permanent, working (Ital.) A class of are transparent Italian artists who adopted well both in water and in oil. The a fanciful rather equally than a natural style colours vary from the lightest able remarkand most ; they were for gaudiness of colour,flutteringdelicate rose to the deepest and are purple, known and unnatural der-carmine madas draperies, rose-madder, pink-madder, exaggeration, the whim der, brown-madof school rather a following purple-madder,* than transcribing intense madder-purple, and orange nature. MACE. A military implement used for madder-lake. and constructed so as dealing heavy blows, Madder, from which some of our finest lakes and which is employed to fracture armour. It was are prepared, frequently carried by horse soldiers at the saddlein bow, extensively dyeing reds,is the root of which is cultivated where it was suspendedby a thong the rubia-tinctorium, which passedthrough the upper part of over extensively parts of Europe. many the handle ; this thong was wound The importance of this substance as a round the wrist to prevent itsloss by the force of colouring agent, induced the Socie"teInto offer several blow. dustrielle of Mulhausen This implement takes a great a of forms. vestigati inThe mace of ceremony, variety large premiums for the best analytical In 1827 eight memoirs were in the middle ages, which origiin use nated in the military into the society, sent was which, although one, generally considered not to have fulfilled decorated at its summit with canopy work. they were The modern of office,the conditions put forth in the programme, mace, as an insignia Kuhlmann full of valuable matter. is generally surmounted by a crown. were each discovered and MACHICOLATION. beneath and Colin, Robiquet, Openings which in to the parapet of a castle, fortified a new they principle madder, gate, or of alizarin. Several other to cast stones, pitch, offensive or place, gave the name this colouring chemists have examined vestigati matter, but by far the most completeinhas been made of the subject by Dr. Schunck for the British Association. substances have been detected The following which by this chemist : alizarin, rubibe the to p rinciple, colouring appears tinctorial which has no property, acin, which and xanthin, and beta resin, alpJui, but not onlygives no colour itself, actually
MACCHINISTI. interferes with
of the madder

of St. Cecilia.

valuable to the

the action
on

of the alizarin

mordanted

cloth.

To

nissiles
*

on

below. besiegers

They
an

were

remove

this xanthin into what

it is usual to convert is

the madder engraving is copied from bas-relief, publishedin Montfaucon'a

The

called technically

antique .intiquitt
"

Known

also

as

Field's carmine

and ptirple.

276

MAD.

itwith hot sulphuric next garanctn, by treating acid until it has acquireda dark brown in a then adding water, straining and colour, washing, until all the acid is removed. Dr. Schunck which informs
us

mordanting, by soaking alum, to which potash ami chalk are added, for twelve hours,and then,being well rinsed in clean water, the
we

have the of

batn

that the advantages

cloth is immersed receives its dye.

in the madder

bath uud

garanctn has over madder are, that the partdestined that it dyesfiner colours,
to remain

white does not

acquire any
that of the

brown

or

and yellowtinge,

that its tinctorial

which is supposed to have bath, effectin improving the colour. This some the brightening of the beingaccomplished, cloth is celebrated continental calicowhich effected the most dyed follows, by it with soap and water affirm that the madders of Avigor non, rating boiling printers it into a bath of muriate though richer in colour than those and then passing of tin,which is prepared by dissolving of Alsace, afford little or no alizarin. In is employed, the pura mordant grain tin in nitro-muriatic acid. Other dyeing, pose is to bind by a twofold reds are produced from cochineal, of which which have already matter to the texattraction the colouring mentioned ; kermes, tile of we filaments. Organiccolouring which insects there are several varieties, matters have a very powerfulattraction for some from the plants named upon which they metallic salts and the salts feed those of earthy Europe beingfound on the ; thus, ; of oak and of valuable of alum, are lead, tin, prickly ; lac,a reddish resin,produced the branches of several plants in on as mordants,from the circumstance that the earth and the oxides of metals adhere Siam, Assam, and Bengal, by the puncture to all organicfibres, of an insect of the coccus with great tenacity family ; archil, of many lichens ; matter and unite with much force with all organic the colouring It is not our intention carthamtts or safflower; brazilwood; matters. colouring and alkanet root. From all these to describe any of the details of the various logicoood for reds with matters lakes may be employed dyeing organiccolouring processes madder or any other tinctorial agents,but, prepared. Under the general of lakes title that for dyeing the include all those vegetable animal we one or selecting process colours which are or Turkey red regard it as a Adrianople, produced by precipitation of all. This ishere with a white earthybase, which is general representative fusion given from a paper by Mr. Robert Hunt, ordinaryalumina. Having made an inof the dye stuff, in the Art Journal. a of the portion of alumina is added to it; The firststep consists in cleansing and sub-sulphate removingall greasy matters from the fabric at first there is but a slight precipitate, but if a littlepotashbe carefully to be dyed. This is effectedby some tedious added, is of the the alumina of a operations dung-bath, process copiouslyprecipitated, down with it the colouring matter. oiling and then washing in an alkaline carrying Then follows the galling oath. operation, Yellow lakes are thus preparedfrom an infusion of Prussian or French berries, which consists in steeping the cloth in a or bath of Sicilian sumach from quercitron extract or of nutgalls or annotto, an ;
" " " " "

: prepared of superiority the separation to two causes by garancin the acid of the lime and magnesia combined with the colouring matter, and the and removal of the xanthin decomposition have by the oil of vitriol. Some objections of been taken to these views,and some

power madder from which

is greater than

it has been

he

likewise attributes the

"

Every pound of cotton or woollen cloth from two to three pounds of madder. requires The bath being made, the fabric is worked placedin it cold,and constantly about until it is thoroughly impregnated with the dye ; the fire is got up under the and copper, the fluid is brought to boil,
ebullition is continued Several
to the cold for
two
are

hour.-. added

of bullocks' blood gallons

"

"

"

"

"

278

MAI).
lias

temple antil she

reached

fourteen

seven

decrees years of age, when the high priest ments settlewho had public that all the virgins

swords,emblematic of her " seven " she is termed Our Lady of sorrows," As the glorified Dolors." Madonna, she
is crowned and carries a sceptre, or
a

temple should either return to home or Mary is unwilling marry. the of but bows to the decree do either, of priestthat she will marry that man "he tribe of David who, bringinga dead
in the shall tod to the altar, The entire men
are see

ball

and cross, and is frequently in represented rich robes, with an abundance of decoration, surrounded sacred art. of her The

by

saints and

angels,

of and radiant with the richest imaginings

it bud

and blossom.
married un-

of the tribe

life chosen

each bearing a rod, this assembled, Conception: them the aged Joseph, who reand among frains producedby the Greeks and Latins as an to his until a heavenly historical fact, but represented from presenting so as leave a glimpseof the faith of the Church. voice commands it,when it buds and in the form and the Holy Spirit An angelappears to St. Anne and blesses blossoms, is of a dove rests upon it. They are then seen prayingon a her,while Joachim benediction a married, and the Saviour afterwards is mountain, also receiving is sometimes born, the events of Mary's legendary from an angel. The Conception accord with the the after this, Scriptural figuratively by Virgin life, represented when her body is tramplingon the head of the serpent or account until her death, in rays as brilliant as said to have ascended to heaven in the dragon,enveloped her tomb beingfound those emanating from the sun, with the of the apostles, eight filledwith beautiful flowers. and nimbused by a coroat her feet, moon net These principal events of her life are of stars, seated upon the earth saved ing holdand painted by Catholic artists, frequently by her virgin fecundity ; the serpent there is a fine series of twenty large trial cuts, woodin his mouth the appleof the terresdevoted as a trophy. The Marriage by Albert Durer,particularly paradise to their delineation. They are sometimes is rarely picted deseen of Mary : this subject restricted to a series of the six principal of an earlier date than the fifteenth of the pointsof her legend,consisting century. The wonderful work by Raffaelle, ' the ' ' Meetto Joachim," to be ing this event, leaves nothing Angelappearing illustrating of Joachim and Anne," the "Birth of desired. TJie Visitation : this subject the "Marriageof the Virgin," was the Virgin," treated by the earlier artists in a the " Birth of Christ," sides beand the " Assumpboth singular and indelicate, manner tion the of Virgin." contraryto the facts of history.In The Virgin is generally later times, the work has met with proper as represented childhood by St.Anne ; from treatment beingtaughtduring Ghirlandajo, Eaflaelle, she is with as a young and others. The : Nativity among works represented woman, hair of her life of the VirginMary, the flowing (a type virginity) illustrating ; as variations with attendant the mother of the Saviour, this has met with the most pleasing " Mater Dolorosa," in delineation. The earlier artists angels ; as the ing weepand the dead Christ, somewhat elderly, were over of many inconsistencies, guilty solemn and clothed in mourning garments, with the indeed absurdities, treating the head draped, but alwayswith a nimbus. place and importantevent in a very common" In this form she isalso termed In more Our and even vulgarmanner. has been done to with full justice Lady of Pity." When recent times, represented arms out her mantle, the subject of Correggio, in the works extended, spreading and gathering jects sinners beneath it, of the subshe is One others. Rembrandt, and of is termed "Our that of most Lady Mercy." "When frequently reproduced her breast pierced followed by her with the Death of the Virgin, represented seated,
"

principal mystic event for pictures is Tht not at first was subject

'

M.EX" In these dsswmptitm and Coronation. tails the dethe artists followed closely subjects Golden Legend." We must in the
"

MAJ. used to

279

on and magnify paintings glass, imagesupon a white screen in chamber. This is effected by a darkened the Coronation with the confound not placingthe paintedglassslides in an between double-convex Assumption; the latterevent was followed inverted position of a nd before a strong light, which by the former. In many pictures these lenses, and is introduced, St. Thomas holding passes throughthem and the picture, subjects, reflects and in a proper it highly the to remove which the Virgin, the girdle magnified, the wall or screen. let down on doubts of her ascension, position, apostle's MAGNASE of these BLACK. The subject A colour which to him from heaven. dries rapidly delta Cinwhen mixed with oil, is styled La Madonna and is pictures tola. The "Seven Joys" of the Virgin of intense body. MAHL-STICK. REST-STICK. 1. The Annunciation ; 2. The Around Mary were The ration Ado4. three or four feet long, Visitation ; 3. The Nativity wards tostaff, ; tapering of the Magi ; 5. The Presentation one end,to which is fastened a small covered with cotton-wool and soft in the Temple ; 6. Christ found by his ball, in order that the canvas Mother in the Temple ; 7. The Assumpleather, tion may not The of the be Coronation its and Virgin. injuredby resting upon it. The 1. The Prophecy stick is held in the left hand, near "Seven Sorrotcs" were the into Egypt ; 3. and serves of Simeon ; 2. The Flight as a rest to the large extremity, with the Doctors hand while painting. while disputing right Christ, (Seecut,p. 162.) his 4. MAIL. m issed A term in the Tempi.*, Mother; by applied to armour 6. formed of rings Christ betrayed;5. The Crucifixion; or chains of metal ; it ia derived from the French word maille, from the Cross; 7. The The Deposition also the meshes of a net. Ascension ; the Virginleft on earth. signifying MAJOLICA. M^ENADES. (Lat.) Priestesses of (Known also as Faience, and Raffaelle ware). A term for spicuous Fynlina, Bacchus, who rendered themselves conif posas first introduced into sessed softenamelled pottery, by a mad enthusiasm, from Majorcaabout the twelfth cenof a super-human frenzy.* Italy tury, This saint MART. and which was the work of the Moors. MAGDALEN, in the life of The distinguishing scenes in many of the so-called points figures risee, Majolica of ware, intricacy are coarseness Christ the Supper with Simon the Phafixion, of pattern, of Lazarus, the Cruciand occasionally the raising prismatic glaze. the from A large the Cross, the Descent class, on ascribed, although possibly the Meeting in insufficient ischaracterised grounds,toValentia, Marys at the Sepulchre, after the Resurrection ; in of pattern, the Garden by elaborate conformity the s he is of flushed with one these metallic of subjects on some lustre, a greyishshe As white a saint, patron figures. ground. principal with Of the positively Italian wares, though is represented young and beautiful, ment of hair,and the box of ointin requestthat most they were so greatly a profusion attribute ; and, as a penitent, of the cities of the Romagna instituted as an in a sequestered manufacturies of them, but littlecan bo place,readingbefore a ascertained prior to the sixteenth century. or skull. cross A sect of ancient Persian phiMAGI. celebrated after A.D. The towns most losophers who studied occult and natural 1500 for their artistic productions are their and who Citascience, preserved mystic Pesaro, Gubio, Asciano, Bologna, in their own tribe. castellana, knowledgescrupulously Ferrara,Forli, Fynlina,Pisa, An instrument MAGIC LANTHORN. and Spello; and Rimini, Sienna, Perugia,

throw

their

"

"

"

the first is considered the earliestsite of in manufactory

the Italy, notwithstanding

280

MAJ.

Eugene Fiot in attemptsof the ingenious

as early dobaldo della Rorere, duke of Urbino, of a patent to Jacques Lanfranco, granted of goldto the Pesaro,for " the application Italian faience," by which is probably that lustre of a golden colour intended, which so brilliantly sheds its prismatic

favour

of Deruta.

So

1509 Gui-

also, Oeorge'i is said to have laboured in Vincent, the same department. It was, however, during a period extending
At son,

ennoblement.

Gubio

from 1520 to 1560 that these attained

wares

The classicaldesigns perfection. of Raffaelle, of Julio Romano, and of Marc and correctly were loped deveAntonio, adopted sitions, figure-compo; the most graceful selected from Roman borders of the Grecian surrounded
and
were mythologies, by imaginative arabesques.The colours less brilliant than before, were now more harmoniously combined,while the glaze became more transparentand more than ever. evenlyapplied Plates, dishes, now came fountains, vases, cisterns, into being in full magnificence, while and other appendages goblets, salt-cellars, to the table, received the same careful

ornamentation

with works of greater pretension but lessutility. We engrave, as an

of pure Italian form, a saltcellar, example,

hues

on

the fictileperformances of this

next

period. The
which of the most

boasted in

in antiquity is Gubio, Andreoli of one Giorgio in his art. In

on

famous masters

from the Duke

at

1511,and
wares a

the invention works

subsequently, he,improving of Lanfranco, gave to his restricted to his ruby splendour,

of Buckingham'scollection Stowe; it is a work of the middle of the

coloun sixteenth century; the prevailing the blue and are browns, wingi yellowish

coloured. alone ; for the artist and his secret beingbrilliantly flourished Geronimo, in 1542, At Pesaro, works are usually inscribed at the back M". Q". (Maestro and in 1550,Mathieu,when largedishes o/ first made, having a profusion which title he assumed on his I were Giorgio), died

together. His

MAJ."
ornaments

MAN.
to which breastplate, secured was sword,or dagger, to preventitsloss by a sudden example is from the brass of
on

281

executed in relief. With

these

the

the

artists successfully son competedTerenzio, of

by

helmet, chain,
Our

Mathieu ; Batista Franco, a skilful entrustedwith the direction of designer, the works ; Taddeo Baffaellcs one
"
"

blow.

Sir John da

Zuccaro

and

the other

two

Ciarla,the
a

dell Colle

founded long time conSanzio. There, too, worked the brothers Flaminio, and Orrazio Fontana, of Urbino, the dinneron

both

for

with the immortal

service which
made

Guidobaido

caused

to

bo

for Charles V. and

at

zio also worked

as Florence,

II. OrazPhilip Castel Durante and

Piccolpesso, and the author of a painter, work on pottery.Rivalling alsothe above, in fame, were Guido Selvaggio of Faenza,
a

did the Chevalier

talented

Francisco Xante

de

who Bovigio,

was

support of
Frederico

the

manufactoryat

Urbino
,

Northwode of

Isle in Minster Church, (1330),

and Guido Durantino. Brandini,

Sheppey.

The works of Luca della Robbia gave much MAMILLARE. (Lat.) A band of soft the to the ware, liancy leather used to sustain and compress celebrity owing to the brilof his colours, the modelled reliefof and the hardness of his enamel. designs, The Dukes of Urbino patronized the Art for nearly two hundred years ; and the productions they issued are generally known Raffaelle ware. as (Seethat word).

breastsof females, and MANDUCHUS.

worn

under the tunic.

A

his

(Lat.) by
in rustic the

grotesque

mask,
Greek drama.
an

worn

characters
and

Roman
engrave from a

We

MAJESTY.

MAESTA.

1. A

tation represenon a

example
gem,

\[\
\,

glory his benediction, and giving passed encomthrone,

with the nimbus called

of the Saviour seated in

Roman

where

it

is accompanied by the characteristic pedum.

Vesica

and surrounded by cherubim and Pisces, with the A the four evangelistic symbols, and Q.
set up over

2. A canopy of state. a hearse. The wooden

3. A canopy of
a

MALLET.

hammer
seen

sculptor ; its form may be

PANEL-PICTURE. illustrating

in the cut GREEN. A

(Lat.) for the arm ; in or covering protection the former instance it was a long sleeve, worn by the eastern and northern nations, and by the Greeks and Romans of the later times ; in the latter, it was a bandage or armed with sometimes strap of leather,
A
1. 2.

MANICA.

MALACHITE,

MOUNTAIN

3.

native carbonate of copper, of a beautiful geen colour, very useful in oil and watercolour
mixes

painting. It is permanent, and well with other pigments. In its

it is sliced and used for arnatural state, ticles and ornament. of jewellery FER. This (Fr.)or PLASTRON-DEand worn MAMELIERE, n.etal, by the gladiators. A plate of steel, secured to the hauberk, term also included glovesand handcuffs beneath the cyclas, for additional (manaclei).We give three examples of Also the circular plates protection. placed the Manica. Fig.1, is its simpleform, a*

282
a

MAN.

miliar with them ; * the mechanical part and long sleeve, reachingto the wrist, is copiedfrom an Etruscan vase. become*, in painting, Fig.2, especially justas in is that worn the most certain means of recogby the gladiators.Fig. 3, writing, nising that used as a protection the author, to the arm of a and the least liable to from a bas-reliefon error. bowman, and is copied For, although both may vary at the Trajancolumn. the nature of their subjects, the pleasure MANIPLE. A short species of stole, one cannot in like manner alter his style, his orthography, and especially his handwriting worn dependingfrom the other the left hand ; it was can change his ; nor of his itnpasto, and his touch. a napkin, In colouring, originally either case these are the result of habit, for plainwhite linen, ciating of which they could not divest themselves the of the offiuse if they would. at the The MANNER of certain priest masters has Like been altar. the stole, imitated by so closely came their pupils, bethat the works of the latter the Maniple soon
a

mere

decorative of the the

tume,* cos-

have

been frequently

taken

for those of

enrichment fastened
to

the former.

Stillthere is

and was wrist, having sometimes a row of small bells geniusof every appendedto its edges. It was constructed missed in the works of his imitators ; for the mental constitution isincommunicable. "c. ; of richest materials, as cloth of gold, It must not be supposed and the ends were terminated by broad that every master squares, upon

somethingwhich

alwaysa certain to the peculiar pertains master, which is always

which

crosses

were

dered embroi-

had
not

but
to

one

and

the

same

manner;

for,

in needlework. MANNER. The word MANNER

has,in

Art,two

In different significations. quite

the varieties of manner, which many of them have adoptedin the of their career, from taste or caprice, course
or

speak of

of a peculiarity one, it signifies

and habit, implies a kind of reproach against a painter;in the other,it affords us the of knowing the artist's means work, and which it the school to : in the belongs

for their and

all of them
an

have

it is evident that advantage, had a beginnecessarily ning, advanced stageof improvement;

of an artist; more in its style particulaTly form. The term objectionable by painting, expresses an a nd over-refined detected an affectation, an artistare by a connoisseur, delicacy, grace, in the character, of the only mode or which is sometimes elegance forms,and of an antique of a compoture. arrangements of the objects picjudgingthe authorship sition. It is equally of to painting, In the latter sense, the manner applicable and architecture, is nothing but his peculiar and is more sculpture, a master way of the in the productions and representing, of the insupportable imagining, choosing, latter than in the preceding. It is necesIt includes what of his pictures. sary subjects that to and handling between and called his style MANNER is, are distinguish ;

in

former sense, it is that mode mode or peculiar design,

in

of treatment of

and many of them who have lived longenough,have had their decline also. MANNERED. the peculiar Exibiting

using the

brush

which

the works of

the ideal part, and the mechanical part, which givetheir character to his work in the eyes of those who have bestowed upon f:isufficient attention to become hem
The the hand
*

* Just a* the choice of the matter, the fashion of the language, the turn of the phrases,and the orthography and the formation of the even of character letters, give such a peculiarity to a writer, that, if any production of his. in his own

handwriting, although unsigned,

should

engraving represents the stole held in bury, of Stigand, Archbishop of Canterin the Bayeux tapestry as he is delineated (twelfthcentury).

fall into

the hands of any one had seen who others of his performances, the author many would stand disclosed to such a person at once, without 'he necessity of having him named

MAK.

283

MA.NXKIUSM, althoughReynoldsemploys
thesu terms

indiscriminately. known to the ancients as well as to The peculiar mode of were the moderns, and worked carried to treatment adoptedby a painter by them since of the time Julius which thus Caesar: the from comes beParian was, being a styk excess, It may be seen in the and was obtained a defect. however,the favourite, from the Greek island of Paros,its mellow works of Fuseli, whose anatomical coats and trowsers" are mannerisms near peculiarly tint beingvalued ; Mount Penteles, his own. Athens, also furnished a similar kind, hence termed Pentelic marble. MANNERIST. White One who practises a marble was marked peculiarity of style procured from Mount Hyadopted perly impromettus, Luini,on the coast of Tuscany, for all subjects, and by which his and Carrara. The ancients used a red worka are known at a glance. black and alsofor statuary MANTLE. The long outer garment, marble, ; but its restrictedto the Egyptians worn as a complete external covering, use was chiefly in the infancyof the art. Ornamented with the pallium of the and originating marbles of various tints, Greeks. or variegated also extensively were is generally plain, MANTLING (inHeraldry') employed for the lambrequin panels, columns,and decorative works in understood to represent the moderns : obtain coloured general of the knight. It alwaysfallsat the back
MANNERISM.
"

quity yellow which the Parian marble of antiThe Carrara quarries possessed.
"

of the shield of arms, and is secured to the

top of the helmet

by the

orle. It
or

times some-

takes the form of leaves MAP. A delineation

work.* scroll-

same purposes at home but it is still to Italyand abroad; Greece that they look for the finest kind for the use of the statuary.

marbles and

for the

planesurface of a cityor of the world in general, or givingits generalform or geograriver, phical known to were Maps peculiarity.
on a

MARBLES.
collection of

generic

term

for

and statuary, sculpture as the Arundel marbles, the Pomfret marbles, "c. ST. This saint, MARGARET, the chosen the ancients ; but in the middle ages the type of female innocence and meekness, is littlebetter science of map-making was of usually as a young represented woman not until the the palm and crown than guess-work; it was great beauty, bearing and the arts of navigation, as martyr, and with the dragon as an of commerce spread from which,according in the fifteenth century,that true to the attribute, she that formed. It is said and in allusion they legend, was delivered, maps were to which, she was chosen as patron saint introduced to England in 1489,by were the painsof childbirth. She has Bartholomew,the brother of Christopheragainst from a very early Columbus. enjoyed great popularity and in this A MARBLE. period, susceptible compact limestone, country 238 churches have been dedicated to her honour. She of a fine polishedsurface, of is generallyrepresentedconquering a ~f which the most useful various colours, is the white. It is found to the sculptor dragon the devil in that form having
"

in various partsof the world. white marble used

The

finest

tormented

her

"

but the

she

quered conultimately

signof the cross : she delineated from the obtained from Carrara ; which placeposis sometimes issuing sesses natural advantages, of no ordinary dragon'smouth, for the legend declares self who freed herthat it swallowed the saint, as kind,for its transit to other countries, well as mountains of the material of the by this means. without any tendency EVANGELIST. In to turn finest kind, MARK, ST., THE Christian Art this saint is usually sented represometimes in the prime of life, See cut to HERALDIC CREST. by modern
statuaries is him

by

284

MANaa
a

MAIL MARKS.
marks

and as the historian of bishop, the Resurrection, accompaniedby a. lion, him from St. winged,which distinguishes Jerome, who is accompanied by an unthe emblem of solitude. In winged lion, his left hand he holds the Gospel, and in the right He is the patron saint of a pen. Venice,and many beautiful works of art exist there, in which the important events of his lifeare depicted. See EVANGELISTS.

habited

Many artists introduced various by which their works were

some

known been have small

; and

whose
to
our

names own

have
time Thus

not
are we
a

transmitted "the Master

known solely

by such
of

means.

the Die"

from

such as are die, being placedin one

dice-playing, of his prints. corner "The Master of 1474" is known by the in Arabic numerals 74, engraved date, on

used in

his various
enter

plates.One of the

most

sical whim-

paintedin blue
best works form

on

the under

side of the Dresden

of these chosen marks

a

is a rat about to the artist who

the far-famed

trap (Fig. 1);

termed adoptedthis device is consequently " the Master of the Rat ;" his works are writers the device dated 1512, and by some of is supposedto be a rebus of the name Ratto of Ravenna. Cranach
"

factory. The goldsmiths and jewellers adopted in mode of marking their work the same
"

addition

to

the mark

of

assay

"

and

the

various communities

The
"

works
are

of Lucas

adoptedtheir
was

own

of every city or guilds peculiar mark, which

own use.

1472-1533

known

by
"

sacred to their these

The entire

winged dragonbearing
a
"

ringin his mouth

(Fig. 2); those of George Hufnagel 1575-1629 by a great nail, sometimes with the word Georgius upon it,or the letter E surroundingit (Fig.3) ; Hans
Schaufelin shovels the
same
"

1492-1540
a

"

who used the

cross

4) as (Fig.

rebus of his name,

in

adoptedthe open doors (Durer or Thurer, Germ.;) and the pilgrim's Ulrich Pilgrim, staff. The u sed for his mark a Correggio great painter above it. with the lettersreyio heart (cor) of In the same way the earlier painters marked their works and porcelain majolica fanciful rebus, with their initials, or some a nd else a private or adopted sign, peculiar for the use of a factory, by which their
way that Durer works could be known and claimed.

d'orfevres in France in 1789, are givenin an existing et appendix to the Histoire de I Orfeverie at Paris, Joallerie, by M. Lacroix published and Sere in 1850 ; they embrace a great and fanciful variety, from which we select one specimen(Fig. 6),that of Bar-le-Duc. A process employed MARMORTINTO.
communautes
'

series of

in

the

last century to decorate walls,

Brogniarthas recorded and engraved the

of these in his Traite des Arts principle Ccramiquet;and Marryat,in his work on has transferred many and porcelain, pottery of We giveone as a specimen, incised patternfilledin with ornaments to his pages. 5),which is the cross-sword usually metal, (Fig. producedby stampingthin sheets in

ceilings, "c.,in imitation of marble,"c. adhesive on a ground of an by depositing nature, marble dust or powder, arranged in the form of the veins of a plaque of mental marble,and sometimes in that of an ornafigure. MARQUETRY. (Fr. MARQUETERIE.) A kind of mosaic,executed in hard and or artificially-staine curiously-grained woods,inlaid and arrangedin an infinite mities of which the extreof patterns, variety of lines bordered sometimes are by "c. ; or the ebony,ivory,copper, brass,

286

MAS"
on
a

MAT. It is met with in

yellow,transparent, rounded drops. It is soluble in Bayeaux tapestry brittle, and we engrave an example from alcohol and in turpentine, the wear it, constituting that curious work. varnish. ordinary picture masks MASK. In ornamental sculpture, MASTIC VARNISH is a varnish prepared and similar of marble, one by dissolving bronze, tcrra-cotta, part of mastic have been extensively resin in two partsof oil of turpentine. plastic materials, MATCH-LOCK. A gun which was ploded exemployed for various purposes, such as of a match outlets of fountains, by means antefixae, gargoyles, brought to walls and shields the touch-hole by a trigger, of arches, tion invenon an key-stones of the to "c. of the latter the sixteenth style According (GORGONEION), part of decoration, centurv. they were either noble or MATER DOLOROSA NOTRB (Ital.), grotesque. The fictionsof the poets, or of DAME DOLEUIIS nature studied in the infinite variety DBS (Ft:) The term applied of its movements, suppliedthe subjects and statues of the Virgin to pictures this kind of ornament. The mask was her woe Mary indicating by a sword passing work that the in the same raised nearly through her, in allusion to St. Luke, hernia was to the round statue. in regard her heart pierced v. 35 ; or exhibiting c. ii. * The theatricalmasks of the ancients were wounds with seven else holding in or ; constructed to delineate fixed features and her lap the dead body of the Saviour just that they might be clearly taken down from the cross. seen passions, assembled multitudes in their The original die used for a MATRIX. large by theatres ; for which also, the coin, medal,or other articlewhich has to purpose, mouths were to throw out the and which has as so formed be represented in relief, voice as much of the as possible.Such masks annealing undergone ; to process i n is to it usual obtain are which intact frequently represented sculpture ; preserve See that a working die called a PUNCH.
or

fastened

leathern

tunic. The quilted

Norman

soldiers in the

word.

MATTHEW,
This saint is

ST.,

THE

EVANGELIST.

old as an depicted generally quently freand beard, flowing man, with a large in writing as employed represented with an angel standing near his gospel, lusion he bears a purse, in alAs apostle, him.
to his

former

calling;sometimes

and

we

engrave

female

comic mask, from Roman of the British Museum. Townley Gallery

and a male tragic in the sculptures

he carries

square. with the sword.

rule or spear, or carpenter's he suffered martyrIt is supposed dom

a

GIALLOMATTHIAS, ST., APOSTLE, is usually (Ital. known of by the axe, lance, or halbert ho LINO, Fr. FIN JACNE). The protoxide bears in his right of a dull orange yellow colour ; but hand, as a symbol of his lead, littleused in painting at the presentday, martyrdom. He sometimes carries a stone, it was in great request. in allusion to his havingbeen stoned before althoughformerly

MASSICOT,

MASTICOT

MASTER.
is

A Master in Art is one

who

he

was

beheaded.

in perfected

and all its laws,

new

genius may
conversant

create

with

the

by his own ones beingfully ; theoryand practice

arU.
a

MATTOCK.
among

symbol of the classicnations, adoptedin

A

Athletae allusion

of the

or formative pictorial

the sand of the of levelling the combat. before floor of the gymnasium
to the custom
"

MASTIC.

A resin obtained from grown

tree
See MADONNA.

in the Levant.

MAU" with a leaden head, bludgeon and used similarly carried by ancient soldier}*,
M AUL.

MED. which allegorical bas-relief, called the type of the medal, and with
an

287
is
a

with

the subject of the legend which explains MAUSOLEUM. (Lat.) A sepulchral type. Sometimes,instead of the type and the obverse bears onlya simple but the legend, monument of a certain magnificence, of the object which of that kind of monument descriptive inscription, especially Medals are cast or struck; partakesof the character of an edifice, the medal. of Augustus; and the engraver for the first, such as the Mausoleum can operate from which the Castle of St. the that of Hadrian, now a directly by mould, erected in that of at Rome France medals in the cast are manner ordinary ; Angelo of Henry II., to the memory a die of steel by Catherine moulding; for the second, and that of St. Peter Martyr, is engraved, and when the piece of metal de Medicis, of St. Eustatius,by G. in the press, the is placed to be impressed in the Church in the fourteenth century, designis brought out into relief by repeated Balduccio, blows upon the die, and the medal which is very beautiful. Perhaps the is said to be struck. One of the conditions greatestwork of this kind, in modern of of this kind of engravingis, that it times, is that erected to the memory admits of objects in only very low relief. Louis XVI." vessel of A wooden drinking The ancients struck their medals with a MAZER. and sometimes a capacious form, bowl-shaped, hammer, and the moderns were longbefore having a low foot. they employed any other means ; at the ornamental MEANDER. In time the Art, we (Or.) employ coining-press. present often The chief use and value of medals are to this term describes a peculiar design,
to

the

mace

iu battle.

met

with

as

decorative border

on

vases,

prove

historical facts, and

to

perpetuate

their memory. Under this relation they less necessary in our times than before are the invention of

printing.
A smaller kind of

dresses,"c.

than the varieties of the ordinary larger bricks of a current of a country, but coinage as to form this pattern. arranged from that in never differing passingfor MEDAL. A piece of metal,usually the die or same having ; they are impressedin the money bronze, gold,or silver, used for suspension sometimes from the intended of coins, manner though never in
not like them
to serve

also, the architecture, so were frequently building

:

MEDALET.

in

medal,

currency,
or

the purposes of but to celebrate some

of
some

tile mercan-

person, and

Catholic countries

are

pressed im-

event,
person.

the memory perpetuate this purpose

or or

For
a

the medal

is

composedof
under

of the saints. figures MEDALLION. A larger kind of medal, struck as gifts by the Roman emperors. There
are some

with

head

brated, of the person to be celeeffigy of the

of Valens

in existence,

royalpersonages

reignthe memorable event occurs ; and the date of the with an inscription at which the medal is "rent or of the period struck. The obverse is occupied generally
whose sepulchre of Mausolus, King of Caria, beauty and magnificence of its strucof the of the wonders passed for one :ure, hence *orld: the word was adopted by the for any sepulchre of extraordinary Somans a; a name for those of magnificence, especially kings and emperors.
"

measuringthree in gold,and of
The
not

inches in diameter, struck the value of 118 ducats.

are generally cast, the term is architecture,

modern

medallions

struck.
for any

In

used

circular tablet,on

which

are figures

from

The the

sculptured. MEDLEY AL. A term applied to works of Art executed during the period between of Rome the taking by the barbarians and the sacking of Constantinople by Mahommed II., in 1453, which finally overthrew the Greek empirethere.

sometimes

JWS

MED" The

MET. many
as

MEDIUM.

menstruum,

with which the vehicle, nency MELLOWNESS. A richness of tone in use. ground and made readyfor the artist's of harsh coabsence used is linseed oil, an old picture That most extensively an louring ; in a new rendered dryingby means of the oxides of one. MENISCUS. lead or zinc. Walnut oil, and poppy oil, (Lai.) A kind of bronze the pigmentsground which the Athenians placed used for diluting or disc, are plate in linseed oil, is employed upon the heads of statues, and turpentine to defend them artistswho Those from the for the same from the or more rain, especially purpose. labour under attained the delusion that the liar pecuexcellences of the old masters were ordure of birds. MENTONNIERE.
or

liquid dry pigmentsare

or

the to destroy conducing of oil-pictures.

jMTina-

(Jr.)

A steel gorget

by

the

use

of

"lost"

medium,

defence

for the chin and

throat,

search for it as

did the alchemists for the like success.

nostrum
or

secured to the bascinet and to the cuirass.

and with philosopher's stone, little some while, Hence, every

other is in the in
turn

ascendant,to be discarded
which
more
as

for

another,from

is

and promised, had

even

little attained.

We

have

silica medium, and lac medium,

"

chalk has been pronouncedthe thing needful ; but the excellence promisedwe have stillto look for. After must needs has been tried, we everything linseed oil. fallback upon good,simple MEERSCHAUM (Germ.}, ECTTME DE A MER soft, (Fr.) greasy, mineral subveins i n or lumps among "tance,occurring first obtained it When rocks. serpentine is capableof forming a lather like soap, and is used by the Tartars for washing linen. The Turks use it for tobacco pipes, and
"

one

It

was

sometimes

furnished with
in

small

which
as

are

made

from

it in the

same

way

door for breathing,as our engraving, rich from a specimen in the armoury at Goodcourt.

and pottery is fabricated,

or wax.

afterwards

soaked in tallow

Its largest con-

MERLON.

The

wall of

an

embattled

"umption is in
this material essentialoil of
a

Germany, where pipesof are used; the extensively them of the tobacco tinging

parapet betwixt
serves as a screen

the embrasures, which for the soldiers defending

to An

it. META.

obelisk placedin by oil- the Roman circus to mark the turning of boiled and consisting generally at each end of the course. painters, points small w ith mastic a oil and varnish, Tints are termed metallic METALLIC. portion proof sugar of lead. A mixture of their iridiswhen they imitate metals, or with small linseed oil and mastic varnish, cence. of zinc, of quicklime,sulphate The METAL-WOHK. proportions METALLURGY, and acetate of lead is,however, recommended fabricated by ancient metal-works were The use of meas and tongs, and each portion cured sepreferable.* hammer and the hammer by rivets gylp has been stronglycondemned tongs, by ; managed by a skilful hand, are the most MEGTLP.
" * By Mr. Miller, the colour manufacturer; whose recipe for its manufacture is published in full in the Art Journal for 1849, p. 229.

deep brown

in process of time. A vehicle used

(Seecut (Lai.)

MACHICOLATION.)

powerful organs
cannot

of Art manufacture.
any

We

imagine

branch of industry

MET. with these means, and when able to dispense look at our where iron "-e establishments,
is treated almost with the itself with certainly the the
same
same

289

ease,

vanced ; and the vast collections at Naples, exhumed from the buried citiesof Herculaneum and Pompeii, attest the sufficiently of the ability ancient metal-workers. The

success,
we

as

clayby
their

the hand wonderful

mechanical instruments form but

of

sculptor, machineryconsists merelyin a combination of these simple used by blacksmiths ; theiroutward has undergone many changes,
find

their intention

is quite the

same

as

that of these earliest instruments

which the

play
hand
which

an

intermediate
man

part between
otherwise the

of

and

the

element,without
no

unapproachable aid of

metal
to

can

be subdued
of human these three
are

to forms

suitable
forms
in

the wants

life. No

that wonder,therefore,

groundGreek
utmost

of mechanical

power

mentioned

fancyin form,as well as beautyof be seen in their works;* of detail, may in this oldest but most which many presentation rephilosophical examples are given in the Another of the Kosmos, which Hesiod of the present work.f pages has left us in his Theogony, the plastic specimen is here given from the Museo for it" which is remarkable kind, "orbonico, powers bestowed by preference upon manof for the beauty after the great as well as original shape, appear, immediately rulers of the whole metallic realm, its details; to be the lip is ornamented with a and galvanism. represented by electricity Hie,and Mechane,that is to say, the Iichys, fastening powers obtained by the tongs,the force of the hammer, and the mechanical
given by description

the grand

mythologyof the economy

of the universe ;

skill of the human

wives

hand,

appear

as

the

of Brontes,

and Steropes,

Arges,

the

and thunder, personified thunder-bolt, * lightning." The

metal workers of Greece and Rome

a

achieved Their
of the

effortsexhibited early

in the Art. great perfection strong traces

of that cradle of designs prevailing the arts, early Egypt,as may be seen in the cut here givenof a metal cup or vase, is designed of Vulci,and discovered in the necropolis double row of ovoli; the handle of which divides is thin sheets which from a flower-stalk, entirely composed copia;, of hammered metal, the handle being at top,and bends downward in two cornumetal strip, bent to beside which goats are seated. The formed by a single at the base of the handle is richly the desired form, and affixed by rivets to junction When the body of the cup. fire-oasting GDILLOCQS, Our cut, illustrative of the word became customary, the art rapidlyadis a good specimen of the taste adopted in crnt*

inental in Art Manufactures Dr. Emil Braun, on the Classical Epochs," in the Art Journal, I860, in this Dictionary. p. 69. See also SPUVRELATA,
*
"

of

embossed work ; being the upper part bronze vessel for the kitchen, found at
cuts

Pompeii.
t See
to

CANDLLABBA,

HYDKA,

"c.

290 ornamented
curve over a

MET" with acanthus small which leaves, of a winged child figure

MEZ. left open, afterwards covered with a then s. ulptured. at first The panel, plain,
was

doubt a wine-skin ; the vessel no holding heing intended to hold wine, and its for generalform beingexcellently adapted pouring it into the cups, on the festive occasions which were so frequent among sometimes the Greeks,and which were and elevated into religious observances, at others degenerated into Bacchanalian

Metopesfrom

the Parthenon

are

preserved

in the British Museum latestand most relief. That

; theyexhibit great difference in style, from tlje earliestto the

perfect.
medium

orgies.
The metal-workers the who
art may
mere

outlived

the

decadence of Koman rather in

workmen

be considered utilitarian

lightef

than artists; and it is not until

the revival of taste in the middle ages that find workmen artisticexwe amples. constructing Of fine iron-work the
find occasionally

Middle (Ital.) of sculpture style which is half raised from the slab, in contradistinction almost entirely to subjects raised (alto and those but slightly relievi), raised (bassi like figures a coin. on relievf), MEZZO-TINTO. Middle Tint. (Ital.) A peculiar mode of engraving, resembling in its effectsthe old styleof Indian-ink and of very rapid execution. It drawings, consists in scratching, of a tool by means called
a

MEZZO-RELIEVO.

thirteenth century we few examples of some

the whole cradle,

so

surface of the
an

plateuniformly,
from

that

impression
be
tirely en-

taken ; but they are rare, and consist of such things as railings, generally

it in that state would

locks, hinges,"c.
may be considered

; of the fourteenth and

fifteenth centuries the modern and

examples abound, and

as
"

the best studies for for the certainly

of

artizan German

Flemish

iron-work

that
never

black; then tracingthe drawing, and scrapingand burnishing up the until the desired effectis lights, strongest Some variations of this method produced. have been adopted, but the distinguishing feature of this kind of engraving consists
in the involved principle
never now

in period,
been

and design

has execution,

in the

above

surpassed.* METOPE, METOPA.

method.

(Lot.)

In Doric

The art has that which

mere

it

approach to by worse, such as the German Schwarzkunst, and the French I! Art at once Noir, which placedits professors the practisers of "the Black Art;" among the Italian Incisione a fumo, is another anomalous term formerly applied. The earlyhistory of mezzotinto engraving
been known has been involved in much made

received a good title, bears being a usually one ; it has, however,

scurity, ob-

owing
tween the space in the frieze bearchitecture, this space the tryglyphs ; originally
most

to the mistake

authors in

by quotingEvelyn's original
to

account

of the introduction of the art

England by the
" illustrative The cuts In the present work BofcETTE, DOVE. "c., will of the word* BAKON, art ; but the student idea of rmdiaval give some wish a full knowledge of would to obtain who the excellent works should consult its merits,

agency of Prince

Rupert,
strances, mon-

chalices, patens, reliquaries, jewellery, gates anJ

crosses,

handles, grilles, door-

byPuginand
of the finest and

Pigby Wyatt, representingsome lian examples of English,French, Itaand Flemish

manship, work-

locks and escutcheons, keys, hinges, thuribles,chrismatories, tazze, burettes, coffrets de Limoges, knockers, figures, labra, lamps and candelecterns, crucifixes, pastoral staves ciboria, paxea,

Sicilian, German in metal, in

pixes,drinking cups, dagger*,

precious book-covers,

finials, crockets, "c., "c.

MIC" who firstexplained it to him when about to he

was

MEN.
to

.291
who
to

perfection by men
seem

passedtheirlivet
have taken it up
art

his Sculptura; the first in the camp, and publish edition of wliich publishedin 1662 as an amusement;
" "

the indeed,

appears
an

contains

tioner copy of the head of the execuof St. John, after Spagnoletti, which
a

to

have been considered in the

of light

amateur

until late in the accomplishment

on century, and to have reached perfection engravedby the prince. Rupert, under Smith and Earlom.* allowed tacitly England, and style Vaillant to engrave his portrait, ARCHANGEL. All the MICHAEL, ST., of Art have been put in requihim the inventor of the art ; and seems resources sition in the representation in a similar way to have misled Evelyn; of this saint. He is depicted but the discovery is really due to another with young, full of beauty, service a severe a lieutenant-colonel in the countenance, winged,clothed in soldier, of the landgrave of Hesse-Cassel, named with lance and white, or in armour, Louis von Siegen. Baron Heineken,in shield,surmounted by a cross, as his and with which he combats the his Idee Generak d'une Collection Compktte attributes, In in of the final at d'EstampeS) printed Leipsic 1771, dragon. representations of that Siegen was the inventor the lance or sword, judgment,instead says decidedly he bears scales, of Mezzo-tinto in which the souls of the engraving,and observes that the first specimen which demons attempting to judgedare weighed, of down the the the Princess scale. St. Michael was pull rising portrait appeared in many scenes of Hesse ; he adds from the Old Testament"in figures Amelia, landgravine learned the art from the Sacrifice of Isaac," Hagar that Prince Ilupert in the Desert," it became "Balaam," and in others, Siegen,and that eventually the is Michael. curious has able remarkThis the angelrepresented public. print MIDDLE AGES. EminenThat periodfrom dedicatory inscription, of the Rome till the revival of Art tissimo Domino, D. Julio Mazarini, decay under the term mediaeval. "c. Novi hujussculp- comprised S.H.E., Cardinal!, MIDDLE-GROUND. The central porturse modi primus inventor Ludovicus A. tion of sometimes et humilissime offert dicat termed a conselandscape, Siegeii was

his second visit to

"

"

"

"

"

A". 16-57." Siegen was crat, and among

born in 1620, the earliestof his plates is a

middle-distance. MIDDLE-TINT.
A

mixed

tint in

which bright colours never of the Queen of Bohemia, inscribed predominate. portrait MILE. It is an old tradition that piginventor fecit, L. A. Siegen, 1643. ments mixed with milk. were of Mayence,Theodore Casparde A canon frequently also practised the art as early It is added to the glue and gesso of Fiirstenberg, soft and pliable, to render them as 1656,and both he and Prince Rupert grounds, believed to have been Siegen's and to preventtheir cracking. are now MINARET. A tall spire above the The earliestdated work of Prince pupils. of roof a is the "Executioner of St. building. John," Rupert A native oxide BLACK. MINERAL which was completed in 1658, and the of carbon. head of this figure he afterwards did for A pigment preMINERAL BLUE. Evelyn's book,which firstintroduced the pared from carbonate of copper, hydrated art" to England,but apologised for new oxide of copper, and lime,by a secret proits manipulation. not describing cess. It is known of the art The old tale of the discovery by various names, such the effect havingoriginated by observing soldier a scraping accidentally produced by See Histolre de la Gracttre en Afaniere ffoin,
" "

some

barrel of his musket,may therefore be true, inasmuch as it is clearly

rust oil' the

par Leon Soles on

to have proved

been

and broi:"rbt originated

de la Horde, 8vo., Paris, 1849; ami the Earliest Specimens of Mcttoliitlc F.8.A.. ui Enyraving, by H. W. Diamond, .A r.-i'jtulo-ia. rol. 27. TJ

192
as

MIX" mountain Hambro* blue, blue, "c.,but employed in oil-painting. GREEN.

A native
pound com-

MIS. whether
or a or figures, delineating landscape
a

larger picture. (Z"rt.) (RED LEAD.) The of of carbonic acid and protoxide name given to vermillion by the ancients. be artificially It may of lead, prepared Red lead is the peroxide prepared copper. of copper prefrom a solution of sulphate the protoxide in a reverberating by calcining cipitated furnace; it becomes firstof a dark by an alkaline carbonate ; but then it is not so durable in its nature. then of a purple, orange colour, afterwards, A pigmentcomYELLOW. the MINERAL of more posed of a by absorption oxygen, not so perof the chloride of lead, colour. It was or manent strong yellow, orange much as Naples yellow,as it becomes formerly employed in oil-painting, has also been appaler plied but as it is not a permanent pigment,and by time. The name arsenic. to yellowochre and yellow other injures many that are mixed with it, PAINTING. MINIATURE of better have MINIATURE, pigments quality seded superis "miniature" its use. The originof the term A small looking-glass for the supposedto have arisen from the practice MIRROR. toilet (theRoman the of writing the rubrics and initiallettersof word SPECULUM*) ; is lead. minium red with to now restricted an mental ornaor generally manuscripts or for the walls of a room, which, atari miniature The illiimin painters, glass class of terior a illuminators of books reflectsthe inwere having a convex surface, of the apartment in a diminished artists who paintedthe Scripture stories, and apand the arabesques, the borders, plied manner. of MISERE-CORDE. ornaments and the gold scripts. manu(Lot.)In armour, " miniatori class the out withAnother a small, straight dagger,originally " guard, which, with its sheath,was or Scriptores" wrote pulchri caligrafi"
is not copy of

MINERAL

MINIUM.

"

"

"

"

of the work, and those initial lettersin blue or red ink, fullof flourishes the whole and fanciful ornament, in which the patience to of the writer is frequently more than his

is the term

genius.*MINIATUKE of small appliedto portraits is dimensions ; miniature painting the art in waterof executing these portraits in which the pigments are applied colours, The execution of a brush. with the point
be admired
is very

minute, and will bear the closest

works are, for the most
on
on

These inspection.

part, executed
and

ivory and
thick and

paper

of

fine

this art has attained a Lately, of perfection than heretofore at the hands of an English artist, whose works combine many of the highestqualities of looked in which before for were only Art, the oil-paintings of Titian, Vandyck, or miniature is Gainsborough. The term also properly to any minute picture, usuallyrichlyornamented. applied its name
*

vellum, quality. gree higherde-

It obtained
was

from

its use, which

"

that ol

Mrs.

Merrifield's

Oil Painting,

Ancient 8vo., 1849.

Practice

of
See that word.

2P4 four Jew's of

ounces

MOD.
of pure

mastic, aiid

o"o

of

to broad

the lower surfaces,

:

to convolut

ions the

of drapery, or asphaltum. "c. pitch MODE. Manner,style ; the peculiarity

an

the stria; produced on

artist's work. which Every object

tenn
sense

MODEL. absolute from

to the

the artist

proposes to imitate. The

to express the

is used in an

or by the sculptor painter male or female, living model,

which

he

studies and

executes

figure.The
which

also applies the term sculptor

a

of original

work, modelled in clay,

in

he intends afterwards to execute

and also the plaster model from this marble, first figure.The clay model is the work from the hand of the sculptor, directly is the original and, properlyspeaking,

work, of which
copy.

the marble

work

is the

is "fac simile plaster of that in clay. Both, in the eyes of almost equallyvaluable, and are artists, the in to work marble. It even preferable 4. ". the seldom happensthat sculptor surpasses and the contrary clayby the serrated edge is softened away himself in the latter, "ffect frequently the finger, otherwise,the or a sponge. occurs; by a finer tool, the and of is tool 3 the material, of a superior beauty combining cially espeFig. qualities the its greater solidity, to described the two the broad give just having marble work a much higherprice. end of serrated edge of one, and the finger MODELLING. The art of constructing the other. If larger of clayare to masses of things in clay,or of be removed,then the loopedtool, representations Fig.4, which cuts down the sides of taking casts therefrom,aa a mould for is adopted, the claywith the serrated metal thongs, reproductions. TOOLS made MODELLING of it away in thick slicesor lumps. are bringing of metal is used for plaster, to the sort A tool entirely metal,wood,or bone, according and of work for which they are destined, such as Fig.5, which cuts and rasps away Those It will be permost the surface as wanted. vary in size accordingly. ceived u sed of of various that all are wood, they ordinarily possess the power of themselves to the various curves forms, to suit different processes ; the adapting used tool is Fig.1, enmost of a figure graved or bust. constantly in our brackets MODILLON. Projecting (Ital.) group above ; the curved of the Corinthian ends are so shaped that they work on the under the corona which clayalmost like the human finger, tools ; the is stillthe best of all modelling is for the convenience of centre swelling in breadth, grasp ; each end varies a little to adapt it to the varied surand serves face to on it may be applied the model. with serrated Fig.2 is a broad,flat tool, and sometimes also of the at to clear different used and Composite, edges curves, and produce Ionic orders. of clay, Roman an even away masses surface the upper portion MODIUS. combeingadapted (Lai.) The Roman
"

The model in

MOI"
me"*ure,
seen as a

MON. MONOLITH.
from
stone set
one

296

symbol of plenty ;

and hence
"

(Or.) Anything sculptured

solid block of stone,or such
as a

upon

the heads of beneficent deities

Ceres, "c. Jupiter,

MOIREE

up

memorial,

as

we

see

in

METALLIQUE.
the decorating
surface

cular (Gr.) A small cirit to a central foot or on by subjecting table, supported muriatic acid, which gives it a variegated stem, used by the ancients at social entertainments, and and then it is introduced Manlius into tint, yellow by appearance and generally Rome from Asia Minor. coated with lacquer, known MONOPTEROS. tin plate. as crystallized MONOCHROME. (Gr.) In one colour : A Greek term, signifying with one to paintings executed in imitation of applied in tints of one colour, ns well as wing," employed bas-rtlitfs, cular to such as are delineated on antique to a cirdesignate vases, the action of diluted
"

mode

of

(JFV.) A of tin plate

ancient Uruidic and MONOPODIUM.

other monuments.

where the

the outline alone is given to express

shrine

or

in all its variety of form and templecovered by a subject and that outline filledin with a dome, under which position, either dark a on tint, light ground a statue or altar single also vice versa. or (See GRISAILLE.) might be placed.* A templeor court surMONOSTYLE. rounded MONOGRAM. initial (Gr.) A cypher, of pillars. row vice, or other deby a single letter, MONOTONY. Want of variety; ness samecomposed of in work of of colour Art. or a two or more letters style MONSTRANCE (EXPOSITORIUM.) A arrangedin such a
manner a
as

to form

transparent pyx, in which

the consecrated

and single object,

as on

used

the signature their works

In ecclesiastical

by painters, vers, engra"c. decoration of the fourteenth and of the fifteenth centuries,the names Saviour and of the Virgin Mary were embroidered frequently
as

monograms,

in

which the contractions exhibit great ingenuity and taste. Our engraving represents that of the
and the lettersKAROLVSareso in which Emperor Charlemagne, arranged, he used in place of monogram

which

his

signmanual.*
The
:
"

best works

to

consult

on

this

subject
Lexicon Franz

are

I. G.

fur den

Stellwag, Monogrammtn Frankfort, 1830; hantlgebrouch,

Monoyrammes,
Graveurs
ont et

Dictionnairedes Bruilliot,

"fr.avec

lesquelsles Peintres
enrs

design^ wafer iscarried in solemn

*

Noms,
;

3 vols., 4to.,

Munich,

engravings of several Joseph Heller, ifonoyrammen Lexicon, 1831. a work Ramherg, containing a general
resume

taining 1832, conthousand grams mono-

and processions,
a

of

preceding information, in which

monograms,

are

ranged ar-

The
on

cut
one

exhibits
of the

such

temple, as

sented repre-

the alphabetically and marks

cyphers,

coins of the Roman

family

of all the artists.

of Tullia.

296

MON"
is derived

MOR.

having a dotted pattern indented on the and nortttntt, distemper paintersstill in these vessels that the Eucharist as it was in employ the same effect, particularly first visibly was the for to adoration the decoration of religious exposed subjects of the faithful in processions, sacred edifices the mordant benedictions, ; they used
from
the

exposed ii]ion the altar. The word

Latin
monstro

(toshow),

and

on

other solemn

occasions.*

It is

an

being the

same

as

for wood.

attribute of St. Clara.

MORESQUE.
commemorative
to record
a

(Fr.)
on was

of style

ration deco01

MONUMENT.
erection
to the

Any
dead,
or

founded

that of the

Moors

great

Arabs, which

first introduced

about

The term event. monument is also the tenth century,and is remarkable for public to antiqueworks of Art, partiapplied cularlythe richness of its detail; it is seen to advantage in the decorations of the by continental writers. MOON. In Christian Art, the moon is Moorish palaces in Spain, that particularly In picthe often introduced as an emblem. known Alhambra. as tures of the Assumption of the Virgin, In armour, of helmet MORION a kind a is placed under her feet ; crescent moon which first appears in or steel head-piece, of the Crucifixion, in others, the moon is side of the cross, on one eclipsed placed and the sun the other. In on pictures and of the last judgment, of the creation, In heraldry, also appears. the the moon
riioon

is said to be blazoned
when

in her

ment compleIn her

she is

full, argent.

decrement when the horns

are

When or obscured. sable,

upwards

it is called

cent; cres-

if to the

right it is called an

cent; incres-

if to the left a decrescent.

(Ital.)In Painting, term by a applied the reignof Edward IV. It was worn adoptedfrom the Italian, foot-soldiers.* to express the of the flesh, to the colouring MORNE. The head of the lance used and softness we in see peculiar delicacy of encounters or other peaceful The works of Titian and Correg- in tilting, nature. sary adverthat which an so was this in curved, quality high perfection.arms, gioexhibit A suhstance MORDANT. might be unhorsed,but not wounded, generally obtained from metallic bases or oxides, by a stroke. STAR. An implement consisting which is used in dyeingor calico-printing MORNING from which of staff was colours, a fixture the suspended, to insoluble to give an f which a ball covered with spikes, is also applied to the adhesive by a chain, The term blows when wielded fearful the leaf- inflicted by a used by gilders to secure matter powerful arm, breaking and destroying gold to the surface of paper, vellum, or it was also termed a "holy water and sugar dissolved in Gum-arabic wood. armour; from the way it drew blood. but the sprinkler," used for be water former, may Moorish pike, MORRIS PIKE, properly wood a stronger solution. (See requires the Moors, from borrowed weapon MIXTION.) The old artista used gold-leaf a simple for the backgrounds of tfieir pictures, and consistingof a spear-headat the summit of a pole, carried by infantry.
MORBIDEZZA.
"

Orna" See Pugin's Glossaryof Ecclesiastical^ * decorated The engraving represents a richly Htent and Costvme. of the time of Elizabeth, in the armoury and MADDEK, cularly morion partit See CAUCO-PBJNTINQ o'fSir S. Meyrick, Goodrich shire. Court, Hereforda general the latter article, in which
account of its
used

is detailed.

MOE-MOS. MORSE.

297
all

(Lot. MORDERE, to bite.) clasp or fastening of a made of the cape, frequently

The

a strong passion display for colour among the Greeks,notwithstanding the notion which has long prevailedthat

covered

precious metals, enamelled

and
set

all their architectural colourless.

ornaments

were

with

jewels,

and

sometimes

containing
of the sacred

sentations repre-

Accordingto Mr. Digby Wyatt,whose book on Geometrical Mosaics is teries.*splendid mysnow

MOSAIC. in the signification; work to applied any

on representation,

A word of varied

work,
mosaic

before us, the opujtfylinum, or fictile to have been is now what appears di smalto ; that

widest which

sense

it is
a

called lavoro generally

is,

exhibits

composed

of silica and

alumina,

a a of plane surface,by though containing larger proportion used by the modern joining togetherof minute pieces flint than is now of hard, coloured substances, such as Italians. Plinyfixes the date of the employment of this material at about twentyor natural stones,united by marble, glass, and which served as floors, four years before Christ. He cement writes : (mastic),

the

"

" Aa for those pavements called HtJwstrata, coveringsof columns. The floors (pavimentasectilia) which be made of divers coloured squares of marble or stone formed of pieces couched in works, the invention began in were of differentcolours, and geometrically Sylla'stime, who used thereto smull cut,

and "walls,

the

ornamental

cemented

together (TESSERAE) ; at
as

firstthe

designs were such objects,

close imitations of natural

fragments of wood, "c.

on

"

tiles at Preneste, within the or quarrels temple of Fortune,which pavement remaineth to be seen at this day. But in
process of time

scattered lyingapparently

the floor
"

pavements

were

driven

out of ground-floors, and passedup into labyrinths, meanders, "c. ; these were and sealed overhead those were soon superseded by historicalcompositions,chambers,

only with writing;and no doubt have forgotten to have never them arched with if the tion invenover The taste which at one white marble." glass had been from the mosaic workers or if, before, time prevailed practised among of glasswhich of bright the walls and partitions of Greece for the combination made his Scaurus those colours in their works stage, any one upon (notmerely had also roof chambers with."* thereto of the walls the decorations proceeded intended for and grand apartof temples, and ceilings ments, This glassappears to have been evidently taste but for pavements, which only a glazing, have suited that of the peoplefor must probablyof silica and the metallic oxide requiredto give doubtless whom constructed), they were
adorned

which,under the firstemperors, attained and refinement. highestdevelopment of ornamental paveThe earliestspecimens ments with which we are acquainted are composed of coloured stones cut into such as that described in the book shapes, of Esther as ornamenting the palaceof and Ahasuerus, " a pavement of red,blue,
the

with

which glass,

also is

new

invention

in of late devised; for Agrippa,verily, those baiues which he caused to be made

at

Koine, annealed

all the pottery work

that there was, and enamelled the same with divers colours, whereas all others he he would

led to the manufacture

stones

with which the " potof many artificial colour to the tiles, tery" The author covered. colours. The polywas same of particular chromatic

patternswhich
"

have

been dis-

"The says: this kind was

"

most
one

famous

workman

of

Sosus,of Perganius,

"'S"c Pugin's Glotsary of EcclesiasticalOrnament

Our
cut

who

wrought

and Cottume, 4to. of the fourteenth a MS. Library. Pin is.

is

copied from
"

that rich pavement in the

rzxvi., chap. 24.

century, in the Royal

.,.

Pliny's .Vu*. Hist., book

298
common

MOS.

hall, which

they

call Aaaroton email tiles

*

again
which

to
we

Mr.

Wyatt's publication to
"

with bricks or garnished annealed with tundry colours."

fficon,

would direct the attention of all

are

those who
decorated for the

interested in thin
of the

Walls
with

of

apartments

were

notice following

subject prevalence
"

of this art among the ancients : cubes about the same glass of Turning our attention awhile from period.Windows, composed glass panes known the regularvarieties of European workof different colours, and which were manship, also be be it well notice to that at least to later antiquity, may may of mosaic, t included under the designation duringthe middle ages mosaic obtained to of description, For convenience the however, a very considerable extent among mosaics may be classed under two heads, eastern nations,in India,at Agra and the ancient and the modern, as they are Delhi, in the form of inlaying with different epochs in the referable to two and coloured compositions precious marble, stones, in and Asia admitted It is of Art. generally Turkey Minor, in history ; of invention urious luxthe o f of the form that mosaic was an coloured huge pieces faience, coloured
"

Alexandrian

age,

and

under

the

on

the surface and

fitted together. In

the Moors adopted of the Roman it as an essential Spain, protection liar power this pecuthe ancient element in the formation of dados and art spread itself over mural decoration. The Spanish affection executed in the same world, and was Mount has indeed Athos, for azuleijos," manner or painted tiles, upon the Euphrates, abundant reinto a proverb. One instance only Of these, and in Britain. mains grown still exist, J the finest being the occurs in the Alhambra of the employment Alexander's of mosaic as pavement. The tiles comover of posing victory representation the Alhambraic wall-decoration* Darius,discovered at Pompeii. The art are lingeredat Byzantium after the downusuallysquare, and stamped on the fal of the Roman Empire, and was chiefly surface with very intricate patterns ; the The the Greek Church. matter adorn then floated to colouring practised being over, sinks into the indentations, decorated with Cathedral of St. Hark was and,on being in the thirteenth remains a pavement in mosaic wiped away from the plainfaces, which define the who was instructed century, by an Italian artist, only in those sinkings In ornament. The sides are so cut away at by a Greek named Apollonius. covered an acute angle to the face as, when laid all the specimensof Roman mosaic disin this country, to leave a key for the plaster, coloured stones are together, neat joint to a perfectly found combined with earthen tessera. It and yet come ternally.' ex"

does not appear that the use of tiles, or the construction of tessellated pavement, was
ever

Thus,

we

that by perceive, advanced from the

natural

find process man we discovery ; not only marking the settlements of that clay in drying contracted into a the Romans of of over nearlyevery portion very coherent mass, to the manufacture in the first the sun-baked Europe,but we see it adopted instance, by early bricks, Christians in their churches, and,at times, but afterwards hardened by the action of of tiles, fire ; and then to the formation in the becoming a prominent ornament and eventually to decoration of these fanes throughoutthe either plain or stamped,
do mosaic work

abandoned

mediaeval ages. We cannot the construction of tiles and tessera,to conclude our brief historical notice without referring which artificial colour was given by the
*

ffat. ffitt., book Pliny'8

xxxvi.,

chap.

35.

at

t The windows of the church of San Miniato, Florence, are composed of transparent
or

of metallic incorporation mass.* argillaceous The mosaics which

we

oxides with the

may

term

modern.

marble t See | 320.

alabaster of beautiful colours. Muller'i Ancient Art and ill litntauu,

"

Hunt, in Aii Journal for

V OS" in the latter part of the fifteenth century, and are attributed to
wore

MOT
in presented

299

commenced

motion.

We

have abundant

the two

brothers

of Treviza,who Zuccati,

evidence of this in the productions of and sculptors, both of the ancient painters and modern

ing. instructed Titian in the elements of draw-

schools.*

The Zuccati executed

these mosaics

MOTIVE introduced

by

means

of cartoons

drawn

by

the best

(MOTIF,Fr.) A term lately into the vocabularyof Art,

to convey
more

nished which furartists of the time, and from copies by Titian and Tintoretto ; and at

appears
or

than

tention in-

suggestion ; it means

that which

Home, the copying of celebrated pictures produces or creation invention, conception, and i s in mind of the the artist, when undertaking by Raphael,Domenichino, others,
continued
works
are as

to

the

for the most

present day. These part of the same

and yet is subject;

a

neither of these
of

alone,but

combination

all, governed
ordinated subof quality

size

the

and original,

reproduceall

by

the

of the spirituality
to

and artist,

excellences with wonderful their peculiar effect. A finer kind,which givesemployment

to

it.

Where

this

to the

is applied class of artists, large of brooches, "c.* production

a

is deficient, the spirituality be commonplace,low, mean,

;f
on

MOTIVE or even

will
volting re-

of copper A mixture of for and zinc, used cheaparticles jewellery and

MOSAIC

GOLD.

minant, the contrary,where it is dothere we meet purity, elevation, of It is independent

cution, exe-

grandeur.
and but is

and ornamental

castingin
oHMOLU.

metal work, produced by mould. It is also known as OF PEARL. The

taken, sometimes is misplaced or mis-

always a
and artist,

sure

index

to the

of the capacity

his works

convey

MOTHER

variegated at

once

to the

internal coating of the

or

pentadine ;

effect of furrows used

Indian oyster, the motives large colour is the of intellectual and prismatic the microscopic reflectedlight and evidence on It is abundantly of its surface. it. The bane
its

intelligent observer, through apparent in them,the amount

moral culture he sesses, poshis power of imparting of modern Art is the

for ornamental

purposes. mechanism

excess

of technics

over

MOTION.
of which

The

studyof the

material the

of the laws is

the locomotive organs is composed, their which by sion progresof

thingsare are exceptions

a

spirituality. Only represented; usually

devotional feeling

with those artistswho

possess
"

true and

earnest
a

religion, purifying the in ita influences. and exalting theyexpend in propelling ferent body from one placeto another with difto instruct alike serves velocities, and valuable essay * See a very interesting the artist in Todd's Cyciopcedia the anatomist and physiologist, of Anatomy, part 23; also of Locomotion the series of articles on and the mechanician. They are, in fact, a vol. xir. The in the Animals"
to whom

and accomplished,

the

vital

Art is

force which

"

the constant
and

laws of movement
to those used under

in contradistinction treatises

on

fenny Magazine, Artistic Anatomy, by M.

not

Fau

and
in

occasions of may

Dr. other
on

Knox,

although exceedingly
contain
any

valuable

rarer

greater excitement,which
ACTION.

respects, do

be defined under the word

of these laws has been well

"

Ignorance of productive
figure,
re-

an the subjectof MOTION, scarcelybe excused. will disgracethe t An ordinary man ; ordinary treatment material by an

information omission that can

noblest
on

the

grotesque delineations of the human

as as

contrary,
knows how

great head
to

of the lower animals,when

ennohle

and a refined spirit because itself, the Common

they
See Kugler's//irtory of A rt; D'Agincourt's Art described by itt Monument*; Wy all's Mosaics prints published by "/ the Middle Aget. The the Soeifta Cakograflca at Rome ; Campliani's in quibut precipue Mtuiva Vetera Monumenia Pompeii ; Padre Opera Mtutrantur; Mazoi's Secchi's Mtutuco

Antoniano

illustrate

Roma,

tive favourable side. In creaand expose nary painters hare an ordiart, the Flemish the taste; the Italians, but still more latter The Greeks, a great and noble taste. continually sought the ideal, rejected every low trait, and selected, too, no or common material. See Schiller's common
"

connect its most

it with

something spiritual,

1843, SiC., "C.

Letter*

son

HOT"
A
a

MUR. this name, in the Arts, varies much in The genuine consists of the stance subquality.
found

MOTON.

small

coveringthe plate

armpitsof
annour was

worn,

knight, used when plateand occupyingthe position

word
an or

in tombs

of

Egypt,which

is a

of the older mameliere.

compound
used to of

of bitumen

and

organic matter
facturers manu-

MOTTO.
mark
a or knight,

The of

sentence

both animal and

Some vegetable.

the work

the shield artist,

of
a

a dirty-coloured up family.* Others carefully used in casting pigment is obtained. select only the bitumen ; it yields or a figures ornament, whether in entire or very useful in relief. pigment,but differing littleor partial MOULDING. The contour given to no respectfrom the bitumen now obtained from the East the angles of cornices, windowexcept, perhaps,in the capitals, of myrrh and other gum accidental mixture and which is circle a jambs,"c., generally resins. kinds of mummy The better form or ellipse.The CYMA (p.142) may be useful grey tints mixed with ultramarine ; cited as an example. lake and ivory ING-PAPER). madder MOUNT black,when these (MOUNTING-BOARD, MOUNT-

the

arms

grind the whole together,by which

of this substance

MOULD.

The

matrix

"

The
upon

paper

or

card-board

are

mixed

with

white.

drawing of larger "which is generally size than and of a tint that on it, object placed aid its general effect.
a

which

is placed,and the will

MURAL middle
were

PAINTING.

During the
edifices

MOUNTAIN
of copper,

BLUE. which

native carbonate

is liable to with oil.

change

its tint to green if mixed MOUNTAIN GREEN. MOUNTED.

term

See MALACHITE.
to
a

Secured

mount.

cuted exepaintings, in distemper which colours, were, in fact,debased frescoes. A MURAL painting the Annunciation)of the (representing date of the thirteenth century having been discovered in the Sainte Chapelle, at the Minister of Public Works quested reParis,

ages covered

the walls of sacred with sacred

MM. Dumas and Persoz to examine to a print or drawingfastened applied with the view of ascertaining the nature it, or card-board. upon mounting-paper of the colours employed,and the means A sort of pestle, MULLER. of stone or used in their application, "c. The result flat at bottom, used glass, of their communicated to investigations, for grindingthe pigments Paris Academy of Sciences, is as follows the of slab similar rial. matea upon A coating, : composed of a mixture The edge should be of resinous firstlaid was substances, it else willnot move fatty, rounded, hot this an coatingwas applied will the pigment on ; over nor freely, posed insinuate itselfunder it. orange-red probablycomcement, most of a mixture of "drying plaster" MULLION. The stone the object of which was and red-lead, to divisions in gothic windows. which effect of the ths goldleaf, ous heighten MUMMY (MoMMiA, Ital.) A bituminformed the next laid on, and which was substance as a employed by painters the whole of the painting. from rich brown tint, but liable to hazard, groundof nearly white colour employed, An o f the itis known also analysis not dryingsufficiently as ; of lead, be to showed it a preparation Jew's pitch, "c.f The pigmentsold under identical analogousto white-lead,if not See cut to DEVICE. Many family mottoes
"

contain Ver non

punning allusion

to

their

names,

as

with it. The kinds.

blue colour

was

of two

ferent dif-

of the Vernon motto r viret. the temp family ; Catendo tutut, that of Cavendish ; Farefac, of Fairfax, "c. They are frequently

That

employed in

peries the dra-

placed
pones. f Bee

on

ornamental

scrolls,

or

even

structed con-

ascertained to be of the figures was phosphateof iron ; probablythe native

used. phosphate was to be provedon analysis

of fanciful letters

for decorative

pur-

(See INSCRIPTION.)
note
to

The

other

blue

that

word.

ultramarine.

The

302

NAS-^NAT.

after the "57,000. These were exhibited, the lived in in house he (90,Pall purchase, and were increased by the Mall), speedily of other collectors: thus, in 1825, bequests with oil or varnish ; but, used as a waterhad Sir George Beaumont, who been will be instrumental in colour, inducing the destroyed greatly by damp or exposure made formal gift to impure gases, assuming a blackened a government purchase, of 16 pictures, valued at 7,500guineas; in white-lead as manner hue, in the same 1831 his example was followed by the llev. changes. Chromate of lead is sometimes used as a substitute for this colour, Holwell Carr,who bequeathed 34 pictures which ; in is also used in porcelain and enamel picLieut-Col. tures. 1837, Olney bequeathed18 ;
in

the oxides of lead and

antimony,which was originally preparedat Naples; it has a rich,opaque, golden hue, and will not change by exposure to lightwhen mixed

1838,Lord

Famborough
been added
to

16

about 50

NASAL.

In

armour,

defence

for

others have
smaller

the upper part of the

face,or
as

more perly profor the nose,

list by and several of great bequests, importance purchased by the government. The collection now numbers 236 paintings,

the

in

the

example

which

are

located

in

new

but

venient incon-

series of small engraved from the gallery (orrather, the north side of Trafalgar presentingrooms), on reBayeux tapestry, of William It is open to the public the on the queror. Confour firstdaysof the week, and to students
a

soldier

Square.
the

on

two

last. It
last two

is

NATIONAL GALLERY. The characteristic pertinacity in

during
and

the

weeks

closed entirely of September,

the month

of October. of the is proper gallery earlypainters ; in

The chief want

of Englishmen specimensof the very it is very inferior to the most everything they possess, this point, decrying and extolling has led to It boasts, continental everything foreign, galleries.* ordinary with who tone a marvellous speak however, two depreciatory specimens by many of an of the National Gallery, some John Van Eyck, one is a portrait including soi-disant " critics who write about art elderly man, upon the frame is inscribed, without knowing anything of its true Johes de Eyck me M'CCCC'33, 21 fecit, It small collection is i a it Octobris" principles. was certainly; formerlyn the collection
" "
"

and it would
and

be

more

creditable to

rich

of Viscount

nation like England if it was powerful and if opportunities of a ladyand gentleman, corsiderably larger, lengthportraits " of making it so were not at times neglected and is inscribed, Johannes de Eyck fecit in a manner discreditable to our pretension hie 1434'' it was purchased by parliament to cultivated taste ; but,certainly, there iii 1842, from Major-GeneralHay, for fewer bad pictures are hung on the walls 600 guineas. Both are painted pictures than is usually in any gallery seen ; and on wood, and are in the finest possible in this respectit is superior to the Louvre, condition. Francia, the goldsmith of where the eye tires orer hundreds of inferior Bologna, who of the practice commenced
"

Middleton ; the other sents reprethe interior of a bed-room,with full

works. of
a

We

have

the nucleus
want

here
collection of early picremarkable The tures formed by Prince Wallerstein, and now located in Kensington Palace, were refuted by the British to whom they were government,
*

noble

and gallery,

but time and

of very recent laid in 1824,

it. judgmentto perfect Our National

is Gallery
was

origin. Its foundation by

the

merit ottered,although of the greatest possible and

purchaseof the collection of Mr.

interest, and
our

the very thing wanted to gallery: the; have been since

plete com-

pui-

of 38) for Augerstein's pictures (consisting

chased

by Prince Albert.

NAT.
at fortyyears painting

303

of age, is

seen

to

collection and the ; but the painter

subject

great advantage in his great panelpicture have both been doubted.*

" The Virgin, the representing

The celebrated

Raising of Lazarus," is by history Sebastian del from rivalled It was the Piombo and this great purchasedby parliament Raffaelle, collection of the Duke of Lucca, with the work with was brought into competition smaller picture when, according to by the same artist senting (repre- his " Transfiguration," The Dead Christ supported but by Vasari,both were infinitely admired, and beauty gave him the the Virgin, and attended by Angels"), Raffaelle' s grace for the sum of "3,500. Upon the larger victory.Sebastian was a noble portraitthe artist has inscribed his name, in picture painter as may be seen in this gallery, Both his picture of himself and Cardinal Hip"Francia, aurifex, Bononiensis." for purity of de Medici but he was remarkable not equalto polito picturesare and such aa subjects colour, simplicity, high finish;possessing compete with Raffaelle in also great grandeurof conception. he made his own ; hence his friend Miis seen furnished the design for the the master of Raffaelle, Perugino, chael-Angelo " his to in and of the charming great advantage Lazarus," paintedthe figure with the of The resuscitated little picture Titian ia himself.t Virgin man Infant Jesus and St. John;" which posstudied in his wonderful picture sesses gloriously of that purity,simplicity, which of " Bacchus and Ariadne," upon much and elevation, which gave his " divine Sir Joshua Reynolds has descanted in his Raffaelle discourses on Art, and which, for comporank in art. scholar the highest sition his St. Catherine and colour, is a mine of instruction is also well displayed and sweetness of comexhibits his purity to the student of painting." The Tribute position " and colour;his Portrait of Pope Money," from the recent sale of Marshal and and the " Venus Julius II." is one of the noblest of portrait Soult's collection, the said of of has noble and also Vasari it, Adonis," are truly examples pictures, and that courageous is the "Ganymede;" so that it resembled same qualities; resolute head of the church so thoroughly, while the " Concert," though not a very the fear his own is remarkable as one which that it could inspire good picture, little the collectionformed by King of incited the exquisite was ; part presence in his Vision of a Knight" Charles I. Correggio is seen pictureof "The in the two to his careful finish ; the noble pictures testifies greatest perfection donderry Lonfrom Lord cartoon of " The Murder of the Innocents parliament purchasedby " of for boldness and Mercury his to 10,000 guineas" handling.* power Of this master's favourite pupil,Giulio Cupid,"and the "Ecce Homo" instructing well as the "Vierge au Panier," as Romano, there is but one small specimen, " also enabled which not little we are most picture, chased pura a Charity," by exquisite da in 1847. Leonardo for his of "3,800, to judge powers. by government to be seen in the six in number Vinci is said by some Guido's pictures are " with the DocChrist disputing "Perseus rescuing Andromeda," "Venus picture,
and

Infant

viour, picture, Sa"The remarkable

St. John, attended

Saints."

for its

"

"

"

"

"

"

"

"

"

"

"

"

tore,"which
"

came

from

the Aldobrsndini
Solario.and ascribed to Andrea Luini ; while Bernardino to to be " Joseph declared the subject has been It is a very interpretingPharaoh's dream."
"

It has been

This cartoon

was

bequeathed

to the
,

ling Found-

by

Dr.

Waagen

is and Hospital by Prince Hoare. Esq deposited in the gallery for the use of the of that institution. public by the governors The portraitof Pope Julius belonged to the St. Catherine was Angerstein collection ; the purchased by parliament In 1839 for "5,000; lor " 1 ,050.at Sir M. Sykes' sale the "Vision"
" "

fine

picture.
Lawrence this 17!W
"

t Sir Thomas
for purchased in

his possessed

first

sketches

figure
wh"".

The picture wag the famed Orleans Mr

Gallery was
the
sum

In 1847.

of

dispersed- by 3,500 guineas.

Angerstein, fot

304

NAT. "The Magdalen," Graces,"* the Orleans Gallery, "The and grandeur his faults
"

attiredby the

the

same

feature*

Judgment of Paris." youthfulChrist embracing St. John," Of that wondrous master of chiaroscuro, "Lot and his Daughters," and "Susannah Rembrandt,the gallery exhibits The Adoration and the Elders."t Annibale Caof the Shepherds," and the "Woman taken in Adultery" than which no finer in his wonracci is seen to most advantage derful cabinet picture of Christ appearing pictures exist by his hand ; the portrait of "A Jew Merchant" shows his best style; St. to Peter after his Resurrection ;" the while his own John in the "Wilderness" exhibits his exhibits hisdefects.* portrait while his classic grandeur; fancydisplays Cuyp, Teniers, Maes, and others of the also fairly but not by itself in the charming little pictures school, are exhibited, and "Pan of works. The French school, Silenus gathering with Grapes," important the Pipes" both intended the exceptionof the Poussins, is very teaching Apollo of a musical to decorate the harpsichord badly represented.Nicholas Poussin's is terized characfriend. His brother, in a classicallandscape; Ludovico, power is displayed sannah but more in his Bacchanalian by his somewhat meretricious Suparticularly Claude can noand the Elders." and where composition, scenes, which for colour, be seen to greaterperfection than in abandon, exceed works of that class by this gallery, our own nor great countryman, any other painter. His brother Caspar's J. M. "W. Turner, whose pictures, Landscape with Small Figures, representing with his, rival Abraham placed in juxtaposition preparingto sacrifice the glories of the old Italian. Canaletti's Isaac,"is particularly of the fine one views in Venice are excellent. Salvator ever grandest landscapes painted;"The and and Rosa's the "Woodman Land "Dido Eneas," "The Storm," Mercury purchasedin 1834 for "1,680" is a fine View of Lerici," "c., are all remarkable Murillo's The Englishschool is confined to fant pictures. Inspecimenof the master. and St. John a few specimens the best being Wilson's Holy Family," are both fine examplesof the Spanishschool.J "Landscape, with the story of Niobe," The Flemish school is well exhibited in Gainsborough'sMarket Cart," Sir Joshua and "Portrait Vandyke's"St. Ambrose" Reynolds's Portrait of Lord Heathfield," of Gevartius." The grandeurof Rubens Wilkie's "Blind Fiddler" and "Village well be Peace studied in Constable's "Corn Field,"and driving Festival," may the not Horrors of War;" the same least," Hogarth's though last, away to landscape, inimitable series, "The in the "View Marriage-a- lafeeling, applied from his Chateau ; his mode of treating Mode'-' forming works peculiarly national, sacred subjects in The Brazen Serpent;" as as a school by themselves, original and of profane, in "The that founded other abduction of the artist, by any Sabine Women," which exhibits at once his completely unapproached by any imitator. so tirely enEngland has produced no painter * These pictures were presented to the and so completely n ational, original, nation by King William IV. "the great painterof mankind" t These four pictures are government chases; as purthe last two cost "1,200. William Hogarth.f t These two are
"
"

formerlyin

being visible

in his

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

"

the
thousand

pictures government chases; purfor two, and the other for three guineas. In quoting the prices paid
one we picturesin the gallery, by no absurd feelingof

for these and other have been actuated

enhancing their value in the eyes of the spectator, hut simply to (live lute our readers the absonr.oney value attached to fine works by the old painters;and of which we should have no other chance of making them acquainted, or thus rendering our general review of art in these pages complete.

" in the colour is laid on The way in which this picture illustrates our anecdote on p. 247. be It is altogethercrudely executed, and would artist,and not criticised if by a modern severely " of a great name." under the shadow as now t These, and the other national picturesby deceased English artists, are at present deposited with the other English pictures at Marlborough of the Vernon location House" the temporary

Gallery.

NAT-NER. NATIVITY. in subjects

our

306 NAVE. That

One

of the most

popular|

part of

an

ecclesiastical

represented,which the congregation assemble. The in swaddling term is derived from the French word nef in ancient times,by a bsiby which clothes placedin a manger, and is believed by some over authors (a ship), the heads of whose an to be a mystical ox and ass appeared type of the ark of Noah breath,the ancient legendsaffirm, kept the church in the same preserving way The Virginis the infant Saviour warm. the faithful from the delugeof sin. The seated at the head, and St. Joseph at the Germans use the word schiffdso to designate This and of the foot this portion of the church. simple manger. termed NEBRIS was a Nativity." as touching picture (Gr.) A fawn's skin,worn NATURALISTI. a part of the dress of hunters and others ; (Ital.)Artists who strictly copied nature, forming a school and, in works of Art, as a characteristic of Bacchus, and male and female covering opposedto the MACCHINISTI. Gladiatorial NAUMACHIA. seaas well as of fawns and satyrs.* bacchanals, (Gr.) in Also u circus, NEBULY. Decorated with wavy lines. or amphitheatre, fights. for public which sea-fights NECKLACE. An ornament were represented commonly of firstintroduced and continued females amusement. were worn They by antiquity, and continued to the present day. They were to Home made of by Julius Caesar, berries, glass, stones,and metals, precious by other emperors, with great cost and and of an infinite variety In Claudius' famous exhibition strung together, splendour. of form. the Lake Fucinus were batants, 19,000 comon Specimens from the tombs of of each and fifty opposing Egypt, Etruria,Herculaneum, and other ships ancient with of nereids and seato be met in are cities, fleet; representations
"
"

mediaeval Art,was Lord in Bethlehem : it was

the cradle of

edifice to the west

of the

choir, and

in

"

monsters

were

made

to

swim

on

and

silver triton in the centre

"

the water, by the

"

various

museums.

Among

tions the modifica-

found in these
are

machinery sounded a trumpet as a Coins and sculpfor the contest. tures signal frequently represent the brilliant
aid of
scenes

the

of various drops shown as beads,

remains, interesting forms alternating with

in the annexed
are were

cuts. woodthree found

In the British Museum which goldnecklaces, splendid

of the naumachia.

in Etruscan

tombs.

The

ornaments

sist con-

NEEDLENEREID.

WORK.

See EMBROIDERY.
A

of rosettes, ivyleaves, lozenges, circles, of one and hippocampi. From the centre
a

(Gr.)
ANT1CO. used

sea-nymph;

the

female TRITON. NERO black marble The intensely (Ital.) by the Egyptiansand

heart
"

depends.*
beautiful
;

This
our

of

cut M

the

lower

is the upper necklace one U copied from

one

covered dis"

Etruria.

See

cut

under

BACCHANAL.

306

NEU"
more

NIT. attributes. His

connection

other ancient statuaries. It is much

with his

sailors

intense in colour than any modern marbles, appears to have arisen from and, as no quarry now known produces it, calmed the sea in a storm on its tone may
owe

having

somewhat
A

to

posure. the Holy Land.* long exor

an

a voyage to His attributesare a ship

anchor.

NIGELLUM. An art (Ital.), the of engraving we owe name pigment : origin "water-colours. It is composed of blue, it consisted in drawing a design with a in various proportions. style and then cutred,and yellow, ting upon goldand silver, it with a burin ; a black composition, A word NICHE. derived from the made Italian nicchia, and used to a by heatingtogether sea-shell, copper, silver, and in the which when wall concave recesses lead, a cold was designate sulphur, then sometimes intended to laid or tain conwas building, pounded, upon the engraved the archivolts being often plate,a little borax sprinkled over it, statuary, formed like a shell ; in ancient works they and placed over a charcoal fire, when the scmetimes square, but more dissolved and flowed into the are frequently composition lines of the design. When cold, semicircular at the back, and covered by a the metal and was In the middle ages, niches semi-dome. a nd the niello scraped burnished, the effectof a drawing in black, tical were presented extensively employed in ecclesiasarchitecture for statues. gold or silver. The art was known upon to the ancients, and practised ST. The patron saint of NICHOLAS, during the and of numerous Russia, though rare, are towns, seaports, middle ages : specimens, to be met with in museums.f and other places In the fifteenth engaged in commerce; and these also of travellers, merchants, quently frecentury sailors, designswere and engravedwith great delicacy, boys,as St. Catherine is of young young the shadows hatched with lines, and active girls. From his humility, zeal, precisely he became the most popular like a copper-plate benevolence, engraving. The origin of taking paper impressions No less than 372 saint in Christendom. from metal is ascribed to the practice churches in England are dedicated in his plates of Maso a Florentine honour. Finiguerra, goldsmith, Many wonderful miracles are who, in the middle of the fifteenth century, of related of him, which form the subjects was in the habit of takingimpressions works of Art. of his numerous Among the most incised work ori cups and plaquesin a is that representing him in the frequent
under this is used
in to which
act of

NEUTRAL

TINT.

factitious grey

NIELLO

throwing a purse

in at the window

viscid water-ink
of of the

on

of the house

of the nobleman

who,

tain to ob-

the state of his work. testing

paper, for the purpose pressions Such im-

food,had daughtersto an

resolved to sacrifice his

infamous

life. Another,
as

his miracle of restoring to lifethree young about to visit him to scholars who were solicit his and who were benediction, by a wicked inn-keeperto
dered mursecure

earlyfathers of copperplate stillexist, and are known printing niellos also. (Seealso SULPHURS.) NIMBUS. Under the term (LaQ
we

AUREOLA

have

described the different

forms

and their bodies cut up and their effects, placedin a brine-tub. This miracle of the saint is the artists.* He

of NIMBUS, to which we refer the reader for a full explanation of this term.

usuallydepicted by in is generally represented

one

NITRIC ACID, or AQUA-FORTIS,iflused in the arts to corrode the surface of plates where exposedto its action by removal of
*

and has either three purses robes, bishop's his three children, as balls of gold, or or
*

See

Mrs.

Jameson's

Sacred

and

Legendary

Art.

t Benvenuto
A curious

example

is

given by

Hone
a

in his

has

left

minute

f very-day Book, vol. i. col. 1556, from in the .Salisbury Missal of 1534.

print

working

in

who practised this art, Cellini, descriptionof the art of niello. See his L\ftand Writingi. Milan. 1806.

3 vols. 8vo.

NOD"
the needle. groundby an etching
of three

NYU
and
are

307
made of
a

It consists

to occasionally
a

serve

the

partsof nitre to

two

of sulphuric purpose

date in

consecutive

tion inscrip-

for copper is generally (seeCIIUONOGIIAM). In mediaeval diluted with twice its quantity works theyare of very fancifulcharacter. of water before use. Its action isfrom half an hour The seven lettersused by the Romans are
to the depthof line value is beneath each): as follows (their hour,according ; but isonlya few minutes on steel. I. V. X. L. C. D. M. NODUS. (Lat.) A knot" 1. of the 1. 5. 10. 50. 100. 600. 1000. either at the top or back of the head, hair, than the largest a larger sum here their When adoptedby botli sexes in fastening noted wished be to it was was which was drawn up for that expressed, long hair, done by placing the numeral, a line over purpose ; 2. by which the cloak or other which counted as 50,000, and article constituting the amyctus was kept thus TJ., D. In the middle ages, Arabic the shoulder, on when a brooch was 500,000. not as" numerals were for the used,and are extensively employed purpose ; 3. the knot of entwined in a very fanciful leather worn frequently in the by poor Roman boys, and elegant in the architectureand manner the bulla was same as the worn way by of the period.* In books of the children of patrician families. painting of setting NUDE. The undraped human a fanciful mode body. sixteenth century, in of nude is The study imitation Roman of the up typeletters, equally important and the painter, for the sculptor adopted,particularly by because, numerals,was and Flemish printers, German in "which seldom althoughthe latter comparatively the letters clo. denoted out with1,000,and lo. representsthe human body entirely 1621 500. The be thus exdate would pressed covering, yet the appearance of that is determined by the structure of : covering clo.loc.xxi. the frame. The reason presents rewhy sculpture NUMISMATICS. the naked figure The science which so much more than painting treats of the because it in use the to can is, speak among money i s the mind only through the form, while to ancients, auxiliary the historyof paintinghas the advantageof colours, Art through the artistic value of the idea of reality,types. The art of cutting dies was carried a which, conveying lively the Greeks to the of the of concealment much the by compel highestperfection, afford the artist sufficient so that nothingremained to the Romans body, and, in fact, but to regulate of expression better the process of stampmeans without such ing. to
an
"

acid ; and

wanted

"

in at work Among the causes exposure. time to deteriorate the influence of our

Down the dies

afterwards
were

to the time of made

Constantino,

of hardened

brass;

Art, is the abuse of the nude.

is employed merelyto skillin

Where

it

of steel.

NUT OIL. The nut oil used in painting the artisfs display naked ftrms, is obtained from walnuts ; when drawingor modelling deprived of is and when neither the subject its it and nor mucilage pale, transparent, popular and for is dries demands it mixture with but a limpid, sympathy well, it, nothing of the aims of High Art, or, delicate pigmentsis preferable to linseed prostitution
to say the
a least, mere

affectation of the not

oil. A female deity of a secondary considered u character, generally attendant upon the ancient gods.

antique. Civilised humanity does

run

NYMPH.

naked in this nineteenth century, and there is no reason it should be so why

even represented,

in

"

stone."
Paris,
Devicei

are

as letters, " See Silvestre's Alphabet Album, for frequently ornamentally disposed 1843 ; Shaw's Alphabet*, Numerate, and decorative purposes (see INSCRIPTION), Of the Middle Ayet, 1845. x

NUMERALS.

These,as well

308 OAK. The

oak-tree

OAK-OCH. is the emblem

of

contained

record of the honours and titles

and is fre force,and strength, which the king who erected, or virtue, enlarged, had received quentlyintroduced in ancient sculpture. gave rich presents to a temple, St. Boniface, an Englishsaint, martyred in return from the priesthood ; frequently at A.D. w hither 765, Utrecht, he had gone forth the homage received by tliuse setting to convert the pagans, is known by the rein some presentation early equalling respects sovereigns, of an oak prostrateat his feet, that givento the gods. The most famous in allusion to his cutting down the oak ot and Thebes, in Heliopolis obelisks were held in Jupiter, from whence the most considerable of those veneration superstitious by the heathen. find at Rome obtained. we were OBBA. A drinking vessel shaped (Lot.) OBVERSE. That side of a medal or like the cantharus (seethat word), bat coin upon which the bust of the personage

commemorated

appears,

or

of the event to the memory it is consecrated. OCHRE. The ochres

are

the tation represenof which natural products,

being found in mineral masses, several feet in thickness, and frequently of consist matter chiefly argillaceous tinged in various states of combination. by iron, The iron generally appears as a hydrate,
or, in other

words,as

an

oxide

combined
are

without
down

foot,

so

that it could not

be set

with water. the most

The oxides of iron

among

when
was

drinker

and the liquor, thus compelled to finish his

tilledwith

draughtof the entire cup. other colours, and may be said to conOBBATUS. low stitute (Lat.) The broad,shalthe soundest materials with which as a light by country people cap worn the chemistry of Nature has furnished the in ancient Rome, which head-covering for the imitation of her works. to a peak at the top of painter rose When the ochres are analysed, the head, and was fastened /\ they are beneath the chin by a cord. commonly found to consist of alumina and silica with the colouringmatter, and It received its name from sometimes trace itsresemblance to the obba a of magnesia. They in colour from reversed. a palesandy yellow vary to brownish a OBELISK. A single red,but the greater the block of stone (MONOLITH) proportion of clay, the brighter will be cut into a column of quadrilateral the colour. To prepare them for the use of the painter, stones, row, form, the base nartheyare ground under milland the and the sides diminishing finer parts are separated by washing. Spanish gradually until from the coarser Venetian red, the and the brown,Indian red, they terminate near ochres have in four-sided the a yellow same position, comnearly top pyramid the difference of colour arising pointed. There are specimens
.

staplecolours of the palette. When washed and prepared for properly of injuroil-painting, they are incapable ing

in the British Museum, covered with beautiful and sculptured figures In Egypt hieroglyphics. they belong to the class of commemorative and pillars (STELES),

from

the state in which with the

the iron is combined

other constituent parts. The red varieties are coloured by the peroxide
or

carbonate of iron.*

The yellow
chalk end mixture of

* Native red ochre is called red reddle in England; it is an intonate

310

OIL.
"

and should dryquickly that transparent, linseed in a day, nut oil in a few hours, is, and poppy in
to the according

in differentcolours, seated figures, painted of them show this. one red, particularly

in a fragor thirty-six fortyhours, Compared with the paintings ment of wall opposite and state of the atmosphere. to these figures, fluence inwhich also considerable exert the difference of The pigments are a Egyptian, the dyke-brown, vehicle can, even Vanat this time, be on their drying.Ivory-black, and observed." He adds : The first the madders, vermillion, plainly others,retard the dryingof the oils mention I can find of the use of oil in some such is by Vitruvius, who directsthat painting, they are mixed with ; while others, and Prussian blue, as red,terra-vert, punic wax be mixed with oil in the prelight paration of walls for receiving sential and colours, umber, accelerate that result.* The esfor the application those of of colours which will are oils used in pointing, for diluting the pigments not bear lime in coating walls. This is TURPENTINE an of encaustic and In a SPIKE or LAVENDER ground in oil, process, however." stated by Muratori and ENAMEL for WAX PAINTING. Byzantine manuscript, In retouching OUT. Mr. Hendrie OILING a picture, to be of the eighthcentury, the the is first of for the over d irection coat thin positive says, drying-oil passed a of diately immeand linseed then use vehicle for paint as a oil, parts to be so retouched, is found." Eraclius, the next wiped off,leaving only a slight and varnish, author this better to the of the t he o n theme, surface, probably prepare upon coating of the fresh pigment. ninth, or early in the tenth century, it for the reception little OILLETTES and of its use with eyes.) speaksof linseed oil, (Fr.literally, in a more made in the and to decided manner, colours, The openingsor loop-holes cations this effect : Put lime into oilby degrees, battlements and walls of mediteval fortifiof besiegers and boil it, the operations into to descry skimming it ; put ceruse it to the arrows against unobserved, or to discharge according quantityof oil,and assailants while the soldier was protected placeit in the sun for a month or more, in their embrasures.f that the frequently it; know stirring it has The early o f been in the OIL-PAINTING. longer history sun, so much
"
"

"

"

the better it will be. valuable elucidation it and from the researches of modern keep it,and with it." the and once dispelled generally writers,:};

this Art has received much

Afterwards

strain

distempercolours

that Van Eyck invented received belief, in the earlypart of the fifteenth oil-painting

This is a very curious, able valuas well as It is not onlya proof of the passage.
of
a

century. Mr.

Hendrie, in

his

attainment
art of

in the great perfection

as a

to the valuable work preface

of the Monk

using "
a

oil"

material for tempering

is inclined to carry its history Theophilus,

back
"

In

been which

but is almost painting, as good of a to a very earlydate ; he says : preparation could be given at this day. stone tured as the British Museum are sculp- drying-oil In describing the method of painting and have which are Egyptian, on figures, wood Eraclius or with unctuous directs that the an stone, vehicle, painted
"

colours in

formula for the

appears

to

have

been

oil. Two

wood
to be

or

stone

be well dried in the white this,

sun

or

at the fire ; after

* See Mrs. Merrifield's Ancient Practice of OH Painting; Eastlake's Materials for a History

oil-colour is

of OH Painting. t See cut to MACHICOLATION, which in the several of these loop-holes

walls which
surmount

with
sent* reprecrenellated

it two or three times flat brush ; afterwards, it is to be with the hand or brush with a primed
a

paintedover

it.
a

thick, white oil-paint; this,when

half until
"

History of Oil Painting; Hendrie's Translation of TheoTreatise on the Arts; Mrs. Merrifield's philus's Original Treatise* on tlteArts of Painting.

J Sir C. L. Eastlake's Materials for

dry,is to be
can

smoothed

with the hand

the surface is flat as then

glass ;

paint upon

you it with all colours

he

adds,

OIL.

3*.

with oil (tune vero and colours bought, and for pictures distempered Jesuper de omnibus coloribus et cum oleo executed in the queen's chamber at "Westminster." poteris Mr. Eastlake adds : ping ere). Nothing can be Similar diatemperatis and clearer than this : and that pictorial notices appear in numerous rolls account is evident, belonging other ornamental work is intended, to the reignof Edward I.,viz. for he follows with a direction for from 1274 to 1295; and in others dated marbling if you preferit ; the whole 1307,the first of Edward II. Another series exists in the records of Ely Catheafterwards to be varnished in the sun. dral, to who the from 1325 dates extending to Theophilus, however, professes

nish,
"
"

'

'

teach
of

"

all that

Greece

knew

in the art
' '

1351.
are

A great number

of

the

same

kind

ends all doubt upon the subject painting," of the employment of oil-colours in his 26th chapter. Upon a for pictures varnished ground of tin-leaf fixed upon

in accounts belonging to the preserved of and Edward t III., reign relatingo the of decoration St. Stephen's minster, WestChapel,
from

1352 to 1358."

The

same

wood, he
you
wish

directs
to

"

take the colours which

fully care-

writer has noticed the curious

on painting

in a glass-case in the preserved choir in next the minster Westambulatory make the tints of countenances Abbey, which he considers a work with water, of English execution at the close of the as you have done above, their colours, thirteenth, and you will vary with or beginning of the fourteenth it others which as birds,or leaves, beasts, may please century. This, and some of the Art he names, use you." prove the early in Eastlake has quoteda remarkable pasoil. of sage painting

layon, grinding them

oil,without

oak,

now

in linseed

south water, and and draperies,

from
or fifth,

medical writer of the a -3"tius, of the sixth century, beginning walnut oil as
works
a

In the church at Wenden, in Essex, is old muniment still preserved an chest,

drying-oil,which is decorated with panel-pictures, in the fourteenth century, as being painted early encaustic is or evidenced painters, clearly employedby gilders by the pose of the and enof their design, for it dries and preserves gildings caustic and the peculiarity figures, for a long time." The jects paintings drawing,and colouring. The subthe the Crucifixion, are generaluse of linseed oil is fixed by Mr. represented "From and John. the to Eastlake Sts. Peter,Paul, eighthcentury: Holy Virgin, seed These this time, and during many ages, the linfiguresare paintedin flat tints, similar to oil varnish, though composed of with very broad, black outlines, monumental and incised sandarac for materials as the (such simple adopted style
who mentions in connection with of Art,
"
"

mastic
appears

resin in the

boiled

in

the

oil),alone

brasses,*except the faces and hair,which

exhibit appears
colour
was

The

brought to light." recipes of as a means oil-painting, practice

our own

some

few have

of tint;this gradations
been done

to

while
or

the

of decoration in

country, has been

wet, by slightly wiping

The flat tints, without any

ging drag-

abundantlyshown by the citation of the teenth records of the thirteenth and fourpublic
detail the diture expenfor that purpose, in connection with and of palaces churches. the adornment
which centuries,

the surface.
dresses
at
are

tints used for the

attempt

shadow ; the form of the garments, and bv their various folds, being expressed
lines
are

In 1239

(23 of Henry III.),we

chamberlains
:
"
"

find the

colours used only. The principal and vennillion, the red,indigo, yellow, the

order from following and

our

surer the king to his trea-

to the halo around latterbeingrestricted

Pay

from

head

and treasuryto Odo, the goldsmith,

of each sacred personage ; it appears without been used pure, that is, to have
*

teen Edward, his sou, one hundred and sevenfor and varoil, shillings tenpence.

See

cut.

D.

83.

312
the mixture of any white to it still exhibits much

OIL.

meant to convey the simple idea giveit body, never and of oil-painting, but in speaking of a time gloss. The when nearly colours are all used thin,and painted all works were at temper, paintedin disthe without the term once general oak, oil-painting was, upon any priming or said,sufficiently ground tint having been placedon it after what he had already of the new The for the reception method." of the painting. In descriptive Cavaliere Tambroni, in his preface to and prothe oil has spread, consequence duced Cennini's book, has disingenuously stain round each figure.* a broad argued In the Cathedral of Vasari of N6tre-Dame, at againstthe generalexpression is preserved what it was easy to curious a Noyon, in France, oil-painting, declaring, known for the sacred utensils, show, that oil-painting before was ARMOIRE, or chest, Van Eyck's time,and, by the evidence of "which is decorated within and without with a series of pictures of saints and in Italy at least at Cennini, practised the of the fifteenth cencommencement as they tury, angels ; they are very remarkable, if not earlier; and he accordingly which has been are painted on canvas
"

secured

to the wood.

It is a work

of the

treats the whole

once

account

as

never fable,

fourteenth in

century, and

is very biilliant

to referring

the

onlypassage

in Vasari
to in
an

colour, a striking beingaltogether specimen

of the Art of that

which

should be at all adverted

argument on the subject.This passage period. The genius of Van mical is "At Eyck, and his chelast, having tried many things, and compounded, he discovered knowledge led, however, without separately and wondrous linseed and oils that nut the most doubt, to a new were ment improvein oil-painting; he boiled and althoughthe siccative; these, with therefore, invention of that art cannot and producedthat varnish other mixtures, be conceded which he, and indeed every painter in to him, its vast improvement must undoubtedlybe so. Mr. Wornum, in his the world,had long desired." This passage thus characterizes the the Life of Antonello of occurs in Epochs ofPainting, method of execution,or rather the new Messina, who made a voyage from Naples medium to Bruges,in about the year 1442,to learn discovered by the new colouring John Van Eyck proVan Eycks. ""What the medium is with what medium was duced of his works. wonderful to but the i t not known from the impasto distinguish ; in this method in use, it is It is worth noting that Vasari, common previously vehicle a, or sufficiently distinguished by the general, passage, calls the medium from which it appears that resin itwas, varnish, thoughvague term, of oil-painting; of its kind was one of some varnish painting.Oilevidently however,literally The whole i n clearly passage painting, the strict sense of the term, compounds. that Vasari did not contemplate shows neither a mystery nor a novelty in the was or time of Hubert Van Eyck : sufficienthas ever being misunderstood sented, misreprebeen already said on this subject, as he has been. and the in the habit of work of Theophilus is conclusive. Vasari The Germans were in oil before Hubert Van Eyck. ciently painting onlygenerally speaks ; but yet he is suffibeen common to have The method seems that the Van to explain particular and the medium resins of a them, oil-painting taught was or Eyck compound among for this German Cennini resin with oils and in method, was though, some pas; sages, by the remarks of his on he merelyalludes to the discovery he prefaces subject words: with the following of oil-painting, he in the generalterm oil-painting teach you to paintin oil, a I will now Germans." the first brought to method much ^practised These curious pictures were by
"

"

"

"

"

notice and

described

by Mr.

Fair-holt in the Journal

Association, vol. Archaeological of the Bniuh where engravings of them were in., published.

The oil which which oil,

Cennini recommends

seed is lin-

has been thickened in the

OIL"
sun

OIN. Mrs. Merrifield the has

313
in her collected, of notes
masters
on

he describes boiled linseed oil which this,

one ounce

as

inferior to
oil must

have

for every pound of varnish of liquid is resinous gum. that possible

volumes, an of practice
from

abundance
ancient be it may

the

in

oil;

(yernice liquida),* some

which

gathered that the

of their paintings, in and purity brilliancy Cennini alludes to the Van Eyck medium. ness resulted from the carefula great degree, Cennini had apparentlypainted in oil with which they preparedtheir own from of their labour. the minuteness with which and the patience himself, materials, he describes the various processes. and washed smoked They first carefully with According to Vasari,the Van Eycks' the panel upon which theypainted, kill method made known the to in Italy or was in the compositions prevent ravages of insects. They then laid a ground or manner : following a Antonello, young of Messina, in the possession primingover its surface made with gesso saw painter and thin glue, of the King Alfonso I. of Naples, which absorbed the superabout the fluous and and left the colours oil, bright twenty-eight year 1442,when he was years of age, a picture of the Annunciation,by of Sometimes coats or one more pure. John Van Eyck, or Giovanni da Bruggia, glue were these to over spread grounds as Vasari calls him ; and beingstruck with prevent them from being too absorbent. the beautyof the impasto, set out immemost diately The colours were carefully ground by for Bruges, the painters themselves, who studiously in order to discover by "what means avoided such as changed by mixture with it was produced.He obtained and the secret oil varnish.* With from John Van and Eyck, every coat of taken' remained several years in Flanders until to was paintcare dry it well, and for this the picture he had mastered the process. He rewas turned exposedin the sun and air, and thus the oil did not gradually to Italy, not longafter the probably death of Van Eyck, and about 1450, or a in the change to yellow. The glazing, few years afterwards, until the his first visit same was to repeated painter paid way, where he communicated satisfied with his work, setting the the secret was Venice, a side between to Domenico until Veneziano, who was, on picture every glazing of its possession, account murdered by it was dry and hard.f Andrea OINTMENT at Florence, about the BOX, is the attributeof St. Castagno, St. Josephof Arimathea, after that had obtained Mary 1463, Magdalen, painter year St. Joanna,and Sts. Cosmos and Darian. it from him. Antonello settled at Venice about the OLAVE, ST. The firstChristian king
not

Though

it probable,

year

1470,

and

there appears

to

have

spread a knowledge of the new method. There is a picture, at this by Antonello, time in the Museum of Antwerp, representing

that was painted in Venice, was executed by and Bartolomeo Vivarini in 1473; it is still of SS. Giovanni a preserved in the church Paolo, at Venice. the Crucifixion between the two " The amples only artists to he considered as exin the mechanical part of the Art, are Thieves, signed " 1475, Antonellus MesGian Bellino, Giorgione, Titian, Bonifazio, 0" pinxt,"the 0" signifying and the two saneus me school. Bassanios,in the Venetian Oleo. The picture is painted The decline of the Art is to be attributed to apparently used had to Tintoretto" who. save expense, on a small panelof wild chestnut; it is in colours in his immense pictures" and to Palmi the style of the Van but is Mrs. Merrifield, vol. 1. p. 133. Giovane. Eyck school, t The information connected with the modes inferior to the works of John Van Eyck in adopted by the old masters, contained in Mrs. execution. Antonello died at Venice about Merrifield's volumes, is the result of the inves of many artists who eminent tigation 1493 or 1496.f practical have devoted themselves to the study ; and is of
the
"

utmost

Trattato. c. 91. t The first oil picture, according to Zanetti,

the

and value and curiosity deserving general and profound attention of the

modern

student.

314

OLA" battle A.D.

took
a

OtfU. baked ; but sometimes of bronze and other metals. It was used for cookingin, and also by the ancients to
carry
are

Norway, slain in who pagan subjects,

of

1030
arms

up

by his against

him.

He

landed

fleet to

assist the

the in dislodging Englishking,Ethelred, been has and from Danes Souchwark,

fire. Such
still
common

jars
in

received into the British reformed calendar

in represented usually sword halbert the or bearing royalhabit, of his martyrdom ; and sometimes carrying

the southern
of

countries The cinerary

of saints. He

is

Europe.

ollaheld the ashes of the dead after their bodies had been
and
was

loaf of bread in his and acceptation of

hand, in allusion to

his

bread

life;or

of the promulgation else as a rebus (" whole of his name, and

burnt, placed in a sepulchralniche, or

sunk
to the

loaf") on
Holofius. OLIVE. concord.
upon

the latinized form The This The

is

neck, and sometimes

covered

by
emblem
of

an

inscribed tile
was

peace

slab ; such a seor pulchre hence termed an ottarium.

frequently represented
in the Roman
a

OLPE.

Christian tombs early emblem A

mixed
"

leathern oil-flask, is

of (Gr.) Properly designator}conventionally plied ap-

catacombs.
as

olive is also introduced Cathedral.

an

in the sculpture of the Virgin,

of the stallsin Amiens

OLIVE.

so-called

colour, Tertiary
and

composed of two
GREEN,
: proportion

VIOLET Secondaries, in

equal strengthand

Red
.

Blue Blue
"

Violet Green

)
V Olive.

Yellow

More

it is a Blue-Grey, correctly speaking, from the mixture

of the

derived

three

primarycolours in
partsBLUE,
YELLOW.
and
one

but in equalstrength,
two

unequalproportion, beingcomposedof
part each of RED
also be It may

and
a

regardedas mixture of a primary(BLUE)with a secondary (ORANGE) :

"

to that
no

spout,but
our

of jug which has description rim or lip, an even as shown

in
Olive

illustration.*

SBlue
Blue Red Yello/"

Blue
j

!" Olive.'

[Orange

OLIVETTE.

In many

partsof Flanders

military engine which threw stones from a bag sling, wooden bucket, and was or managed by after of the the CATAPULT. manner machinery,
like a

ONAGER.

(Lat.)

the poppy is called olivette, and poppy oil is there called by the same name. OLLA.
and

ONOCENTAURS. (Gr.) Fabulous A pot or jar of various dimensions with bodies part human and part (Gfr.) beings, with a wide mouth o n ancient plain, round, asinine, depicted sculptures. commonly of clay,and cover, made ONTJPHRIUS, ST. A hermit of the
"

fourth
the "Analytical View of the Principal Combinations of the Three Primary Colour*." in Hundertpfund'8 Art of PaintingRettor"i. London. 1849.
*

century. He

See

and having deserted his wealth, with a treasure at represented

*

lived in the desert, is usually

his

feet,

Dennis's

Citia and

Oemeteriet "~/"rruria.

uJSl"

ORC.
and

315

elothed in skins ONYX.

of layers A

or

or pursuedby leaves,

hounds,like a wild beast.

ancients for
to the modern stone much used by the its different gem-engraving, colour producing a similar effect
cameo.

gold adultery orange designated ; the mariby its hue is to this day the attribute

of

betrayedhusbands.
it becomes

In heraldic language, of the love

likewise the emblem

and hypocrisy,

dissimulation and
of falsehood.

OPAL.
of

stone semi-transparent

of

colours
red

iridescent hue,much

valued

by the

nations

also, these antiquity, avenged ; the adultery represented signified yellowadultery.* vengeance,
CHROME.
A

In

antiquity.
OPALESCENT.

ORANGE

sub-chromate
orange orange

Having

the iridescent defines the and light A

tints of

opal.
The science which
and vision,

which yields beautiful a lead, c olour than of a pigment, brighter

of

OPTICS.
nature

of

the laws of

used vermillion ; durable when alone, but inferior in this quality to the vermil-

colour. OPUS mosaic

much of
more

lioiis. ALEXANDRTNTJM.
of flooring
a

(Lat.)

ORANGE ORANGE
ment

MINIUM. VERMILLION.

See MINIUM.

simpleconstruction,
It consisted
of generally
no
"

used

by
two

the

Romans.

is obtained

in the process of

and geometric figures, than

the

vermillions. ordinary VERMILLION.

The

pigwashing that portion

water

This

kinds of coloured tessera

on a

separates and
is OKANGE-

settles above

in the

red and

black

white ground.

In

colour

it

ORANGE.
and

secondarycolour, duced prothe of the primaries red mixture by It is contrasted by Blue, and yellow.
be
seen

resembles red

its type may

in the

garden

gold. mari-

Among
nearest
to

the

cadmium painting,

pigmentsemployed in the yellowapproaches

but it is not subject to lead, of the of that changes pigment, being any durable in oil and water colours. perfectly It tinges white very powerfully, yielding and dries well flesh-tints, pure and warm in linseed oil.

pure orange, but several inferior from lead and pigments, mostlyprepared

ORARIUM.
worn

(Lat.)

napkin or

scarf
same

by
as

the

classic nations for the

chrome, exhibit fine orange hues,such as red lead, red orpiment, orange vermillion, and the Mars pigmentsfrom iron. saffron,
In
were

uses

modem

or pocket-handkerchief, on sions. triumphalocca-

to wave

in the circus

The scarf sometimes

termed

twined round

saffron and symbolism,

orange

colours

is also the handle of the mediaeval crozier,

an

the heart filling t he and illumining of the faithful. spirit Clerical mysticsby saffron colour designated love divine revealed to the human

indicative of God's

ORB.
an

orarium. globesurmounted of
power and

by

cross;

emblem

soul,the

union

of

man

to God.

In

secrated con-

which sovereignty,with kings are solemnlyinvested

their coronation. It is the blended hue of red at colouring, introduced in representations and yellowwas the symbol of indissoluble Saviour as a child, marriage. The wife of the Jlamen dialis,of our and also in images of the of Jupiter, or wore a veil of this hue, priest and her divorce was prohibited; according Majesty.The cross is placed the top of the orb to sigfor this reason on to Festus, it was that the nify that by the cross the world, reprebetrothed wore the flammeum or veil of sented is chiefly flame colour, as a felicitous omen. by the ball, glorified. Virgil ORCA. veil. The (Gr.) A vessel with handles givesto Helen a saffron nuptial foot like the amphora, but and of emblem the was an pointed jluinmeutn perpetuity of terrestrial marriage, as the oriflamme with a smaller and more spherical body. of the eternity of celestialnuptials. was saffron to the rule cf opposition, See Portal's Euay on Symbolic Cotottrt. According
*

316

ORC-ORN

This banner was by the nations of antiquityfor reunited in its name. dried fruits, "c. presented by the abbot to the lord protector holding of the convent, whenever engaged in the ORCHESTRA. (Gr.) In the ancient the county of of the building field on its behalf. When that portion was theatre, where Vexin added the was front of to in the crown by Philip immediately I., stage, this banner, which he bore in consecuted, exethe chorus assembled, dances were quence, used and
an

fices altar erected, on which sacriwere

became
of the

in time the great standard

made. occasionally i t is narrow In the modern a theatre, for the sole enclosure in front of the pit,
to Bacchus
use

monarchy. The oriflamme borne at to Sir H. Nicolas, Agincourt was, according red into five points. an oblong flag, split
It sometimes
from

of the musicians.

The

word

is also

to that applied
or

other

of a concert-room, portion to them. building, appropriated

An

the centre

bore upon it a saltire wavy, of which golden rays

diverged.
ORLE.

(Fr.) A wreath; a roll of addition to acoat-of-arms; of two colours, an or velvet, thus, cloth, sometimes silk, in the coat of the three escallop-shells a helmet, and jewelled, encircling the Russell family(engraved heraldic crest.* an supporting p. 234),are is what OR-MOLU. termed honourable a placed on (Fr.) See MOSAIC GOLD. The is also an ordinary, PILE All the accessory parts ordinary. ORNAMENT.t and may be seen of a work, which have the merit of adding of in our cut illustrative the word quartering. to its beauty such as in architecture, or effect; A portable ORGAN. form of this inand strument the leaves, other grains, figures is an attribute of St. Cecilia. in the mouldings; belongingto or adopted A projecting ORIEL. window with a heads of victims, the bucklers,tripods, front and side lights, generally flowers, supported cartouches, roses, palms,consoles, corbels. on "c., which ornament columns, friezes, ORIELLETS. "c. Pedestals, soffits, pediments, draperies, utensils or (Fr.) Round fringes, garlands, vases, cameos, oval plates of elegant and picturesque to cover form, are the in painting. the ears, attached to usual subjects of ornament
the steel caps of the

ORDINARY.

heraldic term

cating indi-

reign of Henry VI. Sometimes they had

ing "ORNAMENT, in the true and proper meanment the embellishof the word, signifies

of that which
manner. appropriate

is in itselfuseful in

spikes
from

projecting an

their centres.*

to (Fr.) The ancient than that of unmeaning other of name no banner France, royal dictated banner the by no rule but that of detail, originally individual fancy and nis, caprice. Every of the Abbey of St. Demust which near ornament, to deserve the name, Paris, and be an received many meaning, appropriate tant imporpossess and introduced with an intelligent purpose, grants from the kings. on reasonable grounds. The symbolical early French Its colour was purpleazured and gold; the * See cut to the word CBEST, which represent* two colours producing orle. on an a Moor's head resting separated t There is a corrupt word of very modern orange were

Yet, by a perversion of the term, it is frequently applied which deserves mere enrichment,

in the ORIFLAMME, but

*

The

engraving is copied
the sixteenth

from

German

used by writers" ornasometimes to as a which can only be alluded surd, vulear pleonasm of an improper, not to say abinvention
mentation"

print of

century.

kind.

318
or darkness lightness greater

OUT"
of the lines ;

the quadrant of is generally capital

and

skilful artist

can

effectwith these scantymeans.

of contour,or
to the

is of outline, painUr ; it is to

circle; hence it is sometimes termed the produce much It is frequently decorated The study quarter round. portance imwith the egg-and-anchor the greatest moulding. (See
him what

cut, p. 162.)
OWL. This bird
was an

the fundamental
In recent

bass is to the musician.

attribute of the

times great attention has

been

have and many engravings paidto outline, the lines outof darkness and solitude. The fathers been published only representing or original regarded it as a symbol of incredulity. of celebrated works of Art, celebrated been considered in outline, by The ox has always OX. compositions In painting, by the church as an emblem of the priestsuch as Cornelius. hood. artists, be sharp, as in the of the Nativity In representations the outlines may soft and more ancient German or of our Lord,an ox and an ass are always schools, Italian school. Of in the less denned, as introduced; by the former the Jewish most portant imand the Gentiles by works engraved in outline the peopleare typified, Flaxman's are Works, by Piroli the latter. The ox is an attribute of St. gelists, trations Luke ; sometimes the Evanit replaces and by Reveil ; Retzsch's Outlines ; IllusThe ox is to WashingtonIrving' and then it is nimbed. s Works,by artist Barley; Thorwaldof the animals composingthe TETRAthe American one ing sen's Works ; and The Museum The winged ox is the symbol of of PaintMORPH. 17 vols. most and Sculpture, St. Luke, in allusion to his dwelling by Reveil, OUTRE". (Fr.~) character of the Saviour, the priestly fantastic, on Exaggerated, be well applied that animal beingthe emblem of sacrifice. The term absurd. may of the Rtyence in of Sts. Frideswide, to the ornamental style It is also the emblem and France. Medard,JY-lietta, (SeeRococo.) Leonard,Sylvester, OVAL. An oblong curvilinear figure, Blandina. An oxide of iron, end beingequal. OCHRE. each spherical OXFORD less OVATE. used for oil or water Egg-shaped; having a painting. It is a washed and curvature at one end than at the other. colour when properly staple OVATION. triumph prepared. (Lat.)A military OXYBAPHON. givento a successful general. It had not ("?r.) A bell-shaped which the glory in Magna Grecia. Its or pageantry accompanied vase, found chiefly
"

serious meditation. goddessMinerva,signifying In Christian Art, the owl is an emblem

the

TRIUMPH

proper,*but

was

of

dary secon-

character ; the generalwalking on foot in the simplerobes of a functionary,

but horseback, never a chiefly by and preceded other functionaries, not by The trumpeters, but by flute-players. sacrifices also of a simplekind,and were and

in later in

times

on

attended chariot,

the soldier in whose

was

performedwas
OVOLO.

the ceremony crowned with myrtle,

honour

and not laurel.

whose

(Ital.)A convex moulding, in the Ionic and profile Composite generalform

may

be

seen

in

our

cut ; it

outlines on a lightground, or solid black figures on the outlines and details of dress, a dark ona, "c., being scratched upon the surface. * See TBicura.

was

sometimes PJENULA.

hood, and

by painting. (Lai.) A long cloak with without sleeves, worn by the

decorated

PA1" Romans when instead travelling,

women as

PAL.
a

319

of the
as

wax

medium.

Miniature

paintingis,
with
water
as

toga; and by tha

; it was but shorter.
men

well

the

for the most

a

part, executed

in form

like the I.ACEHNA,

it is executed ; but occasionally in oil. In glass and enamel painting, the medium medium
is
an

medium

PAINT.
so

Colours used
to be

preparedas
PAINTED PAINTER.
in

and by the artist, with a brush. applied

essential oil. The other the of majority

is oil, with which executed.*

A

GLASS.
An

pieceof wood, usually which the scenes colour, or mahogany, upon nature, by flat surfaces. bo Its professors on painter laysthe pigmentswith which he may the divided into four principal : his pictures. grades paints f To "set the palette," the is to lay upon it the pigments in certain the landscape historic painter, painter, and the marine painter to the key them according order, selecting portrait painter, ; which in which the picture and subdivided into others, prehend comis to be painted. In and those conthe genre painters, The Art nected of Painting Restored,by L. arts. with the manufacturing ranging Hundertpfund,an excellent plan of arold term An PAINTER-STAINER. the palette order is given, the for an heraldic painter. with white, and then beingto commence LA LA PITTURA PAINTING, (ltal.~), proceedthrough the yellows, reds, and DIE MALEREI to black, PEINTUKE (Ger.) blues, (Fr.~), by which every possible is the tint considered an be as can Art, PAINTING, compounded. of the ROUNDELS. In Armour, PALETTES, or production, upon a plane surface, of a form and colour of objects the points of are by means platescovering pencilor crayon, and of various coloured bodies (PIGMENTS) ; it consists of two parts DESIGN, or the art of principal and of objects, the contour representing to the which not gives image COLOUR, but also the form and the colour, only out relief proper to each object. Design withcolour (OUTLINE) suffices to give an exact of the form and idea sufficiently be seen in of character as can objects, of Flaxman, cartoons, and the works out withat the bend of the shoulders and Retzsch,and others. Colour alone, junction of outline, the limits or precision can elbows. J only present a vague and meaningless * For tha ancient history of tha Art, see and image of what the mind is habitually Winckelmanm occupied preMuller, and an admirable with,or the eye constantly beholds, article in Dr. Smith's Dictionaryof Greet and Roman Antiquities.For the historyof modern of pictures. subjects forming the ordinary consult Kugler'sSalary ofArt; Worpainting, num's Epochs of Painting. The make their first sketches technical proMany painters to b" found in Hundertpfund's Art cessas arc without the preliminary in colour, design of PaintingRestored Mrs. Marrifield's Ancient ; but the finished work always Practice of Oil fainting; the same in outline, author's Fretco Painting, St". and colour. ferent difboth The design requires t See cut p. 270 for a modern and palette, with which painting is occupied subjects p. 162 for an ancient one ; as well as that given are historical, portrait, landscape, from an earlier MS. of the fourteenth century In p. 324. fruit and battle-pieces, genre, sea-pieces, t We engrave two examples Fig. 1 is from
the aid of
of walnut
" "

Se" p. 213. artist who represents

are paintings

PALETTE.

miniature. flowers,

technical cesses the effigyof Sir Simon Felbrigge (1513),in proNorfolk ; Fig. 2 from that Church, Felbrigge fresco of painting are ; distemper, of Peter Halle. Esq. (1420), in Herne Church, with an aqueous medium with Kent. ; encaustic,
"

The

o-20

PAL. A flatthin knifa, purposes were of five kinds:"!, for coverthe end, and used ing the bier at a funeral;* 2. for covering to mix colours on the grinding tombs; 3. for suspensionon festival days in the choir as an ornament; 4. as coverslab, with oil,water, or any ings other medium for the altar; adopted by the 5. as ensignsof rounded
at to assist artist,

PALETTE

KNIFE.

their

ration incorpoplied ap-

with the MULLEK.

PALIMPSEST.
to

A term

such

manuscriptsas

twice upon, first the writingbeingerased to

have been written make
term

The way for the second. is also applied to monumental

brasses which have

diction, jurisby the sovereign pontiff, and granted by him to patriarchs, mates, priand metropolitans; and sometimes, of honour,to bishops. It took as a mark the shapeof a narrow scarf, composed of fine white wool, and embroidered with purple crosses patee f.tche.\Its exact
worn

form in this hitter-instance isstill retained in the

arms

been

of the See of
our

as Canterbury,

taken

up,

turned, and
another

graved re-en-

exhibited in

cut.

Its

early as history,

with the
of
reverse our

figureon
owe

side. "We

some

books of precious writers to palimpsest antique MSS. the original writing being made visibleagain by chemical aid;and palimpsest brasses frequently give us ancient of much interestwhen they are again effigies
most
"

made that to

visible. One of the most

curious ia

ler's Humphrey Oker,engravedin WalSeries of Monumental Brasses. PALISST "WARE. A peculiar pottery, in France firstmanufactured by Bernard about 1555 ; after more of Saintes, Palissy than sixteen years of .experiment, amid givenby Durandus, is to the effect that personal miseryof the severest kind, and the nuns at one of St. Agnes every year, on the time so failures:he was repeated reduced as to be obliged ture of their patron saint, to burn his furnioffered two feast-day The beautyof white lambsj to the canons to feed his furnaces. of the Lateran works brought him ultimately Church, which lambs were his accomplished by them presented to the pope's the highest patronage ; but his who put sub-deacons, them to pasture till shearing of the Reformation tendencyto the principles time,when and terminated his life in a prison, fine their white wool were at shorn, they the advanced age of ninety. His works, reserved to make the clericalpalls. "When like those of Delia Robbia, are remarkable the on they were made, they were placed of the Lateran Church, and for the high reliefof his figures and ornahigh-altar ment consecrated by contact with the bodies of covered ; his dishes are sometimes with models from nature of fish, reptiles,St. Peter and St. Paul therein preserved; and shells, theythus became emblematic of the highest leaves, "c.,all most carefully coloured. The art may be said spiritual naturally power, and it became the preroto have

ceased with him ; both the

cution exe"

See

cut

to

and designof all the his

made copies

in

II ERSE.

stylebeing very inferior in peculiar colour and vigour. The palls PALL. used for ecclesiastical

of the pall, as usually worn beneath the CHASUBLE, in the cut illusare trative seen of that article of ecclesiastical costume. the atfibuteg of the saint \ They were "e"
ends
"

f The

p. 9

PAL.

321

dress cf ordinary as virgins, they appear in the church, and receptioninto its higher Panathenaic frieze and the ElginMarbles. offices. It is likewise asserted to bear a It was an extremelysimple and elegant allusion the to to the the Good a s costume, impartingmuch mystic dignity Saviour, At who other times it shorter weak was carries the lambs on Shepherd figure. his shoulders at the knees and resembling a bishopbeing hia representative.terminating tunic ; it was a worn by the ladies of 1'ALLA. the stola, and fastened by (Lot.) In ancient costume, Home over shoulders also by of the on f olded an oblong rectangular clasps piece cloth, ; and and other mythologicalperin a peculiar robe of as a worn goddesses manner, sonages from its state by the Grecian ladies, and by thenit being considered, Nonius and what as simpledignity, peculiarly goddesses mythological personages.* This designation, terms dress." which is considered by it, "the honest woman's The palla citharcedica was worn by the
" " " "

ytLV-M of the pope to invest other prelates brooches.* wiih them, in token of allegiance the Greek to the

This is the

statues

musician upon the stage,and is seen of Apollo,who thus assumes

appearance
"

upon
a

feminine perfectly

the dress

appearinglike a longgown girdedat the and having longsleeves reaching to waist,

the wrist.

(Lat.) A square, woollen the CHLAMYS cl'iak, greatly resembling ;f which it can fr*"xn only be distinguished

PALLIUM.

word for poetical u"ed in regard pallium,more especially to female dress,"has been combated in Eich that sense the of aid ;f who, by by from classic authors,and engravings quotations
most
as

writers

the

'"

of classic figures, seems

to

have He

established its form than writers have

and

use

more

clearly

done

hitherto.

considers it to have been

about

composed of an folded oblongrectangularpieceof cloth,

one-third
on

over

the upper

part, and
fibulae or

secured
*

the

shoulders

by

by its greater length and amplitude. It

was

capable of enveloping the

*

entire

engraving is from an antique statue from llerculaneum, showing a female putting r"n the palla. to thf Latin Dictionary and Greek t Co/"/x"nifrt
Our

dress
t

See cut to peplum ; with which it identical. he considers See

cut

wticl"* of

Lej-u-tm, p. 4 tit'.

to that

word.

122
person,

which it could
It
was

cover

at

night as

Christians by the primitive

of those who

over

the tomU

blanket.

much

with corresponding ; it made neck

was

worn by the Greeks, mans the tojjaof the Ro-

of whicto suffered for the faith,

formed

of
on

woollen the

cloth,
or

square, fastened

the shoulder
over

by

fibula,worn
was

tunic,
the

and sometimes sole

most

upon covering.* It

the naked

body as

thus the

cheapest,
of

and serviceable,

simplestmode

clothingadopted by the ancient Greek, with other no who is often represented

article of dress
It may ancient upon the
vases

of antiquity. the
a

be regarded as

most

and

dress ; and -simple

soldier

could wrap himself within its ample folds secured from damp and cold, and sleep, Arab does in his birnous. the modern as

By drawing it over it by a brooch fixing

it could be made
a

and the shoulders, upon

one

numerous

examplesare

to

be found

in the

of

light and
not

them, Roman It is considered a catacombs. graceful symbol of Christian justice, and it is used
as an

coveringon a march ; and was folded,when being entirely

with

of capable

emblem in

of Christian

and victory

wanted,

triumph

and general,

therefore it is

it was and economy, as ease sometimes found upon the tombs of some perfect of strong rather than iuxutious who were not martyrs. St. Paul is repregenerally sented took all shapes and bute It material. standingat the foot of a palm-tree. of the Annunciation, the angel names," as it altered its amplitude, In pictures many Gabriel bears a palm branch. colour,or texture; and the amiclength, PALMER. A pilgrim, the so called from tus, abolla,paludamentum, as well as the considered be as so many staff of wood used in them itself, may palm-tree toga by variations and modifications of the ample which to was sometimes affixed walking, the bottle or scrip.* blanket which enveloped the persons of It was in ancient Greece. PALSTAVE. A term adopted both sexes from the old Scandinavian sometimes decorated with embroidery and used to ; but paalstab, border. had only a simple a war used by the Celtic designate generally weapon nations in battering 1. The ancients regarded the PALM. the shields of their of victory, and it emblem as an foes,or dealing heavy blows in general. palm-tree indicate art in to employed was frequently the conquestof a country. A palm branch and Romans, usually was, by the Greeks in bestowed on the successful competitors Palm the circus Victory; as of hence, the
"

in works
2. An

of Art, it indicates a victor, or the his which accompanies goodsuccess, f prize

emblem
of

of Christian victory, cially espesculptured martyrdom,frequently

wedge, more or less axein a stop-ridge, by shaped,terminating

It consisted of
a

one

a figure on Our engraving is copied from of the Hamilton vases. Roman cut is copied from a gem, f Our representingVictory with a palm, standing on "

means

of which
Sec
cut
on

it

was

united to
as a

cleftme

of the

Saviour

pilgrim In

globe,and presenting a laurel

wreath.

article

TRIMTT.

PAL-PAH.

323

the handle.

it had also projecting haft, lateral ridges, PANATHENJSA. (Or.) The most stillfurther to secure designed its hold on sacred and splendid of the religious vals festiat

PALUDAMENTUM. eient costume, the cloak

Athens in honour of the protectress

or

(Lat.) In worn mon by the com-

of the It
was

and people, Athena city

Minerva.

by

soldierswas called sagum; that worn the general and principal officers"but

held every year; but with greater and pomp every fourth year. celebrity It lasted several days, and comprised public festivalsof all kinds observances. Horse
as

well

as

religious

chariot races, musical and gymnastic contests, songs of the poets,disputes the by philosophers, mixed with cock-fights were and ludicrous

and

might jointhe general revelry.The noble series of sculptures which formerlydecorated the frieze of the Parthenon represents this procession, which periodically gracedAthens,and is
scenes,
so now

that all

the

richest treasure
; it was

of the British of Phidias and

Museum his

the work

and may be considered as the disciples, effort of the Art of Sculpture in highest

ancient and

or

modern ST.

times.

PANCRAS, Martyred A.D. 304, the symusually represented bearing bols of a stone and sword,by which he a book,and palm branch; died;or carrying in allusion to his or treading a Saracen, on
hatred of heathenism. PANCRATIUM. brilliant colours called the paludamentum. It was of the same and shapeas the Greek chlamys, in colour either scarlet, or white, purple,
"

and of more larger, finer,

was

and with
as

(Or.) The wrestling which were viewed boxing-matches, in favour much ancient Greece,
to athletic
to

conducing

hardihood ; and
The

thence introduced
who

Rome.

fighter

and fastened

on

In arof consisted three feathers set right mour, upthe ground ; and such contests on worn upon the helmet,rarely upon the head-piece sometimes fatal to life. They are of the knight before the time of

PANACHE

by (Fr.)or PLUME.

the shoulder

brooch.*

an allowed to was tripped antagonist, and continue him down the battle; keep tiemight also liftand dash an adversary

were

quently fre-

in antiqueArt, and represented Henry V. (A.D.1411). It was not until about eighteen in Greece and favourite amusement in were a years afterwards, the reign of Henry VI., that a rich proRome. fusion PANEL. A piece of wood of feathers was attached to a small nut, oak, chestaffixed for that purpose to the back or white poplar upon which, instead pipe, of the helmet, of canvas, where they streamed down a pictureis painted. The earliest paintings in oil were the shoulders of the knight, almost to the generally xecuted w hich of on his riantly luxufloated were or panels, composed charger, crupper in the wind. of various piecesof wood cemented together with cheese-glue and this glueor ; * The statue engraving if from a full-length caused each portion to adhere so cement of Julius Cesar, formerly in the collection of considered Count ScipioMaffoi. irmly,that such panelswere
" "

T2

324 than those which consisted of one stronger

PAN.
Our
cut

of the illustrative

napkin-patten

of wood only. Strips of linen were piece (p.270) exhibits a panelthus filled. of the PANEL-PICTURE. usuallyglued over the joinings A picture painted and in the surface some board a cases panel; was on or panel tories, ; hence,in old invencovered with linen,for which entirely termed theyare frequently painted boards" or "paintedtables." The frames purpose animal gluewas used.* In architecture, the term indicates the of many of these earlypictures were part sunken of of the compartments walls, square, der panel itself forminga raised boraround it. Of such pictures sellings, "c.,in stone or wood,and which many enriched with carved work. are be seen in continental freouently examples may
"
"

The engraving here given of a galleries. lady artist at work, from a MS. of the 14th century as ,f is particularly curious, the entire suite of working exhibiting materials of
an

artist of the

lady is occupied in on a framed portrait

in Mrs.
a

period. The paintingher own flection panel,from its rebeside it. The

and in painting, which the subject reflected exactly,' was he said, like a Flemish landscape ; and he added,'they had only to paint then,' in the mirror;' this was what they saw to bequeathed by Bamboceio Gaspajr

used

by

this arflst in

'

'

Poussin." PANOPLY.
"

small mirror
them

("/".)A
from head

suit of
to foot

armour.

earlier artists used

and generally;

He In From

was

armed

in her Treatises on the Merrifield, in Arts ofPainting, one speaksof seeing privatehands at Milan : Signor A. showed me a picture by Bamboccio (Peter Van Laer), at and the same time informed he possessed me a black mirror which was
"
"

panoply of steel ; his nodding horse-hair plume,

the spur
upon his heel."

To

I trow, Old Ballad.

PANORAMA.
orao,
to
on

from pan, all, and (Gr., bited exhicircular see.) painting of the the walls of a building A
a

same
"

form, so that

spectator appears

to

See

Mra

Merrifield's

Ancient

Practice of OH

Painting; Eastlake's OtJ Painting

t BOOXKX

Materials

for

Hittoryof

tlet.Vo"fci

Femiixs, Royal Lib., Paris.

around him at a real view ; an looking with Mr. English invention, originating Robert Barker. The panorama is oou:p"w:"ii be

r/6
PRINTING PAPERS.
DIMENSIONS.

PAP. PAPER
In.
in.

HANGINGS.

Ornamental

coveringsin coloured paper, used for the

Demy
Roval

22J by
25 .28 30 27
30
.
.
"

17f
20 20 22

Super Royal (about) rmperial Double Foolscap

...

"

"

of modern houses,and taking the and leather place of the old tapestries had where It its origin hangings. many used in Europe were other arts now served prein the ancient kingdom of China,
"

walls

"

17 20

where

this mode

of

internal house been It

was

coration de-

Double Double

Crown.

"

...

is said to have

Demy
CARTRIDGE

35$

"

22J

from time immemorial. decorated

practised originally

PAPERS.

Copy Demy Royal Cartridge Elephant

Double Double Crown
.

20

"

22J
25 26
28
...

"

16J 17J
20

by the process termed stencelin which the pattern was cut out of a ling, and laid upon the of pasteboard, thick piece the colour being appliedby the paper,
brush ;
over

"

the broad
a

ground tints of
more

these

"

21J
23
20

patterns,others of
kind
were

smaller and there

in

cate deli-

"

placed ; and,by
was some

this somewhat

30
. .

"

rude formed
an

process,
ornament

Demy Imperial By
it is

36J
30

"

22J
22

gradually sembling degree re-

"

the hand

process

of decoration.

the invention of Mr.

Bryan

Don kin

This process was succeeded by a more fect persimilar to that employed in one, and calico-printing, cuttingthe various which devices consisted in
on

to make, with the Fourpossible drinier self-acting machine, an endless

blocks of

for engineering pear-tree, or other white wood, which thus, continuous plan blocks were a dippedin colour spreadover a of roll be constructed and on a slab, impressed by hand on the paper. paper, may which offers no unsightly ceeded junctureto the The French and the Germans have suctrouble not the artist and does in give producingprinted ings hangeye, paper in any way to join sheets in a large of the most elaborate kind by this before and landscapes, mode ; and figure-subjects work, as was the case constantly in 1803, and the machine in natural was perfected, tints,have been produced to which sometimes acted detrimentally large enough to cover the entire side of a ing kind of drawtc a very great outlay drawing,as the largest large room, and requiring and made Atlas which be easilycomprewas paper, produce, may hended paper then when and more it is remembered that each that was much rarer expensive shade of colour requires colour and than it is now. a is generally PAPER from. TISSUE made of the block to jt print separate MACHE'. and prepared PAPIER refuse of the flax-mills, by ("".) A pulp formed of old paper, and used for a variety the engine without fermentation ; it thus This fords of useful and works. forms a semi-transparent ornamental paste,and afis made of a Ordinary pulp transparent paper. cuttings of ordinarily for made of artist's is in boiled use coarse water, and beaten tracing paper paper tence in a mortar, until they assume the consistissue paper soaked in oil, or turpentine, of a thick paste. To this a quantity which gives it the transpathin varnish, rency of gum and will receive the marks of glass, arabic is added to give it tenacity, of a pencilor pen without crackingor and in many China clayis found to cases dition. most useful ada rectly running. For the purpose of copyingcorbe,in small quantities, and The moulds this is into which rapidlyit is of the utmost sheet of paper ; and and other purposes, value to the artist.
cast
are

made

in the usual way,

the paper

PAP.

327

puip is poured in,and

ao employed, more

reverse

mould

is

decorated with

paintingand gilding cording acor

that the cast becomes

nothing
use.

to the taste

intention of their

in plaster as caste. shell, Another mode of formingpapier mache, is by glueing or thickiiesttes pasting many
a

than

The
to have

of history
is somewhat

the

moche' papier

facture manu-

of paper The

together,as
are

in

making millboards
blanks

; these

are

the practiceof called blanks.

are

been
more

It appears in Paris for considerably practised

obscure.

than

century :
of

as

we

find

lacquered in 1740, pasted,to distinguishthem from those goods went to Paris, to learn the made with pulp; the difference beingthat Lefevre ; who was even process from one they consist of sheets of paper pastedto then celebrated for works in paper, and moulds, and dressed with filesto produce whose productions, it is stated, to be were the proper forms. Boards made in this found in the principal cities in Europe. and are Martin,as the German way work well under the plane, was called,returned
a

what chiefly

called

that

German

manufacturer

sawed

to form

many

articles of cabinetwork
a

to his

own

country and established

which was, however, almost manufactory, confined to paper pulp is entirely snuff-boxes. and afterwards dressed. The articles These we^ thus so made that hia successfully formed saturated and with oil became permanently are connected with spirits name of tar, after which the articles, and the they are blacked and as these Martins," several times varnished with japan varboxes were nish. papier mache called,were A smooth surface is producedby much soughtafter. The great mart, however, of papier and rotten-stone, mache articleswas pulverised pumict-stone Paris, in which city and it then receives a high nolish by the so was great a variety manu that the quantity sent friction of the haiid. Of all the varnish into factured, Prussia became at present used in the manufacture, so to duce injapan only largeas
"

before

and varnishing. The blacking in a mould in a machine, pressed

varnish
to

is the

hardest

and

least liable

in 1765,to establish Frederic II.,

manufactory at Berlin, which rapidly and most lasting and does became eminently successful. The manupolish, highest facture, This is adopted prinbloom. not readily an cipally was essentially easy one, for those articles in which a plain shortlyadoptedby other German states, and and smooth surface is required. Brunswick Nothing can be Nurnburg became the lence more distinguishedfor the excelsimplethan the mode of forming especially of several sheets of their and for the strong paper, pasteboard ; paper articles, of the being well glued,are placedtogether; exceeding beauty designs adopted. the manufacture adopted and, by being passedthroughvery heavy Other states by degrees and the end to hydraulic towards of the or subject rollers, teenth eigh; pressure,
the whole
mass.

receives the crack, it consequently

is made
some

to appear

as

one

firm

century it

was

introduced carried
on

into
upon
a

In

and mouldings
process of

tures slightcurvainstances, are given during this

Vienna,where
scale. large

it is

now

From

compression ; and of snuff-boxes, pieces paper

sizes for the top,

in the the
and

case

of

papiermache
a

the continent, find we articlesexhibited by at least

required

dozen

are bottom, sides, round on a one another, glued together, frame moved. mould, which is afterwards reor

France ; and
most

Germany, Austria,and have we a had, therefore, of judgingof excellent opportunity

as pared com-

firms in

the merits of their manufacture with

our own.

All

the

articles of

furniture,

It is

questionable,
works

small, which present flat or formed in the curved surfaces, are slightly large
above with
a

and

mache however, if any of the papier

from the continent

of their decoration

equal
" "

in

of perfection chastenew
are ex-

manner

they

are

then

covered

material,beauty of form, and

black

varnish, and

afterward* I

those which

828

PAP.

hibited

by

the manufacturers

of

our

own

into thin desired

and layers, with of the

is then

cut

into the

country.

Baskerville, the
and
as

celebrated
on

forms

printer
business him

carried type-founder, and in 1745, japanner, indebted for

and

some
a

to

by

the trade is much and processes

nishes var-

then

press. stuck

employed. Clay, varnish to in the stove, this has been hardened of Baskerville, When who was an apprentice the ground is covered with varnish till patenteda mode of making trays,known level with the surface of the pearl. The At the method. piration exthe now as pasting
of his patent,many business in
and been

knives, stamped Each small pieceof pearlis soft ground of japan a upon the intended form design. regularforms
are

scissors and

commenced

whole

is then

again hardened, and

off the with pearl

the

line in Birmingthe same ham Wolverhampton, where it has

varnish rubbed
stone

pumice-

continued

with

great

success

ever

and water, leavingthe pattern clear in the varnish. in pearl, and embedded Anothe*
mode
was

since.
There

patentedsome

fifteen

modes or two are ing gildfor small papiermache, which may be thus described : The ordinarymode consists for birds and small floral sprigs.It is which a design in layinggold-leaf adapted to preserve the freedom of the upon well done,the pearl drawn with has a has been previously pencil pencil ; and, when dippedin colour mixed with size. This is the appearance of having been touched in with the pencil. Pieces of pearlare called dead gilding.Bright or burnished put first and the in The soft forms two is drawn done a ground, ways. upon gilding A weak them with japan varnish. When upon process is very simplefor both. is laid upon the solution of isinglass dry, the uncovered pearlis eaten away, the size of the intended ornament, by rubbingit with very stiffbristles dipped article, in aquafortis. It is then finished as before which of the clearest kind gold-leaf upon When the described. The laid all is over. plan of painting, dry, smoothly in with copal varnish, adopted from the Chinese,is one much designis pencilled used. The forms of flowers are laid in and the superfluous goldwiped off with with white, in various The other the cotton wool dipped in water. thicknesses, form thickest to the the with parts highestlights design asphal; plan is to put in the gold-leaf while not covered When tum. damp, dry, powdered colours are dry, in their proper places, is rubbed off with damp cotton wool. The and then applied off the is the with whole is finished with colours mixed gold wiped asphaltum which leaves with varnish. cotton wool and turpentine, in brightgold, the gold Gem is another patented the ornaments inlaying cess, proin which glass covered with foils is having been laid upon a brightsurface. is employed; the operationof this kind of The gold in this case, as in the other, varnish. The advantage inlaying fixed with copal is essentially the same as that of that it enables the of the latter plan is, pearl inlaying. and to The workman of papiermache to see what he is doing, for internal use freeedom work and his to been more rectness. cordecoration has in this give long practised
"

adoptedin

sixteen

years ago, but it is suited only used designs,and is generally

Designs are
with
when

sometimes

covered

country;

and

greater hardness

is very

powdered bronze instead of gold, commonly given to the paper pulp by the with size-colour. of whiting and glue. The application use they are pencilled
favourite mode of decoration is of the material very
to this purpose

Another

has

been

the imitation of purpose the

on aurora

pearl inlaying. For

of the varied
and

this liant bril-

pearlis generally preferred,

with

gaining ground ; rapidly from advantagesarising

of paper
of plaster

the

rous nume-

the lightness

account

ornaments, when
and Paris,

compared

It isfirst colours it displays. ground

their also being

PAP" lew liable to

and

PAR.

chip,has

led to the
our

ment employtheatres
House

PARGETTING.

Decorative

of it in the decoration of many

may Lords be adduced

work,

in raised ornamental

plastertensively exfigures,

The public buildings.

as a

of

example ;

and

able very remarkof the in the fittings

adopted in the sixteenth and seventeenth centuries for the internal and external decoration of houses ; many fine examples of
which
occur

Atlantic steamers

it has also been most

in

our

old provincial

extensively applied.* of rush PAPYRUS. (Gr.) A species the internal skin of which or water-lily, used by the ancients for writing was upon.
Their books thus formed
a

continuous

Ipswich, Newark, Canterbury, Feversham, and on the Welsh border. Groups of figures, of f estoons fruit and flowers, caryatids, and emblematic figures more in a Dutch
"

at towns, particularly

roll; and the ancient custom

is stillpreserved than inscribe their

classictaste

"

abound

in all the

richments en-

of decoration, adoptedin this style sacred books on which was vellum rolls, Moses as ever whengenerally profuse those of must have originally done on it was displayed.Ceilingswere It takes colour well and freely, frequently laid out in geometric figures, papyrus. and many of the funeral rituals now panelsbetween the leading served the sunken prelines being filled with devices of various in the British Museum contain coloured drawingswell painted. with figures tive indicakinds,and frequently of the mental PARALLEL. from para, opposite; virtues or (Gr., qualifications ; On a line beneath, one or a allehn, another.) styleof symbolicart exceedingly pular poand extensively to each other. during this period, opposite PARALLELOGRAM. A in Western rightadopted ((?r.) Europe the result of of the revival classical lined quadrilateral and its figure. learning, double ruler A PARALLEL-RULER. general spreadby the printing press. PARIAN MARBLE. The most highly ment having a hinge,which allows the movevalued marble among and the ancients, and one of one partwhile another is fixed, of for drawn chosen their choicest correct series works. a ensures parallel Virgil serted informs us that the principal blocks were lines ; or else having a small roller inobtained from Mount free and to secure in the surface, Marpassus, in the of the Cyclades, island of Paros, safe movement. in the one from parare, to defend Archipelago.*A fine kind of porcelain PARAPET. (Ital., for statuettes, A dwarf wall has been recently adopted, ; and petto,the breast.) termed of PAKIAN. a fortress, on the summit castle, church, PARIS BLUE. when A continental name it has embrasures, or dwelling-house;
"

by

the

Jews, who

it is said to be

crenellated

or

battled. em-

for a very intense Prussian blue.

It is a

from the peroxide of iron. It precipitate (Seecut, p. 102.) when A PARAZONIUM. short a copper-red rubbed, (LaQ lustre, sword, displays, in the same of Greek origin, does. worn by Roman officers, way that indigo of distinction. It was PARQUETAGE. as work a mark (Fr.) Inlaid woodchiefly in geometricpatterns, attached to the girdle posed comby a belt.f generally of PARCHMENT. the different two French, and (From tints, principally used for floors. PAKCHEMIN.) The skin of an animal PARTERRE. a calf) (Fr.) That part of a (generally prepared by the leatherand used for writing pleasure-garden which dresser and currier, is laid out in flower-beds of a fanciful form. and painting The earlier artistsfrequently on. PARTIZAN. A staff headed by a blade used it for their pictures. It was having lateral projections. origin* R. From in Art Journal
a

paper

by

Hunt,

for 1851.

See

MAKBLES

t See

cut

to

BALTKC*.

other

kinds

for in ancient

and

fuller notice modern

of rlii" "nd
u*t.

330

PAH"
war,

PAS. coloured powder of rock crystal, obtains its tints from metallic

ally an implement of restricted to eventually

but
of

became

the

use

guards

centrat
"c., which
oxides. By these means the diamond, and other stones,are ruby,emerald, very imitated ; and moulds successfully are formed from antique of singular gems accuracy and beauty. This latter art was the ancients as well as the moadopted by derns, who famous thus thus produced replicas of the which gems of their great masters, being in themselves unpurchasable, were
extreme at a multiplied beauty of

moderate these

rate.

The
of

earlyworks

Art, and the care with which the pastes have been constructed, sometimes puzzle
virtuosi to

Italian artistsof the best engraved gems of antiquity, in vitreous pastes, are stillextensively who Our

the counterfeit.

between the distinguish Copies by modern

true and

part in ceremonial observances. of the time one engraving repv^sents

are

took

made

of Elizabeth. PAKTLET.
worn

they of as quite capable

are

useful puror ; for all artistic poses to the equal and originals,
use as

"c. seals,

or gorget neck-covering

PASTEBOARD.

A stout substance for

or

by

females.

PASSE-GARDES.

edgesof the knight,which

turn

(Fr.) The of an shoulder-plates

were
a so

raised
armed
as

constructed

to

too pictures have,however, and they are likei^ mealy a look, of an metal or wood ornamental border, to fade by time,or moulder by the natural of the chalk. the centre of which was cut out to allow disintegralisation PASTICCIO. to bo inserted, another engraving A work of Art,of to which (Hal.-) the first formed a kind of frame. to design, Such a as but a original conception direct of the and in was the of style manner plan copy very commonly adopted other illustrated books of the sixteenth and Such some David were painter. in the manner seventeenth centuries. The term of Rualso Teniers' pictures, bens, often mistaken for originals. mount, circular or designates perforated PASTORAL STAFF. laid like a frame upon a print In Eccksiastieai or otherwise, staff of a bishop and having the cut inner edges Costume,the pastoral or drawing, crook abbot has it thus but of the double a that serves v\ generally head, gilt ; is surmounted archbishop by a CROZIEK purpose of a frame and mount. The pastoral PASTE. staff is delivered to a bishop word Glaaj. The German ten is a happydescription and borne by him in nil at his investiture, of this artificial material, solemn functions, intended to imitate gems by a cona" an ensignof hi* junv

and prevent its lance, entering the junctionof the rere-brace and cuirass. They were firstadoptedin the beginningof the sixteenth century, and were sometimes placed upon the mentonniere. (Seecut, p. 288.) PASSE-PAR-TOUT. A compound (-FV.) used an epithet, to designate engra 'ingon

the blow of

usingas a mount, composed of paper, secured to layers each other by paste,and passed through a until a compact body is rolling-press, formed, varyingin thickness according to
of various the number of sheets used.

drawing upon,

PASTEL.
crayons.

The

French

name

for

loured co-

The

artistsof that those of any

try coun-

have been
of

more

successful in theirmode than

using them
Such

other

nation.

soft and

PAT.
diction.
"

331

and where also the host is laid shepherd's secratiori, ciook is an apt emblem of the pastoral immediately before the communion of the * is The at it carved and at care priest. particles g athered top pointed ; up from the corporal bottom. There is no difference between the to be collected into the chalice, within it. The paten was staff used by an abbot, are firstplaced form of the pastoral and that of a bishop formerlyengraved,and sometimes amelled en; but the abbot isrepresented and set with jewels,inside aa the curved part of his staff carrying turned backwards, to show that his jurisdictionwell as outside.* PATERA. limited his to was (Lat.,from patere, to be monastery. The A distinctionsbetween the staves of bishops, open.) saucer-like shallow,circular, and that assigned vessel, somearchbishops, patriarchs, commonly of red earthenware, to the pope, are as follows : For a bishop, for an archbishop, a crook-shaped staff; pastoral crozier for or a cross a patriarch, ; to double cross ; for the staff assigned a
"

Its form

that of

"

the pope,
in
cross.

and

with

which

he

is represented
a

ancient

monuments,

triple
were

The

heads of
of

staves pastoral

in knops of mounted ivory, silver gilt also examplesmade : there are in silver gilt.f of crystal, and mounted often made

1.

9.

times of bronze and with

a a

other

mented metals,orna-

In monumental

brasses

the staff itselfis

a

grave pattern.t We enbronze patera found at Cervetri,

drawn

encircled by frequently is banner

LABARUM

scarf

or

vexil-

lum; the originof which singular appendage

due probably
to the famous
cross-

of the first Christian emperor, the of Constantino.

PATEN. in altar,

which

(Fr.)One of the vessels of the the altar bread especially

near

Naples,as

an

example of

the

simple
The

and

pure taste of the ancient Greeks.

* The engraving represents a paten of silver In stillpreserved in Cliffe Church, Kent. gilt, the centre enamelled is an representation of

the crucified Saviour

is

in the

arms

offered in the
*

before holysacrifice,

surrounded
con"

by

glory.

On

the

Benedicamus

patrem

of the Father, scribed, edge is inet tilium cum

spiritusancto."
ture St. Thomas Aquinas notes that the curvaof the staff denotes limited jurisdiction. ment of Eccletiattical Ornat See Pugin's (Jlotsary the word and Costume; see also cuts under

and

work

It is six inches in diameter, of the latter part of the fourteenth

century. t Fi(".
vases.

I is

from
;

on figuresarrinciiijt. one

jan's Tra-

Column

Fix 2, from

of

Hamilton'*

CMMHKB.

Ktt

PAT" used for

and holdingliquids,
to

PAY. sented in Art

are
"

paterawas
with which

his conversion, his bap-

the sorcerer with blindness, tism, striking the viper into the fire, and his casting death by decapitation. His association in head of a victim or on the altar. It is his mission with St. Peter supplies of in the hands a larger frequently represented of illustration than is given to the to Eoman denote proportion junction emperors, of sacerdotal with imperial authority. himself alone. affixed to them. Handles were This saint PAUL, ST.,THE HERMIT. occasionally is basin bowl old A as an or represented PATINA, PATELLA. man, seated at the foot of a palm-tree, sometimes and near him a fountain with of earthenware or metal,

employed especially
a

contain the wine

libation was

pouredover

the

and

with river,

loaf of bread. In

He

is

clothed with

palm

leaves.

lid

or

cover, used

for

of variety

poses pur-

by
which

the ancients.* The

ancient green centgo
or

Armour, a defence platewhich covered the shoulders, to which the passe-gardes attached. were PAVEMENT. A decorative flooring, of coloured and plaintile or comprised
of

PAULDRONS.

PATINA.
covers

rust

stone, in
The Roman

use

from

very

ancient

times.

in time of luxury, generals, carried portable and which,being one great proofof age, mosaic pavements with them as floorings for their tents. has often been fraudulently imitated by These of antiques. of design pavements embraced a vast variety unprincipled forgers : sometimes of geometric PATRICK, St. In Christian Art, the consisting and ornamental figures, in at other times of patron saint of Ireland is represented historic snakes full episcopal with most famous beingthe and other scenes habit, (the before him, sometimes reptiles striking battle between Darius and Alexander), diatoria glacombats (asat Bignor, them with the ferule of his crozier. in Sussex), "c.* PATRON. In the fourteenth An encourager or protector or birds, beasts, and fifteenth of Art or Artists. The term patron of tile pavements of centuries, Art is,however,frequently great beauty were used in given to a constantly church well of mere or as as decoration, purchaser pictures. occasionally preserver for private In Armour, the word patron designates buildings.They embraced an an abundant ornamental case to hold cartridges, affixed knowledge of geometric form, the colours being to the soldier's belt in the seventeenth confined to red, generally a nd black. The Roman yellow, century. pavements constructed PATTEE. of small TESSERA (Fr.) An heraldic term to were (see that word), laid into form (see indicate any chargespreading at the ends. MOSAIC) on

bronzes and medals,

The

Maltese

cross,
as

as

engraved
a cross

p.

137,

bed of cement.
formed

The

mediaeval pavement

Fig.8, ia described

pattee.

was

was a In Christian PAUL, ST., APOSTLE. which was is so constructed as to form with a sword, Art, this saint represented entire whole when laid down, and was one of his martyrdom,and with an rignificant of construction in any size. of the new capable law,and open book,symbolical PA A large VISE. attribute of shield coveringthe H e ia an apostleship. rally geneentire and carried by a soldier in the with as short in stature, body, represented middle ages (hence termed pavisor)for bald forehead, and grey bushy beard. The his own of his life most events as well as that of the protection, frequently repre-

of square tiles, which upon certain pattern, or portionof pattern,

archer before whom

*

he stationed himself.
paveniinti

Fig. I
one an

is

copied
of the
or

from
inarv

Hamilton's

vases. as
"

fig. 'i.is
*

kind,

known

See
"

S ami

pottery."

for

va."t

on Koman Lyson's works variety of designs.

PEL"

PEN. and characteristic of especially and Asiatic races.*

the Amazons

symbol of charity. It ments, IB met with on the earlyChristian monuand others of later date. Kepreoccur Bt- ntations of the pelican constantly of the middle in the religious symbolism wounding It is generally represented ages.
PELICAN.
A
own

its breast to feed its young blood : a tale told in the

with its fabulous

ages, and

natural which
of the

historyof the
Redeemer, who

middle

made

the bird the

adoptedsymbol
his blood
to

shed

give

us

eternal life. In the

the crucifixes,
at the pelican

lamb is at the foot and

top of the cross.*

PELICE. which (Gr.) A wine-jar, is from the amphora by .distinguished
rowing nar-

(Lai.) Household gods of from the LARES Komans, distinguished and believed to by their divine origin, have power over the events which pened hapin a household, theywere thus controllers of fate, the Lares were as tectors proof property. They took the form of small figures of the gods,holding cisely prethe place of the patron saints of
the modern Catholicism.
The Lares and nates Pe-

PENATES.

together formed
The protection.

mundane perfect
are
as

former

represented generally

in works habited in
a

of Art

young

men

and crowned with tunic, a garland, in holdingup a drinking-horn as emblem one of an hand, or hospitality of plenty. The Penates take the figure

short

the gods,or PENCIL.

senses.

are

as old represented

men

in

costume. priestly

The

word

is used

in two

upwards
exhibited
terra

towards

the

mouth,
one now

as

for by painters their pigments.(SeeBRUSHES.) on laying

An

implementused

in

our

engraving from

in

The

cotta,found at Nola, and Museum. Neapolitan

PELTA.
or

in the

drawingupon

so-called black-lead pencil,used for paper, consistsof a slender bar

of carburet of iron

(GKAPHITE
a

or

BLACK-

(Gr.)A
covered

small shield of wicker of leather, usually

LEAD) inserted
wood.

in

cylinderof

cedar-

wood,

with

an

or elliptic form,
"

In

made
usual
cover "

Norwich Church a LECTERN in the form of a PELICAN, instead of the * The borately elaof an the summit on eagle. And engraving represents an ornamental carved peHa from Hope's Costumes of the Ancients. spireof wood, which forms the Beneath is a figureof an of a font in the church at Ufford, Suffolk Amazon, defending
,

M.Conte,in the year 1795,invented a nearly crescent-shaped, process by which artists' lead pencils could be made to any degreeof hardness, there is

beautiful

specimen of the

PELICAN

is

wired pre-

herself

with

the

elliptic pelta, copied from

tho

Elgin Marbles.

Afterwards it became,by increase cheaperrate, by mixing and breadth,a military sign, enpowdered plumbago with mixed clay, and was which latterhas the propertyof increasing chargedwith the crest,badge,or war-cry in hardness as it diminishes in bulk, and of givinggreat softness of colour and brilliancy of the knight ; his arms be to the plumbago, which the on being emblazoned may which in varied according mixture of to the each ; banner, shapewas a his best pencils The pennon beinggenerally composed parallelogram. of three parts of clayto two of plumbago. chargedwith a cross is borne No pencils by St. George, St. Michael, to those are, however, superior and St. Ursula ; that of St. manufactured from pure Cumberland lead, John the Baptistis simply the French pencils, as unless very carefully
ami at
a

much

in

length

'

announcing the coming of ' very Christ Eoce Agnus Dei." mark ; and the mark, however is slight, PENNONCEL. not easily removed India-rubber. (JFh) A very small by the narrow 1'ENCILLIN G. The work of the pencil flag on a knight's knee diminutive of a pennon, brush. or bearingonly his Thus, a work is said to be crest or cognisance; in modern times it is in its pencilling," when it is exquisite ribbon. a mere or finished. delicately beautifully PENTACLE. A figure whose basis is a Two PENDANTS. statues, pictures, double it is not triangle; of sculpture, unfrequent in or groups or making
a

made, scratch the it, without

paper,

or

dent otherwise in-

inscribed

with

his

words

clear

"

"

"

"

engravings, which, from

their similarity of subject,

size,form, "c., can be with due placedtogether

regard to symmetry. Such
are
"

the

bassi-relievi of and

Night Morning," by Thorwaldsen ; or the of Peace and paintings War," by Landseer, in the Vernon Gallery. In the term is Architecture, to the applied ings ceilon hanging ornaments and roofs. Our engravingrepresents such a pendant in the hall of Christ Church, Oxford.
"

V
earlyornamental Art; but was also used, with logers superstitious import,by the astroand mystics of the middle ages.
PENTAGRAPH.
for A

useful mechanical

PENNER.
at the

case

to hold and

pens,

worn

girdleby scriveners

students in

the fifteenth and sixteenth centuries. PENNON. (Fr.) A small banner or flag,half the size of the guidon, but shaped like it,of a swallow-tail form, attached to the handle of
* a

lance

or

spear.*

Our

cut

represents

form, and
"f Sir John

is

copied from
Daubernoun
brass

one

of the earliest pennon held by the figure

as

(1277).

represented
of Stoke

in his monumental

in the church

implement enlargingor diminishing of copies drawings, the invention of Christopher Schemer, a Jesuit of Suabia, in the earlypart of the sixteenth century. It consists of a graduated bar,with a point at one end and a pencilat the other ; it rests on a pointwhich slides upon the bar, and whose the size of position regulates the copy to be made. The printor picture is placedbeneath the point, which is carried over the outline of the original the end foU work, pencilat the opposite lowing that movement produces exactly the same either larger or "mailer at lines,
the wish of the operator.

D'Aubornoun,

Nurrej.

336 PENTAPTYCH.
*

PEN"
An

PEP.
of

main altar-painting

this work

in the church

of

St.

leaves ; one of the finest Bavon, at Ghent ; the two winga on which having many examplesis that paintedby Van Eyck, in Adam and Eve are paintedare still preserved and no* in the church of St. Bavon, at Ghent,though not with the rest 1432, in Ghent. As this is an admirable sample of the picture ; the remaining six wings of of what the construction and subject in the Museum at Berlin. are such works were, we extract the excellent PENTASTYLE. (Gr.,from pente, five, of its chief point from "Worand stylos, A portico a column.) of five description " 323 This num's EpochsofPainting, columns. : p. of which celebrated PENTATHLON. only a altar-piece, (Gr.}Ancient Grecian is now in the church of St. Bavon, games, delineated on portion frequently vases, of a centre at Ghent, consisted originally of athletic exerand consisting cises, entirely with double folding-doors or such as boxing,racing, wings on wrestling, and leaping. each side,the whole being divided into throwingthe spear or discus, the two A MAEBLE. on marble PENTBJJC rows, making ten pictures valued by the ancients ; it had an inside, but, the upper centre being in highly in all three compartments, there were delicate grain, and sometimes exceedingly the visible when twelve different subjects It obtained from was greenishspots. back outMount Penteles, Athens. near folding wings were thrown ; the sides of the doors were likewise painted PEPERINO. STONE. See ALBANI with representations of John the Baptist, PEPLOS PEPLUM, (Gr.) A peculiar John the Evangelist, the Angel Gabriel, article of female attire, corresponding of and the Virgin Mary, and portraits with the Roman It was PALLA.* ample Judocus Vyd and his wife, and the Cuin ita form,reached to the feet,and was and of light and elegant msean Erythraeansibyls. The two generallyformed last figures the upper centre, and decorated were materials, being occasionally above the wings,containing immediately the Gabriel and the Virgin, representing Annunciation. The altar-piece or itself, the interior representations, are as follows : of the Lamb, in the actual Adoration small figures, occupiedthe lower centre ;
"

"

in the three in

compartments above it

are,

God the Father,and the largefigures, his righthand, and John Virgin Mary on the Baptist the left; the Deity is represented on robes of the in the pontifical Roman Church. On the two wings of this row to the right, are angelssinging and Adam two to the left, angels ; on the playing musical instruments and Eve; to the two wings of the lower row on the Just Judges and the the right, are the Holy Soldiers of Christ ; to the left, colours. It with embroidery, or woven Hermits and the Holy Pilgrims.t The of brooches on fastened by means was all that now retwo central panels are sometimes covering the left the shoulders,
" and DIPTYCH the distinction, see For TBIPTVCH. outline printsof this altar-piece nre t Thure la I -ttiavant's Kunttreite, "c.

" See Rich*s Companion to the Latin Dictionary. The engraving is copied from a ngurc on oi.e Vases. of the Hamilton

PER.

3-37

shot.lder, and, being brought under

of its features : upright by the angularity and horizontal lines abound, and the exposedand the arm free. Its great amplitude allowed arch becomes more the style as depressed it to be worn Windows as a tunic and crossed are pallium in increases in age. and to be the for the transoms at a nd a one, onlycovering rightangles, by general body if desirable to the wearer, permitting rectilinear arrangement of all leading

the

right arm,

left that shoulder

the utmost
most

freedom of motion, and the lines succeeds graceful contour, as well as affording earlier Gothic. PERSPECTIVE wallet of

to

the easy

flow of the

complete envelopment. PERA. (Lat.) The leathern

the Roman
and of
a

rustic.

PERIPHERY.

from peri, around ; (Gr., phero,to carry.) The boundaryline

circular or curvilinear figure. PERIPTEROS. (Gr.) A colonnade the exterior

An of
an or edifice,

all round

temple.
PERISCELIS. round
in the
worn

ornament

worn

from per, (Lat., behold), PROSPETTIVO, (Ital.)The art which enables u", by fixed to representtruly a on face rules, plane surthat which appears to the sightin of form and distance, and every variety is which done by imaginary lines traversing such plane, and arranging the shape and position of every object with regard to the point of sightdetermined upon.
to through; tpecio,

the ancle
same

by

the
as

women

of

Greece,
was

PERSPECTIVE LINEAR
a

iseither LINEAR
is
an

or

AEREAI.. based

manner

the bracelet

PERSPECTIVE

art

knowledge of mathematical and lineate optical principles ; which teach us to dePERISTYLE. An solid bodies court on a plane surface, (Lat.) open within a house,havinga colonnade around as they appear to the eye from the particular it, by which the principal pointfrom which theyhappen to apartments be viewed. The Perspective reached : the exact reverse of the Plane is the were ated, delinesurface which the the in character same are peripteros, objects though upon the one and is the inside, the other outside or a being picture drawn, supposed to be placed between the eye of the vertically building. PERO. (Lat.) A boot which, as its spectator and the object.Foreshortening infers,surrounded the leg, is one of the most difficult name reaching of objects parts and the degree in which it knee formed of to the it of : was nearly rough perspective, at which the most with the hair on, and was exists depends skins, upon the angles viewed: thus,a long cylindei are commonly worn by shepherds,agriculturists, objects be and country labourers ; as may before the eye that its so placed may and only the stillbe seen in the Pontine Marshes and entire length is concealed, diameter visible of Italian villages. its ; and, in the plane PERPENDICULAR. from perrecumbent a same full-length (Lat., manner, within the pendo,to hang downwards.) An upright human figure may be depicted AERIAL inches. SPECTIVE PERat right with of few or straight a line, object, angles compass
round the wrist.

(See cut

to

CHANTE.)upon BAC-

"

horizontal line. PERPENDICULAR STYLE. This

is the faintness of outlines and

blending
thicker
or

of

colours, produced by the

stratum of air which

pervadesthe opticalimage viewed: it of the painter a knowledgeof the requires mode of arranging the direct and reflected fourteenth century, and continued until and shadows of a picture, the close of the sixteenth ; when it was lights, shades, gree deto give to each part its requisite sic, succeeded by the revived, or debased classo as the known tone and The perof as the Elizabethan. d iminishing colour, pendicular of each tint as tho objects recede, style recognised strength may be readily
latest

denotes the to architecture, applied prominent alteration in Gothic at the end of the buildings. It originated term,

thinner

336 in the until,

assumes

I'ET"
extreme

PHA. artists of the centuries.* PETRONEL. sixteenth and se\euteenth

the distance, grey, which

whole is the

bluish careful

colour of the learned

by

atmosphere. It can only be studyof nature.

PETASUS.
worn

(Or.) A

common

felthat

(Fr.) A lightgun in during the seventeenth century ; so called from being fired, as is the modern
use

or chest. by horsemen and ephebi; in shape gun, from the poitrine A fixed seat, with high back PEW. umbellated flower reversed, an resembling and sides, It in old examples sometime? and broad brim. having a low crown the Romans from was sculptured Greece, richly ; the modern adoptedby pews are of closed boxes with doors,placed sort and worn in both countries as a protection a and weather.* Hats of the sun thicklyover the floor of a church, and against its effect in every way. made in many this kind were consequently destroying They selfish i n to individual different shapes,according originated modern, pride ; and unknown the the usual most are fashion ; but where or continent, upon caprice the churches are free of such blockade. of form is that generally on seen figures PHALEKE. Ornamental bosses, (Lat.) Mercury ; it was often fastened beneath the of metal of a decorative or circular plates chin by a string. (SeeHAT, Fig.2.) In soldiers as a rethe Panathenseic procession, in kind, worn ward by Roman preserved for of the horsewar-medals are men as the British Museum, most good service, at the present time by our military. worn the petasus; and the Greek wear The engravingrepresentsa curious exartists used it as a conventional sign to ample from the of M. Coslius indicate that such personages were cenotaph upon a journey. PETER, ST. In Christian Art, this is usuallyrepresented old as an apostle but with a bald, flowing beard, man, dressed in a white mantle and blue tunic, holdinga book or scroll. His peculiar attributes are the keys, and a sword the instrument of his martyrdom. The varied
"

rvents

of his life have

some

contributed them
must

the
far
our

of subjects

of the finest pictures extant.

To exceed
our

enumerate

would refer

limits; we

readers to the works

may

in which

ample
A term

tails de-

be found. f NATURE.
as

PETITE little less in have medium half and much

"

(JK)

plied apat in the Museum now (temp.Augustus), with He is represented as crowned wearing a torque round the nee k, laurel, and one suspended from each shoulder. His breast is covered with phalerae; tht central one representing a head of Medusa. also occasionally Such decorations were

to such

a pictures figures size than life, and yet which

contain

the

effect of life-size. It is the

Bonn.

between natural

the

sizes known
a

as

and is size,

little over It
was

two-thirds of the

latter scale.

adopted for altar-pictures by

Hats

the

did not belong to the ordinary costume of life In the cities of antiquity: they therefore denote rural,equestrian,and sometimes warlike occupations. f See Mrs. Jameson's Legends of the Sainti and Martyrt; Lord Lindsay'sEssayson Christian At'., fce.

hung about
Roman

the

head

and

breast of the

war-horse.

" The picture by Paul Veronese (No. 96 of the National Gallery) may be cited as an ex-

FHA"

I'HU.
and

239 them

Apolloand Artemis,u in to the scene deities, auxiliary hastening a chariot drawn by stags.* like those used for the PHILATORY. A transparent glass-pictures, reliquary and four feet, magic lanthorn ; but with this difference, placedhorizontally upon times that the ground of each subject used to exhibit bones of saints, "c. Someis solid of metal,with it is made entirely parent black, the figuresonly being in transin a saint's colours. the event figures representing A PHAROS. which he is chiefly tower erected to remembered, life, (Or.) by to mariners approachin the specimenhere engraved as ; which ing give a beacon-light
from ("?"".,

PHANTASMAGORIA.
a

between

p/iantasinti, phantom, and orao, to perceive. instrument for exhibiting ) An optical

the coast.
is within

One of Roman

construction

the castleprecincts at Dover, and

sea.

overlooks the PHASELUS. used the

boat (Or.) A fragile a nd ancients, so named from by its resemblance to a bean-pod. It is said with the ancient Egypto have originated tians,
and and
even

to have

been formed of papyrus,

rather than durability, clay ; speed, its characteristic. being PHENICINE. An indigo-purple duced proin concentrated by a solution of indigo-blue
a sulphuric acid,

of

few hours after

it has been diluted with filtered. PHEON.

A

the arm of containing reliquary the Just, in the treasury now chargein heraldry, which representing of the cathedral at Aix-la-Chapelle, a broad, represents that saint bearingthe infant barbed or arrow, itself representing the reliquary Saviour, head of a javelin The Virgin ; the altar of the synagogue. ried which, being cara dove. Mary is presenting like the modem He is usually APOSTLE. PHILIP, St., before mace rying bearinga large cross, or carrepresented jeants-at-arms, royalty, by the seror a basket containing loaves, loaves, came in allusion to St. John, vi. 5-7. bea royal mark, PHOTOGRAPHY. (Or., from phos, and is stillused to and grapho,to delineate.)Under light,
is the

water, and then

St. Simeon

denote
broad

crown or JZ,

property, and
broad
arrow.

termed

the

this name

are

included

great many

cesses pro-

; all of upon A

them, of

course,

dependent

PHIAL. PHIGALEAN
of

A small

bottle. glass tion collec-

MARBLES.

The

the chemical action of the solar rays. and other Calotype, Daguerreotype,

in

marbles, sculptured twenty-three the British in preserved alto-relievo,

found
among

Museum,

the ruins of the

Temple of ApolloEpicurus,in what is supposedto be the ancient town of Phi" formed the frieze galea. They originally of the temple,and are in slabs of about and two four feet five inches in length, feet one inch in breadth. They represent
the battles of the Centaurs and Amazons,

* These reliefs give, In individual groups, distinct indications of Athenian models, anil displayin the composition a matchless powei with the most of invention, combined lively imagination; on the other hand, there appear* of forms, a ton* in them sense a less purified almoot of exaggerated violent gestures and strained postures, a throwing of the drape"7 into folds singularlytight,or as if curled by the wind ; and in the conception of the subject than can be ascribed character a harsher itself, School." Vide Muller'i Ancient to the Phidian Art and itt Rtmaint.

z2

340 processes

PHO. named
under

respective paper, givesmuch beauty of detail, and are headings, or general is well adapted for copyingsculpture architectural subjects term. thod ; but the latter meis the most striking It is a curious fact,that our own guished distinimprovement,as it allows the paper to be kept for several municated countryman, TVedgewood, comto the Boyal Institution, in daysafter beingrendered sensitiveto light. is a remarkable fact. A tourist ma" This his of made account 1802, by experiments himself to copy paintings with sensitive and simply stock his portfolio on glass, make profiles of paper, and, without the encumbrance by the agency of lighton nitrate of silver; experiments in which he his views,and secure drugs and dishes, afterwards develop them assisted by Sir H. Davy. They sucwas at the close of ceeded some in obtainingimages, but could not days'travel. It is, fix them; to use their own thing however,in the processes on glass words, "nothat the but a method of preventing the unshaded greatestadvances have been made so that it is generally believed great,in fact, partsof the delineation from being that in this branch of the infant art coloured by exposure to the day was wanting we to render this process as useful as it is portant expect the most immay confidently results of which it is Various the on elegant." experiments capable. of light and ita chemical effects on firsttaken by Photographs were glass power made after this period, but no prowere gress M. Niepce,by the aid of albumen, which for the reception and fixing in defining of the a picture by formed a coating chemical substances employed. its action until 1814 ; when M. Niepce, of In practice Chalons-sur-Saone, occupiedhimself in it has been found most difficultto spread the albumen the study,which he continued alone for smoothlyon the glass;but at is easily this he became ten present accomplished acquainted by a years, when small who had been also enwith M. Daguerre, apparatus for keeping the platein deavouring motion ; or, better still, to fix the images obtained by by a steam-bath. The albuminous process is, the camera. The two philosophers ally mutuhowever, tardy, and not t o and is gethe and the result applicable portraits, investigated subject, nerally the new was superseded by the use of collodion, art, which has already duced prosuch extraordinary and results; cularlywhich makes a varnish on the glass, partiis so sensitive to light, that a really gations good through the accumulated investibe taken with it in two or portrait of European students, the may among three seconds.* The collodion pictures of whom is Mr. H. Fox Talbot. principal when partially veloped, deThere are two processes in photography.offer this peculiarity an of a negative picture, 1. The production exquisite is positive picture found to exist on the glass, and is very in which the lights and shadows are reversed. be backed by a piece 2. The production of of a positive visibleif the plate in which the former inversion is black cloth. picture, In a necessarily brief notice, like the corrected. This latter image has the appearance of Art which has an present of a highlyfinished drawing, and one, occupied
all included in the
" "

their

may
from

be

obtained in unlimited

numbers

the attention of

the negative A negative impression. be taken either picture may upon paper or and is it this to glass pointthat all the ; effortsof skill are The
now

talented students so many with such varied results allof which tend to show that the Art may yet be considered
"

directed.

as only in its infancy it is manifestly to speak of every pointof inimpossible

"

in negative paper may be prepared the English or French method, with the aid of albumen, or by previously waxing it.

"

Mr. the

Talbot
a a

image of

fraction

upon of

ITie albuminous

process,

with

Turner's

at the Royal Institution, volve printed paper made to rewheel, and lightedup, during the second, by a powerful electrical
a

obtained,

342 of such

PIE"

P1U.

of coas present a variety objects and years ; upon it is a garlandof jasmine and an agreeable of light purple Joura, so diversity that beautifully shaded, grapes, and shade, and are found in what is called A larger in they look like nature. table, romantic The is term with flowers and nearly Egyptian porphyry, tique anscenery. to romantic, in contradistinction instruments in mosaic work, cost the equivalent to the classical, Grand and Duke, at his own severe, or plastic, manufactory, than to the mode of expression more applies 100,000francs. to the thingrepresented PIETRE COMMESSE. A spe; although this (Ital.) cies must of inlaying contain the materials necessary to in precious adopted stones, Those masters for caskets, picturesque representation. cabinets, "c., it was peculiar who have excelled in the picturesque to Florence, where it was first are introduced, of the seventeenth in his landscapes, Titian, Domenichino, in the commencement Claude Lorraine,G. Poussin, Salvator century. The stones are cut into thin Paul Brill, are Rosa, Wilson,and Turner.* sawn veneers, and the various pieces of a finewire stretched PIECE DE MAITKISE. into shapeby means A work (Ir.~) done by an apprentice, to show his proficiency by a bow, aided by emery powder, and afterwards more in the Art he has been taught. The fittedat the lapiexactly dary's
.

old wood-carvers folded like

case,
as a

accustomed
a

themselves

wheel.

The

materials
"

are

sively exclu-

to carry about with them

a

PIER.

or diptych, specimenof their ability. That part of a bridge which on

small carving, preservedin a

natural stones "c. lapis-lazuli, made

to serve
"

as

agates,jaspers,
are

the colours of which

the purpose of delineating "c. It was leaves, birds, flowers, fruit,

employed to decorate the walls of sumptuous edifices. Those of the Chapel of the arch or an a building. PIETA. attached to St. Lorenzo, The name are of this (Ital.) usually given Medici, to pictures material. A royal manufactory of which the subject is the precious Dead Christ, attended by the Holy Virgin, of this work is stillkept up in Florence, of which are chiefly the finestproductions women or or angels. The by sorrowing of the decoration in the chapel of St. Maria devoted to the completion 'amous pieta, and to serve at della Febbre, in St. Peter's, as presents to Rome, of this chapel, or distinguished sculptured by Michael Angelo,represents royal persons. the Dead Christ in the lap of the Virgin, The PAINTS, COLOUKS. PIGMENTS, used in materials of coloured who is seated at the foot the cross. painting.They and Ornamental PIETRA DURA. are partlyartificial partlynatural (Ital.) derived from the three kingproductions, work, executed in coloured stone,repredoms senting of but from ral minein and the chiefly nature, "c., birds, relief, fruit, when of animal or vegetable used as a decoration for coffers, generally ; and even of cabinets. The finestspeorigin, they are always united with a or the panels cimen mineral substance, earth or an oxide, dura was made of work in pietra an because in themselves they have no body, for the Grand Duke of Tuscany : this is a which it onlyby union with a mineral. table about four feet in diameter, acquiring The materials for the painter's the labour of four men for three are prepared occupied use by various processes, such as grinding, * The to the picturesque in Art answers tion or burning; and applied washing, by diluromantic in poetry; both stand opposed to the with some which evaporates or be defined liquid, classic or formal school ; both may Art, luxuriating dries over as the triumph of Nature the the on face surpigment up, leaving and everlasting in the decay, not of her elemental of the canvas, "c.,without change. beauty, but of the bonds by which she
the arches rest. The square supportsof other openingin
"

had

that

enthralled by man. It is only in ruin building of pure architecture, whether Greek or Gothic, becomes picturesque." Lord Lindsay*!Hatory of Chriiiian Art, vol. iii.
been
a
"

For this purpose various fluids are employed ; and the difference of the material

used, with the method

of

employing it,

PIG"
have

P1L.

343

givenrise

WATER-COLOURS,
OIL-COLOURS.

the body of the deceased was placed to be and with ungents and spices, burnt, together FRESCO, DISTEMPER, and rosin. The term is also applied to Pigments may be arranged pitch
"

to the modes

of

in painting

into two classes opaque and transparent; the first are those which have great body, and

the

arrow

used
a

by

the mediaeval archers

on

which

had

which,when

"c., cover

laid upon paper, wood, the surface so completely as to

little below the

too far into
a

a shaft, head, to prevent its going and was used in killing body, name
was

small knob

the

beasts of chase. Its efface any other pigment which may have been previously the a applied transparent from the Latin pila, ;

derived

in allusion to ball,
was

pigmentsare
upon

those which leave the

ground

the

knob, by

which

it

distinguished

applied visible through them, and so produce a colour parent compounded of the two. Thus, a transblue yellowover producesgreen, red over a green producesblack or grey. Advantage is taken of this result in they
are

which

from other PILENTUM.

arrows.

GLAZING.* PIGS. The

(Lat.) A triumphal or used by empresses of Rome, carriage and matrons of distinction, vestal virgins, on frequently great occasions. It was and had a canopy supdecorated, richly ported beneath which the rider by pillars,
state
was

legend that

St.

Anthony

seated.* PILEOLUS.

lived for twenty years in the woods,with other company than the wild swine, no with whom he

represent him ; and

PIKE.
A

(Lat.) A very shallow, the crown brimless skullcap, onlycovering has induced artists to of the head, worn chiefly by the poorer fed, in company It is the diminutive with his favourites rusticsof antiquity. other saint is thus tinguished. disof the no pileus.
PILEUS,
PILEUM. A

feltcap,

or

any

much used military defence, piece of felt. The o f worn a foot-soldiers, by men, by consisting skullcap narrow, but fixed form lance-head to in a pole, or a elongated varying teristics the characsimple spikeof metal ; the end of the staff retaining had also a spike forinsertion in thetground, of a round, One of to keep off the thus allowing brimless cap. a musketeer of w hile he attended the most to currence ocapproach cavalry, frequent his other
arms.

in

ancient

PILASTER.

The square column generally attached to a wall, ornamental as an

an

Art, is

the

Phrygian

support to
PILE.

arch,"c.,and seldom
in advance

bonnet, of a conical jecting form, bent downwards proand emblem

much
An

of the face of it.

forwards,
among

and

ordinary. In shape it resembles a pointed wedge,and may be seen in the cut illustrative of the word QUARTERING, in

the Romans, became the Liberty.Caps of differentkinds to in ancient Art used symbolically were of the wearer.f indicate the occupation of a pilgrim, PILGRIM. The costume the first and fourth quarters of which and shield is a pilegules, is chargedwith three with staff, wallet, escallop-shell, of St. lions of England, between six fleurs-de- that adopted for representations it being an augJames the Great (usually termed St.James lis azure on a fieldor; mentation of of Jane Seymour, The pilgrim's staff alone to the arms Compostclla). King Henry VIII. granted by her husband, See cut to CAIPENTUM, which it resembled The funeral pile of the ancients was a in general structure, but was not closed in like of wood, upon which structure playing, that, but open on all sides ; the pilentum dispyramidal heraldic term for
an

able honour-

which,

of

See

Hundertpfund'g
and Simptftt

Art

of Painting

re-

ttorrJ

to iti

Surett

Principltt.

the citrpentum concealing the rider. is copied from cut an antique among the Townley Marble*.

t Our

344 is carried

PIL"

PIT. celebration of
a mass, it was

by

baldus, and
shrines. PILLAR.

St. SeRoch, St. Louis, sequent to the with others remarkable for visiting supplied St.
water
out

of the

in the gonal, circular, square, polythe sedilia. It takes the form of the used near as altar, or shaped shaft, a canopied niche, and is generally "c. richly pediment, support of an arch, decorated with foliageand emblematic PILTJM. (Latj The pike carried by of the drainpipes the Roman carving ; the outer apertures infantry.It was shod with sometimes of took the form missile.* and used as a iron, chiefly gargoyles. A small firearm, PINACOTHECA. firstintroduced lery. PISTOL. gal(Or.) A picture in the year 1521. from Italy, It Among the Romans, in the time of underwent and bore a great became one changes, many Augustus, the PINACOTHECA of names. of the ordinary (SeeDAG, "c.) apartments of a complete variety PRISTRIX. mansion ; and Vitruvius gives directions PISTRIS, PISTRIX,PRISTIS, A and face to Aratus, that it should be of ample size, sea-monster,which, according cient in order that the light In Anthe north, might be was sent to devour Andromeda. and not too strong. with Art, it was alwaysrepresented equable, PINCERS of Sts. Lucy, these characteristicfeatures" the head of are the emblems the neck and breast of a beast, a dragon, Apollonia, Macra, and Agatha,Pelagius, fins with in the place of fore-legs, Galmier. and the tail and body of a fish. The form was PINCHBECK. An alloy of copper and adoptedby the earlyChristians zinc,in nearlyequal parts,employed for generally in of the whale ornamental which representations cheap jewelleryand inlaid swallowed Jonah.* "c. work, marqueterie, PITHOS. (Gr.) A largejar used by PINKS, STIL DE GRAIN (Fr.) A class the nations of antiquity of pigmentsof a yellow to keep a stock of ellow or greenish-} colour, by precipitating prepared vegetable such as chalk, juiceson a white earth, alumina, "c. They are Italian pink, brown pink,rose pink,and Dutch pink; they are useful only in water-colours.

to carry the drain-pipe, and usually structed conchurch, wall,close beside the high

other

PINNACE.

small vessel with

one

and usually sail, oars. managed by eight PINNACLE. A small (Fr.) pointed ornament the tops of tower,or a spiral on gables, turrets, or roofs. Thus buttresses, the FINIAL, engraved p. 190,may be received illustration of the crowning as an pointof such erections. PIQUE. ing hav(Fr.)Pricked or dotted;

inlaid work in metal. PISCINA.

in the form of small

ments orna-

A large (Ital.) and still retained in the south water-basin, wine or oilin, in an in which the of Europe for the same It resembled open, publicplace, use. Roman the calpis youth learned to swim. The stone but had a somewhat or Jiydria, basin used in the Catholic church-service wider mouth, and was less portable ; it to receive the water after it has been used sometimes so enormouslylarge, was that in washing the chalice, it rivalledthe modern beer-vat. TVinckelby the priest sub* "

See

Rich's

Companion

to

the Latin

Die-

See

cut, p. 43.

1'IX" PLA.
mann

rvto

has

engraved a

copy

of

curious

which

discovered in the Villa Albani, bas-relief, the celebrated interview represents Alexander in which the the Great
and

of china,used for decorative purposes, and is also were upon which pictures painted,
termed
a plaque, as well guard a sword-hilt. as

the shell used

between

genes, to Dio-

PLASTER OF PARIS. inhabits The sulphate philosopher of lime. A useful powder, discarded pithosof ample dimensions ; which obtained a from beingoriginally the fracture on the side being carefully its name made from of gypsum of the a species obtained from Montriveted. A copy of this portion is given, sorbs as a singular example martre, in the environs of Paris. It absculpture of the capacity moisture rapidly, and is liable to sometimes conceded to the injury pithos. by exposure to the air. It is now PIX. (Seealso CIBORIUM.) The small extensively employed in making casts of
casket
or

vessel used to contain the Catholic the bread

crated conse-

statuaryand bassi-relievi ; and the

and of Art.*

lity faci-

wafer in the

cheapnessof
to

such the

church, or
which had

have done much

extend

productions knowledge
ART.

yet to
The from

be consecrated. is derived Greek the

a

PLASTIC,
and

FORMATIVE,
are

PLASTIC

term

The imitative Arts the PLASTIC.

two

"

the GRAPHIC

While
means

the former
of

SIGN) (DE-

?rv"if,
form it

box,which

producesby

lightand

takes,and

a generally

of bodies is shade and colour the appearance the latter (SCULPTURE, or circular,on a surface,

covered casket, times somewith a handle

in as attached, example here

the the

PLASTIC

before ART) places bodily themselves in

us

organic forms
man.

their

the
graved, en-

highest perfection, ensuringits triumphia.

that of The difference of material similar form necessary, in It expression. often makes

which twelfth
In
more

represents

one

made

in the

changesof
a

century, and
modern
MONSTRANCE

richlyenamelled.
raised
at
on
a

order to obtain
must

times,it was
of
a

like the foot,

; and

other

times took the form

suspendedover adjunct.*
PLACCATE. in placed plate when the

the

DOVE, and was as a decorative altar, metal

always represent completelyand and leave nothing undefined ; a roundly, certain restrictedness belongs to its character,
but
on

the other hand

more

ness. great clear-

It is in itsnature

directed to the

(Fr.)In Armour,
shoulder

a.

for the representation of character ; adapted for painting, with this second defence, it became a expression. Sculpture is alwaysbound to a strict regularityto a PAULDRON. law of beauty.Painting PLAN. A drawingexhibiting the gemay enter neral simple form and arrangement of a building, on a greaterapparent disturbance in detail, because it has richer means of againneubut not its architectural appearance. tralising it in the whole. The bas-relief, A garment worn PLANETA. by priests. whose laws are difficult to determine, (SeeDALMATIC.) between hovers both arts ; antiquity of A flat PLAQUE. treated plate metal, (Fr.) it rather in which enamels ate painted;hence a plastic upon manner, and modern the word is applied to designate the small times,in which paintingpredominates, treat it as often pictorially. enamels themselves, done at Limoges,in the fifteenth century. A similar flatpiece
"

front of the shoulder ; but was wholly covered

the fixed ; painting, to more the transient. Sculpture istherefore better

or quiescent,

"

See

GYPSUM

foi

notice

at it* ancient

u*e,

"

Bee

cut, p. 156.

MM*

ALABA8TU.

346

PLA"

POK.

(Fr.) An iron beneath the knight's worn breast-plate, hauberk additional protection, as an as
prevent the frictionor pressure of the ringed mail.
as

PLASTRON-DE-FER.

PLUMBAG0,
A carburet of
as

GRAPHITE, BLACK
in what
are

LEAD.
known

used iron, black-lead pencils.

A

well

to

PLUME.

bunch

of feathers for

In Engraving,the of generalassembly PLATE, PLATES. place of the Athenian people, who on were impressions paper from an engraved celebrated for their love of "news" and copper or steel plateare called plates steel ever, howIt The constructed the was on word, copperplates, plates. gossip. slope the Areopagus, and commanded is generally used to describe any near a view of the principal obtained from a flat surof Athens, face; representation buildings and though appliedto lithograph and the sea beyond. POCULUM. it is simplyfrom the want of impressions, (Lai.) A bowl-shaped other term. acknowledged sions Impresdrinking-cup. any from woodcuts are sometimes PODIUM. (Lot.)A low wall, generally posterously pretermed which is as with a plinthand cornice, in front plates, placed absurd as it would be to describe plates of a building.A projecting basement round as the interiorof a building as a shelf or seat ; copper-cuts; yet both these mistakes are of exterior from and round the for ornamental want a occasionally committed, reflection. Plates are properly times such as statues, called so adjuncts, vases, "c. Somesurmounted because the impression it was is obtained from a by rails,and and cuts because they are impressed used as the basement for the columns of a plate, from woodcuts. portico. PLATEThe writing ARMOUR. Armour implement for consisting POINTEL. the tablets of the middle ages, in form reof plates of metal, which became sembling entirely the GRAPHIUM of antiquity. generalin the fifteenth century. (See POINT OF SIGHT. In Perspective, ARMOTJR, p. 44.) PLATE the principal -PAPER. A heavy, spongy because all vanishing point, horizontal objects that are parallel to the for printexpressly ing paper, manufactured from engravedplates.It receives the middle visual ray will vanish in that point. most delicate lines freely, POINTS. Metal tags of an ornamental and takes the of affixed to the ends of the ribands ink readily kind, impression printer's ; but ink will run and blot its used for tying the different articles of ordinary writing dress upon the person in the fifteenth and surface. It is wetted for printing upon, and holds considerable moisture when used sixteenth centuries. They occupiedthe the of the modern button.* but its by printer; passage through place the press gives it greater POITRINE. of density. (Fr.) The breast-plate PLATE-PRINTING. scales or PLATE a knight (See COPPER; also the overlapping sheets of metal which covered the breast PRINTING.) PLATINA of a war-horse. YELLOW. A pigment of a POKAL. colour issold under this name, paleyellow (Ger.)A tall drinking-cup. and another very nearlyapproaching derived from the The term is probably the cadmium yellow. They are compounds of Latin poculum. POKER-PICTURES. Imitations of picoxide of platinumand earth. an tures, of rather bisterwashed drawings, PLECTRUM. A piece or of metal, wood, executed by singeing the surface of white or ivory,with which the chords of a with such as us*d in instrument wood heated a were is stringed as poker, struck, shown in the cut to CITHARA. Italian irons. By thus charring it to difPLINTH. The lower projecting base of a column,pedestal, or wall. Soe cut to AIALIT.
"

decorative purpose. PNYX. (Or.) The

"

POL-POK.
fcrvnt aegrees of intensity, the various tints of a drawing are imitated. It was

347 with
an

anchor in his lefthand ;

so

who carries a horn ; St. Cornelius, in the last century. Fabian,over extensively whose head a dove hovers ; patronised POLE-AXE. A military St. Gregory, who carries the dove on his weapon, which combined and serrated shoulder who bears a St. the apostle, hatchet, pike, Peter, ; and much horsehas was used by who hammer, a dragon keys; and St. Silvester, in the fifteenth century. seated near him. soldiery POLEYNS. POPPY-HEAD. A generic (Fr.) Another term for term, applied GBNOUILLIERES. to the groups of foliage, (Seethat word.) POLYCHROMY. louring or other ornaments, placed (Gr.) The art of coto imitate statuary, nature

tume,
is St.
;
or on

the summits

of bench-

in harmonious particular rical buildings, matic ends,desks,and other cleprisor compound tints. Both arts were in the wood-work, to a middle ages ; as in the expractised by the nations of antiquity ample considerable extent,and from a very early here engraved,from in Christ Church a bench period. The earliestGreek statues show traces of colour, and the walls of Pompeii Chapel, Oxford. attest the taste and beautyof internal decoration POPPY OIL. One of the the ancients. three used fixed oils in Externally, among and temples were their publicbuildings painting. It does not appear decorated with colour, and that coldness to possess any qualities richly and monotony
the process. In the
we now
a

find in their

which

can

recommend
OIL.

it to be

preferred

architecture nullifiedto
same

great degreeby
the cathedrals,

to LINSEED

manner,

PORCELAIN.

parent A fine species of trans-

and public of the churches, buildings

the chief component earthenware,

middle ages received the aid of the painter, part of which is silex. It was made at a who that flat and unmeaning and believed in destroyed China, period early very there about to have reached its perfection constantly see, by the delicate describes its maPolo scenes or nufacture pictured colouring, A.D. 1000. Marco in the fourteenth century,but in its which made the edificeas important introduced to Europe effects. it was not generally as in its sculptural pictorial bled A templeor court, until the Portuguese traders, POLYSTYLE. having dou(Or.') commenced Good the of of columns, surrounded by several rows as Hope, Cape in Moorish architecture. tradingwith China at the beginningof A small ornamental the sixteenth century. The name POMANDER. given (Fr.~) at the end to this pottery by the Portuguese traders box containing worn perfumes, in the sixteenth of the ladies' was chain-girdles porcettanaa term which literally " ginally littlepig,"and had been orisignifies century. from PONTIFF. The most illustriousof the given to the cowrie-shells, of their shape to the back of ancient Rome. To them was the similarity priests entrusted the chief ceremonies of their religion, of a little pig; hence, " when they first not to this admirable pottery the inside of and they were saw responsible beautiful white colour had a glossy, the head which of the authority; any human Maximut. order being termed name, they bestowed upon it the same Pontifex that title. either because theythoughtit would give assumes The Pope now or The first POPE. person of the Trinity their countrymen an idea of its beauty, be that it from the later might a sometimes persuasion by possibly was represented made of such shells, or of some tion composimediaeval artistsin the full pontificals of which resembled them." * ment the Pope. (See cut to ROOD.) St. Clein the Mime is also represented cosMarry att's Hittoryof Potteryand for* lain.
whiteness aid of
we now
" " "

"

POR.

PORCH.
teen

A covered

to most

ness and firmto give ease doorway,generally crayon in sketching, well to to the as ings, as protect the touch, advantage in church build-

ally ornamentit is sometimes with seats furnished and constructed,

where

fingersfrom the soil of black chalks. It

for the accommodation withinside,

of such

It is sometimes form of a small

as arrive before service. worshippers early so large as to take the chapel attached to the above the entry, possesses a single, or a double generally church,having a room to w ide to the admit clip, used by the resident sexton, or enough preserve crayon, a loose ringbeing drawn up tightly it are sometimes over muniments. * Such porches rated. to secure decoit firmly. and richly fittedup as small chapels, PORTCULLIS. of a (Lat., corruption They are then termed GALILEES. for the A defence of Licentious a PORNOGRAPHY. porta clattsa.") gate ("?r.) of castle walls or town, consisting heavy crossbars punting,employed to decorate the of wood or metal, the lowermost parts and sacred to bacchanalian orgies, of rooms of the perpendiculars being pointedlike of which examplesexist in Pompeii. it raised lowered by a dark-coloured was or A javelin; PORPHYRY. (Gr.) mineral composed or rock, primarily compound It has a ground of a of hornstone. into purple, fine red colour, black, passing in it. of felspar or green, with white crystals cient much used by the statuaries of anIt was their obtained it in own Egypt, who

country in great abundance.

used

It

was

also

"c. by them for columns,sarcophagi, and retaining of receiving a It is capable other marbles excels all a nd high polish,
in

hardness.

The

Greeks

and

Romans

but employed it used it for statues, rarely and walls of apartfor pillars ments, abundantly for the draperies and occasionally
of

means

executed in coloured marbles. figures PORPORINO.

A

and a chain, and was generings rally at placed a short distance behind the of

of quickthat double so silver, outer-gate of a fortification, composition and sulphur, which produced a should beset a besieger who attempted tin, difficulty metallic powder,that was employed From the to force an entrance. yellow instead of gold by the mediaeval artists Norman periodto the most recent castlewhen they wished to economise. has been provided U a portcullis building, PORT-CRAYON. structed (Fr.) An implement the grand gate,and a grooved space conof brass or steel for holdingthe chalk or for its free in the stonework movement
"

; when

At

St.

Mary's, Redcliffe,Bristol, is
of this

fine

porch

kind, with

the ancient

very boxes

over

the gate, a

it is raised to the story space is also left in the

time contained still remaining, which at one connected with the various grants and papers here that the church and its privileges.It was
unfortunate boy-poet. Chatterton, passed his tion earlydays,and by such study laid the foundaof his famous pseudo-antique rhymes, which for a long time deceived the world, and divided opinion as to their genuineness.Though now acknowledged fabrications, they are still the productions of a boy wonderful more as under

thickness of the wall The

for its reception. the most favourite was portcullis badge of the house of Tudor,and the mode in in which it was displayed may be seen
our

cut, and

will enable

the reader to for hold-

comprehend its structure. fully A portable PORTFOLIO. case

""". ing engravings,

fourteen years

of age.

3-30 from
a=

POT. its very

are

inasmuch earliest history,

the forms

indicative of the governing and in all of nature, principle beauty her works.

arc

reducible to true
to applied arts

principles that geometric

dustrial Of all the in-

as

senting
of Fictile Productions
at

these arts in the various stagesof their progress, such as the Historical Museum
an

Sivrcs,

of analysis
affords
a

known

stages and
a

dations gra-

basis for

sound

which

those early steps of not one respecting there is,perhaps, which we can obtain littleinmonious harin formatio Art the concerning Fictile the rival can in definite and for a which and of form, combination utility beauty.

theory advance,

we is fullof interest however viewed, Pottery, the economist perceives to the inquirer: value upon the that it bestows pecuniary

must, to
The

great extent, relyon

art plastic

jectural con-

evidence. exercise of
in soft

clay

which we the chemist looks to it for the phenomena and results of heat in determiningand
dust
our

tread beneath

feet;

must

belongto
; it would

the very infancy of mankind be naturally suggestedby the feet or hands

the

made by impressions

metallic fixing

and colours,

for the many

connected problems

with vitrificationand
tique an-

in the soil, when moistened by a shower of is corroborated by rain. This conjecture

our

that the earliestfictile lishments estabfinding the best tests of the were to be among placedin the neighbourvases hood of rivers, to pemore or less subject of civilization amount possessed by ancient riodical inundations the : and the races ethnologist, by comparing Babylonians, ; the Egyptians, of and the Etrurians became the styleof the fictile productions phrates, tect potters from their vicinity various races, may reasonably to the Euhope to deand the rivers of Norththe Nile, of those delicate resemblances ern some the that the forms which afford a clue to discovering Italy. The discovery to and o f the affiliation The moist nations. given claymight be rendered parentage viously economic view of the Fictile Art is obdicated permanent by heat and pressure, was inthe most important;but it would whenever an by Nature herself, to ourselves or to our not be just readers, inundation occurred,and the soil became of the many had hardest where fallen. were we whollyto lose sight footprints other considerations suggestedto us by From the observation of this natural fact Ceramic productions tarian to itsartificial utiliimitation was a simple : an exclusively step ; else like sive, excluit to the was everything view, only necessary clay press derives weakness instead of strength more and to expose it to the regularly,
semi- vitrification ; the historian finds from

isolation. and

direct action of the solar heat.

As population

into the more glassexhibit the most spread temperate and marked of scientific colder it obvious was an triumph industry suggestion, zones, the original worthlessness of the action of the sun over that the diminished materials on which that industry is exbe compensated by the artificial ercised. should The change wrought in clay, heat of fire, and we deem itvery probable, fying that the phenomena of vitrifaction were sand,and flint, by the Ceramic and vitriand consequently like observed, processes, is hardly less wondrous something than that which the alchymists in many differentlocalities, hoped to glass discovered, effect by the transmutation of metals; as quiteindependentof each oftier, and yet these arts are of such remote an liable be to was imperfect glass always that their origin is lost in the from everburning antiquity, the clays. The produced night of time. Countless theories have of type of the earlyand rude productions been hazarded, and hundreds of volumes Fictile Art was the shell of a nut, or the written respecting the discoveries of potof the pumpkin tribe ; and tery rind of some and glass : but it is only when this to such we an extent,that those acquainted itand in the midst of a collection with the vegetable of different productions pre-

Porcelain

ruT. enrich our able at a glance now generally museums, remarkable for in pottery. their productions to identify generally dence The earliestknown pieceof machinery grace, which evithe school varies little in which is the potter's wheel, which the Greeks it in from what in the present day was
ure countries,

3.V1

and
a

they

are

an simplicity

the age of Moses oldest and most

of wood

and

the Pharaohs.

Its

simpleform, was a piece dle, owing the flowing graspedin the hand by the midand turned round inside a wall of clay outline and ovolo built by the other hand, or by an assistant moulding so much selves admired by themthat The process is so simple, workman.
it may
no

studied ; since to them is certainly

have been discovered in

thousand

and the Romans, and

never

different

places ; such inventions afford racter. has evidence whatever of derivative cha-

which
celled ex-

been

simplicity The earlyworks of the ancient Egyptians and beauty. The sign, wall-painting of remarkable for boldness of deare and a positive character of decoration ; early Egypt supplies teristics characus with a vast which,however,are the prevailing
of the earliest ornamental of most works fund

in

of information
of life the

on

the

manners

and

pursued by art has been delineated potter's Southin its the various stagesby the hands somewhat as a par with on of the antiqueartists* who once the Sea Islanders when visited by Cook lived on barbaric love of bold decoration is the banks of the Nile. In these paintings same find representations of the evinced in the contrast of strongcolours, we frequently vessels used of well-marked the at and or very peculiar designs, table, ordinarily which we have no other examples. Of tuch as the chevron and meander,abound. these we selected The Egyptian pottershave left behind two specimens, engrave from the paintings which at Thebes. In Fig. 1 them many examplesof their skill, infancyof their art, may
be considered

nations.

Even

the

in the Greeks,

modes

that ancient

nation;and

"

originof the meander guilloche.Fig. 2 possesses the first of the graceful afterwards outline, germ adopted and improved by the Greeks, as is here placed we see it in Fig. 3, which
we can

trace

the

for the decoration of the frieze of theu

and

f In temples,
which The
were

the sacred bull

instance it represented those Apis; in the other, sacrificedto the gods.

one

from the great jug here engraved,

curious

beside them

to exhibit the marked

riority supe*

they evince in the true knowledge of the applicability of geometric form. The bulls' heads upon Fig.2, may find an analogyin thoBe adopted by the Greeks

These

paintings have

been

graved en-

in the great Italian work by Professor Rosellini, and also by Wilkinson in his Man and Custom* nen of the Ancient Egyptian!

t See

cut

to

BDCBAHIA.

352 work
on

POT. Ceramic

Manufucture, by M.

is by Urogniart,

that writer

thoughtto

be

interior to the Etrurian

age ; the colour

would occasionally authorities, find that he had erred in judgment. Thus the cyathushere engraved, from an ori-

"classic"

ginalin

the

Sevres
a

Museum

of Ceramic
of barbaric

Art, exhibits
into immediate

strikinginstance
eye,

decoration in the human

brought

black,but is well brought imperfect out by mechanical ments polishing.The ornaare engraved with some sharppointed instrument, and, although not both spirited and distinct. are coloured, The trifoliatedlipis excellently adapted and the handle is bolder in for pouring, design than ordinary, forming a graceful and of beingpart the entire design, sweep, into the prevailing of which itgracecurve fully
is
an

with a fulljuxta-position and surrounded by wreaths of length figure, This is a good example, foliage. however, of the showy character of the early can Etruspottery. Dull red (thecolour of the and black were the only colours at clay) the designer's and it is sometimes disposal; how admirably tained he has obsurprising a strong,yet subdued effect, by such materials. An opaque white and yelsimple low
was

he

wag

afterwards added, and with these enabled to delineate, in the most

from sacred and scenes spirited manner, In The Etruscans, the Etruscan vases on history. improving tians profane Egypearly outlines afterwards the of the Greeks the scratched as are improvedon figures forms of the most elegant on the surfac", the figures of men them, produced painted kind. The principal red in flesh-colour, women cream coloured, type, and one that
flows. marks

considerable progress, is the female

an

bust,with sometimes
its character
as

attempt

to preserve

of symbolic

dance abun-

with outlines in strong black.* With these simplemeans at command, the Etruscan potter produced works cherished

and
is rudest
severe

fecundity.This gracefultype amongst the Egyptians,most

by

the refined scholar for the the artist for their character is which

beauty and
and

truth of their classicdelineations,

what

with the Etrurians, and carried to be deemed a may very frequently

prizedby
here

eleganceof form.
the eanthartu

Of such

excess voluptuous by the Greeks. It is, not alwaysproperly to however, applicable

and engraved,

the

uses

to which

the student who

would

vessel is devoted ; and follow even blindly

For
cut

an to

illustration tlw word

we

ma;

here

refer to

our

LXCTTHCS.

POT. of goodexampleof the brilliancy effect produced by the black colour of the
a

italso

ribbed in the

ware,

forming

an

excellent foil to the it. Sometimes the

possesses a similar contour ; it is also remarkable for the involuted scroll, to which the name of Greek has been
as applied a

Mine

way,

and

figures paintedupon

distinctive

itis really the design appellation, although Art. early here to detail the It will be impossible various improvements in Ceramic Art ornamental leaves and other patterns made by the Greeks,under whose auspices are executed with so much It may that it eminence. achieved its highest regularity, to have been effected their be sufficient to note that theyappear tions producby some of stencilling. mode The fluted goblet not only beautiful in form, but are isc is an example; in painting;and to them we so (crater equally us) here engraved tions delineaof the most exquisite owe some of these fathers of of
while mine

and mythologic

historic scenes,

and designthey are a be well study.* It may, perhaps, the of to add some specimens grace which and for characterises those performances, this purpose we selecttwo examples.That for costume

of

in front is is
one

now

of the finest in

in the Soane Museum, and it is very existence,

so

rich in colour and elaborate in decoration. and So varied is its outline,

enriched,
a

out a more that it would not be easy to point of the plastic art of favourable specimen

nation

whose

taste

was

unrivalled. this
from its
vase

The in

complicated designof
for the vine-leaves the upper decorating in resemblance to are more portion perfect each other, than ordinary manipulation would
seem an

takes

abundance

of form

"

the

elegance

of the female
*

with figure
of this
costume

flowingdraof

to

allow them

to

be.

In
our

In the

this vase, however, we can again trace the ancient Egyptian prototype; and we engrave, for the sake of
tune

from

Theban

a golden comparison, w painting,hich is

obta ned have been from them. Hope's beautiful book on the CW almost of the Ancients has been lume entirely while illustrated from this source, Englefield's collection is a worthy exponent of their general

examples

pages of

Dictionary, many

beauty.
A A

3*4

POT.
: plant design

tendrils of the pery, to the creeping architecture is also made to aid the

called Samiau,from fabricated in thence world. With disseminated

tradition that it was

by

iU

solid

of regularity The

being relieved by
fills eaoh side.

its larity line, anguthe scroll which the

the island of Samoa, and the civilised over

flowingscroll on

the progress of the Roman other manufactories were blished estaconquests, for the
whom

Italy, Germany, and France,* supplyof the various nations with the Romans the countries or traded,
their rule
"

in

in which
a

was

established ; and

base kind of
in

Samian

pottery has been

serves

"

discovered

England, which

to

prove that it was many and of

imitated here ; while the we examples possess in our public of the finer kinds the Romans
to this

ware

museums private importedby

show that it was highly country, prized by them.f The ordinarydrinking-cups of this
ware are

exhibited in

our

engraving,

edge of the lipof this vase will be similar to that upon as precisely recognised it. The the Egyptianexamplepreceding contour of the vase behind is an approach
upper
to the more

Roman rigid vessels

were

form.

The slender

Roman and

less generally those of the which kind.

an

than graceful

two depicts

of
one

the most

common

rian of the utilitamore theypartook of the Masters of the World; spirit and stilltheywere not without great merit, the pages of this work contain many specimens Like the of their taste and elegance.* Greeks, theydecorated the surfaces of their and vessels with much elaborate display, Greeks ;
we
as

The

rim

of

is decorated with

bellishment engine-turned pattern, a mode of emadopted in very frequently

such fictile wares. When the Romans had established themselves in England,many firmly
were

potteries

refer to the cut of

an

one

example. combats, p. 210, is copiedfrom of the bowls of red pottery generally

Our

p. 98, of the diatorial glaengraving by certain

a

CARCHESION,

established ; and a class of wares emanated from them, which may be known
and
are

of texture, form, peculiarities the best, decoration. Of these, defined such as have a painted pattern raised

the word VASE, the reader will find kinds of vessels in a complete list of the various general use by the Greeks and Romans ; and for by looking at any of the proper names
*

Under

* See cut, p. 189, for an engraving of a stamp in the such pottery, found for ornamenting South of France, in the debrit of a potter'*

furnace.

t In London, and
found
a

each and

vessel there

given, he will find engravings

them

of description*

all.

with broken proofof the value

elsewhere, it is frequently portions rivetted together"

attached
to it-

POT.
on

355

tint. The surface of the vesse j of the colour, the required by the mere ttnpasto thick a of mass decorated with incised lines of a simple generally yellowish white, was and which occasionally but of a good effect. a productive produces good, pattern, We give two specimens of this ancient national manufacture of England.* "In no department of the works of ancient and mediaeval
Art

them

is there

strongercontrast than in those of the productions of the potter. The fictile vessels
of the of the Greeks, and of the Etruscans,
are

Romans,

remarkable
and

for infinite variety

of form

embellishment, among1
an
ample ex-

which it would

be difficult to find of grace

or

void altogether

In countless instances

bold

relieved effect, forms the

as

it is

by the

dark

and even highest skill, to the eye in their symthey are pleasing metry and chastity of ornament ; seldom or never are they positively unsightly.
'

beauty. they bespeak the genius ; generally

claywhich
The

body

of the vessel.

of this kind of pottery, the lloman occupancy of this country, during of was very great. In the vicinity manufacture
near Caistor,

it is very different with mediaeval pottery it is void of beauty,taste, or

"

But

The sightliness.

links which

in Britain
diaeval me-

and Gaul unite the lloman

with the

kilns Peterborough, been of how

and

the

potteryare

the Frankish

and the
were

debris of pottery have

discovered, Saxon.

The, earthen vessels which

extending
the trade The the

over

space
on

twenty miles
was

showing

upwards of found extensively

the banks
of

in the graves of these countries immediately nation domit o the Roman subsequent retain to
a

carried

in that district.
and

certain extent of

lloman

Upchurch Marshes, on Medway, in Kent, are also completely

for many miles with

and character,

they admit

fied beingclassi-

covered

arranged under the proper heads. bris; desimilar But it is in the following centuries that

sometimes the works of the potter disappear and perfect almost are vases are no longer by the fishermen. The clayof this entirely, or, when discovered, tenacious is of a very fine, of any to be indentified as the production neighbourhood well fitted for this certain period or f Such works quality, country." exceedingly in fact deficient in artisticbeauty, manufacture, which is generally were peculiar
found and
serve were

considered

as

mere

to utilities,

the

rough purposes of the necessities

charm

of

no life, possessing

beyond this
"

very limited one. It is to China, with its wonderful

.

con-

See

FICTILI

for

remarks
in the his

on

this blacl-

clay.
marks introductory recatalogue of libof London own museum where, antiquities: he fives some curious however, examples of medieval pottery, which, while they fullyboar indicate t'.ie out his remarks, sufficiently quarter in which citate study should be directed to resusloct knowledge of this branch of Art. our

t C. Roach
to

Smith,

that

portion of

mud-coloured,or blackened by being baked

in
a
"

and smother-kiln,"

thus smoked

to

AA

POT.

"erratum, that we
of the which

must

look for the

among

citation resus-

art potter's

the

European nations,in imitation of that so long. " The they had practised of the art of making porcehigh antiquity lain, it to which and the high perfection
had
any in China, many years before of it found their way into specimens arrived

have sup. province but the emperor, who, for this purpose, sent two mandarins tc the workmen.' In A.D. 600,during inspect the Soui dynasty, of porcelain vases

manufacturers

of this

pliedit to

no

one

common use ; also duringthat of Thang, A.D. 618, vases were found in the ruins of palaces ; but the art arrived at its were

in

in the year 1000. although greatestperfection The Europe,are well authenticated, is involvedporcelain the periodof its first manufacture tower near Nankin, constructed in great obscurity.From the researches A.D. 1277, affords sufficient proof of it" of M. Stanislas it appears Julicn,

durable nature."* The characteristicsof Chinese china

are

that the

in was common porcelain time of the Emperor Han, of

China
B.C.

in 163. it is

D'Entrecollcs states that mention

of it in the annals

is made

the clearness of its body and the gaudiness of its decoration, introducing dragonsand of the grotesques The
most fanciful absurdity. of Japan is of a better porcelain lity quain clay, and the decorations more tural naand simple. We engrave an example,

Froulam,where

that ' since the second year of the stated, reign of the Emperor Tarn,or Te, of the
nouse

of

Tam.

A.D.

442,

the

porcelain

upon which the distinctive symbolicbird of Japan is painted ; it isfrom the Museum
at Sevres.

della

and greatly tended exat Florence, Robbia, by Orazzio Fontano, of Pezzaro,

at the close of the fifteenth and

beginning
Dukes of

The

increased

impetus given

to

merce comturies cen-

of the sixteenth centuries.

The

in the fifteenth and

sixteenth

the trade with the opened anew and to China and Japan, East,particularly the Portuguese merchantmen the were first to introduce it to Europe.* Its

Tuscany,but more de Rivera, the patronised

means

Guidobaldo especially
new

art

by

every

in their power.

The

best artistsof

the age were for form and

employed to

furnish

designs

patternsfor ornament, and

beautyattracted
an

article of From

commerce

eminent painters attention ; its value as tion. engaged in their execuWe tation. induced its imia specimenof Italian engrave
of

the time

the Romans attracted

until the middle the

art potter's

of the fifteenth century,

seems

to have

of the seventeenth century,upon majolica which is painted in the life of the a scene diers is where he Saviour, betrayedto the sol-

littleattention in the
ware
"

of Pilate. Services of this ware pulse Europe. Its first imfor crowned deemed suitable presents derived from Tuscany, where were was it and " the Italian porcelain," as art of manufacturingthe beautiful heads, for a tiirc monopolisedthe called majolica was invented by Luca was called,
the article POKCELAIN in this tionary. Dic*

See

and Porcelain, Marryatt'sHistoryof I'ottery

p. 06.

S58
a

POT.
"

this drinking-jug ; and we engrave of the of taste curious example the day
"

experiments. At thia customary to wear hair-powder, and that fashion luckily assisted Bottcher to perfecthis works, and producea fine white porcelain. This was the result of
time it was another remarkable valet had accident. Bottcher's his master, one morning, presented with his ordinary full-bottomed wig well powdered,and, on taking it from

series of

ceramic

him, he

at once

noticed that it feltexceedingly

he found that heavy. On inquiry, it resulted from a new which hair-powder, had been lately introduced by one Julius Schnorr, a wealthy iron-master, who, in while the near 1711, on riding Carlsfield,

Aar,
stuck

remarked

that the feet of his horse

a

mud, from extricate them. scarcely The idea at once struck him, that the earth might be profitably employed as a cheaper
which he could substitute for the wheat-flour then used for the hair-powder.Bottcher subjected from
the der pow-

fast in

bed

of white

and to his great joy to the proper test, originalat had found that he at last obtained the fitting borately covered with a white glaze, having an elafor the manufacture of the finest its entire executed pattern over clay

Sevres, which

is

surface in blue. of decoration

He pursuedthe experiments, They belongto the style white porcelain. and established the renown of the at the end of the prevalent

half of the seventeenth sixteenth and first centuries.

where the whole process factory,

was

ducted con-

with the strictestprecaution, the

Augustus
the

King of Elbe,about the year 1698, the first which for Europeanporcelain, manufactory the over afterwards achieved a reputation whole world. This was chiefly owing to
the researches of
a

II., Elector of Saxony and Poland, erected at Meissen,on

very remarkable physicianof Magdeberg, named

a

man,

John

his who had neglected Frederick Bottcher, to investigate alchemy,and try profession In stone. to discover the philosopher's it became the course of his investigations,
necessary
to prepare crucibles from various stand to firingwell,as he believed clays

his failuresin his alchemical researches to be

mainly owing clay,of

to their

beirg unable
He found

to
a

stand continued certain

high heat.
an

opaque

and fine chaas

afterwards known which was *~icter, of Dresden," and ''the red porcelain abandoned
the stndv of alchemv for

he
a

workmen

of all kinds
as

sworn

to

secrecy,
as

and the

factory strongly guarded

POT. fortress between

Tiie

35S
to

which protection

Bottche
a wa

ture

Vincennes, which, becoming

too

received in

Saxonyhad
the

led to nearly

small for the increased trade, was

ferred trans-

that country and

embittered greatly derick the Great to

seven men war. years' were own

am Prussia, of Fre hostility the Elector duringthi

Some

few of the work'

and seized,
at factory

his

carried to forcibly w hen Frederick Berlin,

attacked

Dresden

from the owners purchased by Louis XV. ; his mistress, when Madame de Pompadour, exerted her influence to strenuously The art enachieve seceded from that of Vienna. its Madame gaged perfection. Dubarry universal attention, and factories also paidgreat attention thereto, and gave to a peculiarly in Germany, chiefly tender colour, spread by the drafting her name since known as the localities. A into new Rose Dubarry." of their workmen In England, potteries established at Capo Di established was were manufactory in in Staffordshire in the of Charles Monte,Naples, 1736, by III., reign Elizabeth ; but their works of himself Its who amused were a rude kind, by working at it. very in high relief,much delf-ware. moulded A are resembling ordinary productions decoration was much decorated with shells, mental adoptedfor orna"c.,in coarse coral, executed in white pipenatural colours. It is considered by Mardevices, clay. About the time of tornative of s ince it differs as GeorgeI., ryatt* origin, toiseshell-ware and much from the Dresden china, was "there produced, by colouring ivithoxide of copper and manganese time for the art,which was was scarcely ; then the white-lead glaze," which gave to have reached Naples came kepta great secret, to the crouch-ware of George after its firstdiscovery celebrity in so short a period the Second's time. In Fulham, earthenware at Meissen." in made 1 684. In was tory In France, soft porcelain had been fabricated a facChelsea, established for was at the at St. Cloud from the year 1695 ; it porcelain close of the seventeenth century, which the parent of the porcelain "was tories manufacof France. Louis XIV. was other, an; at Bow greatly achieved much celebrity founded about the same time. The interested himself in the growth of the founded in 1760 ; and was establishment. cup, We engrave a small teaDerbyfactory * hat Worcester in the following at richlydecorated with bleu-de-roi, year. of calcined flintas an in.n 1720, the use gredient "which gave some to the works celebrity in the composition of pottery was were produced. The secrets of the factory liscovered by an accident" similar to carried to Chantilly, by a workman, in hat whicli gave Bottcher success. In that 1735 ; and, five years afterwards, the brothers Dubois followed that example,and * It is usually said that printing china was on "old the secret of the porcelain manufacn vented by Dr. Wall, of Worcester; but we
" " "
"

they were polychrome potteryof Prussia,of which decorated coffee-cup "we give a richly as an example. The Vienna factory founded in 1720 was foreman of Meissen the named by a factory, who was Stolzel, gladlyreceived by the Emperor Charles VI. At Hochst, near Mayence, another was founded in 1740, who had chiefly by the aid of Eingler,

in the year 1745 ; am the chief manufacturers of the

to

:i

it was

removed

cditicc at bevres, to largr in 1756 ; and, four

which years
was

the entire establishment afterwards,

"

"

Biitoryof Potteryand Porcelain,p.

214.

"elieve it to have been first done from copper ilates by Sadler, in Harrington-street, l.iversent his to be printed where Wedgewood KX"1,

360 year,

1"OU"

PRE. with honourable and with Such liberality.

men

while a Staffordshire potter, Astbury, journeying to London, was obligedto to seek a remedy for a stay at Dunstable, disorder in his horse's eyes; when the ostler of the inn,by burning a flint, reduced it to into them. and But it
a

do

good service to their countryin every way ;

than that more worthy name Wedgewood, could we close our of an Art to which his genius brief history impetusand an Europeanfame. gave a new His works are stilleagerly sought for by of of the finest as taste, examples persons of ceramic art issued ever productions from an Englishfactory.To so great a had he attained in degree of perfection of his models and the character preparation of his clay,that the minute and of antiquity beautiful gems were duced reproand sometimes by him in porcelain,
no

of Josiah

tine

powder,which

he blew

The potterobserved the beautiful

tively immediatelysaw how effecin his trade. employed reserved for Josiah Wedgewood,

nation, white colour of the flint after calciit might be

was

by the scientificand tasteful labours of a of manufacture to raise the ceramic life, of excellence. the to highest point England
His
first great
success was

ture, the manufac-

about 1769,of coloured ware, body, with more

more

a creamwhite, fine, having a clear and hard

set in

gold as decorative

ornaments

for the

compact substance and

person. POULAINES. shoes

worn

glazethan the perfect

was

majolica.In

in

The long-pointed (/"".) the fifteenth century. (See Ornamented

dots
over

and impermeability, CRACOWES.) firmness,lightness, it

far to superior

the Italian porcelain

POUNCED.

with the

tinuous con-

inferior in lustre, in series of ; but it was and in susceptibility of surface. richness of colour,
of not only to the porcelain decoration, China,but even to that of Chelsea.

entire

POURPOINT.
worn

The quilted doublet (Fr.) civilians in the fifteenth centuries.

by

soldiers and

(See who was GAMBESON ) Ware," after Queen Charlotte, much and appointed An POWDERED. heraldic term, expleasedtherewith, pressive of a shield covered all over with "Wedgewood her potter. He now devoted himself incessantly, or together with his the same bearing charge. The French for to constant heraldic term it is seme. The old improvements. partnerBently, He obtained the loan of the finestantiques banner of France, engraved p. 193, would for studyand reproduction tory facin his own be described as powdered with fleur-deof lis. best artistshe he the could or seme employed lis, ; An POWERS. and the latter John order of guardian Flaxwas find, among who are usually whose pure taste directed the forms ing bearangels, represented man,
ware was

This

named

"

The

Queen's

fourteenth and

he chose for his works, while Sir William Hamilton assisted him by the loan of his

baton

or

staff sergeant's

in

their

hands, emblematic
from
a

of

delegatedpower

specimens from Herculaneum, and gave him the advantageof the knowledge he The delicacy, and fine beauty, possessed.

superior.

PR^ITEXTA. (Lot.) A long white worn robe,bordered with purple, by the a nd and Roman taste exhibited in his works,ensured them priests magistrates, also and of the classuntil the age world-wide established a celebrity, patrician by boys fame and fortune ; the of seventeen. It was likewise worn for himself a large trons by mahe enjoyedwithout vanity, occasions of religious the other one on ceremony, until they were and by girls married. * The of invention hag almost modern course in a PRJETORIUM. (Lat.) The place exclusivelybeen directed to improving the and fineness of the body introduced hardness (Prattor) general camp where the Roman its by Wedgewood, to as to increase at once had his tent placed. lustre, its transparency, and its susceptibility
of ornament.

PREACHING.

St. David

is usuallv

PRE.

361

preachingon represented
is St.

as hill,

also

PATERA;

it held

the

smaller

sacred

utensils when carried in religious ; St. Severinus and St. Peregrinus sions. proces"We engrave one found at Cervetri. to the poor ; St. Paulinus,as preaching PREMIER COUP ALLA to the Court at Marseilles ; PHIMA (Fr.), Mary Magdalen, tofishes. PRIMA-PAINTING. St. This method ami tosheepand (Ital.), Apollinarius, of oil-painting has been revived to a conGKADINO (Ital.) The PREDELLA, formingthe sideiable extent duringthe last few years ; step on the top of the altar, which was picted, debase of the altar-piece, on and, in the hands of painters possessing for their Art,with remarkable true genius in miniature,the different events in the who success. of the life of the saint represented Among the French painters have taught and practised These this method forming the altar-piece. picture three or five in with singular smaller pictures were we ability, specially may instance Couture, whose magnificentpicnumber. ture of the Decadence of the Roman PREFERICULUM. (Lot.) A shallow of the Luxemmetal basin or dish, bourg, very much resembling Empire," in the Gallery
"

who flourished before earlypainters and whose principal Raphael, of is action a or att premier theory rigidadherence to PRIMA-PAIXTING, painting forms natural in contradistinction in and its name consists effects, implies, coup, as to the style in at once at one touch, or renderingof any contrary painting of school of Art. to the practice particular usuallyrecommended PRESENTOIR. dead colouring, (fr.) An ornamental stage, second stage, Jii'tt learn a "c. Whoever wishei to riched enfinis/tiny, cup, very shallow,nd having a tall, stem ; it was must form a strong resoa decorative articleof lution prima-painting, to try to finish his work never by T he o f over"painting." practice primais fully detailed in a work recently painting which is worthy the published,* most attentive and repeatedperusal by the artist. Prima-painting is based upon a thorough knowledge of the relative and properties of colour, and of qualities the peculiar effect* of under and overwith opposite colours. painting of one may be justlypronounced Art. of modern the noblest productions the time of
"
.

the

PRE-RAPHAELITES.
modern mode of

school

of

who profess to follow the artists, studyand expression adoptedby

Tlie Art Sitrrst

and

German

IM'.i,1).

of 1'aniliuy reitoreJ to it* Simplest Translated f.oin the I'rincipltt. of Litten"t Hundertpfond. London, Botfiie.

no use luxury, serving particular

; but w;i"

much

fabricated in the sixteenth century,

362
at

rui" which

PRO. PROCHOUS.

period the

one

engraved was
COLOUR. those from

(Gr.)A

smaller

of variety

executed. The
or PRIMARY, colours primary

PRIMITIVE
are

the oonochoe; a drink in? jug used for wine

or

and blue,yellow,
are

water

at

the tables of

red ; so they which all other colours are derived ; and of themselves be resolved they cannot

called because

the ancients
sometimes

(Fig. 1).It
a

took

very
hibited ex-

compressedform,as
in
our

decomposedinto other colours. WTien two primarycolours are mixed, they form secondaries: thus blue and yellow form ORANGE GREEN ; red and ; red and yellow,
or

second

example (Fig. 2). PRODD. A light

kind of cross-bow used for

killing deer,particularly by ladies, primaries when they indulge.' and in and proportion, they kill each other, of state zabeth dilution,hunting. Queen .Eliproduceblack ; or, if in a is said to have If,however, one of the primaries grey. been dexterous in using is present in excess, the resulting mixture is a red grey, or blue grey, "c.,according it. to which primarypredominates.The op(from posite, PROFILE colour of a primary, the Latin per, or contrasting by; and Jilum,a thread.) in is composedof the other two primaries The contour of the human tombination : e. g. red is contrasted by viewed and b lue is frcti. contrasted face, yellow), green (blue of its sides. The one and so on. by orange (redand yellow), traits of character are The primaries and secondaries only appear in the type of colours the prism often expressed with in the rainbow. from peculiar strength or They are the sources A face PROFILE. all which other tints and hues are formed, which, in front, seen and are either greys or browns. is The union directly of any ed primary colour with its opposite attractiveby itsroundthe colour of both, and outline, blooming secondary destroys and dead a colour, lovi-ly produces grey or black.* smile,is often divestedof its charms when GROUNDS. The covering PRIMING, a in profile, seen with a preparation and strikes only as far as canvas upon which the pigments are afterwards applied. (See it has an intellectual expression ; on the other is it often the hand, GROUNDS.) eye alone which PRINCEDOMS An or PRINCIPALITIES. expresses the characters strongly.Only of God's will, where great symmetry exists, order of angels, connected messengers with a preponderance and guardians of kingdoms, who of the intellectual are the sensual, over in completearmour, will the PROFILE usually represented appear finer than the when front ing face. In the PROFILE unarmed, bearcarrying pennons, or the facial lilies. angle appears. PRONAOS. PRINT. A term used synonymously (Sometimes termed proA the word PLATE, but more with word domus.') correctly compounded from the Greek before designating anythingimprintedfrom an pro, ; and naos, a temple and used to designate whether flat or from a the open vestibule engraved surface, mould. or porch in front of a sacred building, and where sacrifices were occasionally formed perblue, VIOLET.
When the
are

all three of

mixed, in equal strength

"

See

Hunrtertpfund'i Art
iti4i.

of Painting re-

on

an

altar in its centre. In

en-

ttor-ea.

PROOF,

PIIOOF IMPRESSIONS.

PRO" the graving,

aw

PUL. the
to

363 brown.
ANTWERP
BLUE

firstimpressions taken from

is similar
more

i-ngraved plateare termed PROOFS, it beingsupposed that they undergo careful

the
engraver

Prussian

blue,but

it contains
is of
a

alumina,and therefore

tone lighter

inspection by proofs}. The

indicated

number

but the order in

by

some

(engraver'sof colour. A colour obBROWN. tained undetermined, PRUSSIAN taken of the which they are is by adding a solution yellow of potash to a solution of sulalteration in the phate prussiate slight
is
are

plate.
upon the
are

INDIA-PROOFS
those taken

those
BEFORE

taken
TERS LET-

of copper,

which

throws

down

PROOFS India-paper,

before the work

of

of deep brown ; this, when precipitate washed and dried, is equalto madder, and possesses a greater permanency. PSALTERY. PSALTERIUM, kind
of curious

is put in. writing-engraver A term in heraldry to indicate anythingexhibited in its natural colour.

PROPER.

PROPORTION.

That

due

observance
or

(Lat.) A instrument or stringed harp of form. Ancient Egyptianspecimens

of the balance of all parts,in a statue which constitutes excellence. picture, PROPTLEUM.
a

(Gr.) The open court temple in advance of the building the vestibule of a house of the itself; higherclass. PROSCENIUM. (Gr.) The stage of a
of

theatre,or
front of the

the
scene

space included in the ; in contradistinction to

the
In

or space postsceiiium,

behind the

scene.

the modern

theatre it is

improperly

used to designatethe ornamental framework from which the curtain hangs when
are performances

divides the

going on, and thus spectatorfrom all engaged on

not

are

in the British Museum. preserved

The

cut
a

represents a

from mediaeval psaltery, elevated stage

the stage. PROTOTYPE.

wooden PULPIT.

of the fifteenthcentury. sculpture A rostrum

or

(Gr.)

The

original

of ; thus the claydesign the sculptor is the prototype of the statue

to

work,the model

be afterwards executed PRUSSIAN

of
a

in marble. A

BLUE.

valuable

ment pig-

greenish blue

of great colour,

and permanency. It body,transparency, is a true chemical compound of iron and cyanogen the base of prussic acid whence the name of the pigment. Mixed with it forms useful numerous white, tints, rine althoughinferior to cobalt and ultrama" "

on

account

used in water-colour

of itsgreen hue. It is more than in oil, painting

and

for colouring flowers. When especially of air, burned with access it yields a rich the pigment conwarm brown, provided tains sufficient alumina ; but when

burned from which d"livered.

in

covered

it yields a fine bluecrucible, dries

like quickly,
sermon* are

black

pigment,which

Pulpit*

364
are

PUN" formed of wood In and

PYR. named shown

at the head

stone, of which

of this article max

"

be

both ancient and beautiful examples exist, modern.*

but for the most

by the following diagram:

theyvary design ; part they are polygonal Red and those of the largechurches on the Red Purple. Continent are capableof holding more Blue K.-I than one frequently ) person. They are Blue Hyacinth. and or attached to a wall, screen, pillar, Blue ) placedin the nave. were alwaysformerly In the chromatic scale, is compleVIOLET ornamented,and mentary richly are generally They to the YELLOW primary, elevated have ; mixed canopies. with from the it the OLIVE An yields tertiary, PUNCH. green, impression with it SET RUS(blue-grey) yields ; orange, matrix of a hardened steel die, taken in VIOLET is a cool, ing retirwhich condenses and hardens (red-grey). soft metal, with white in it. It is and, mixed colour, by the force used in obtaining a nd various and annealed finished, proportions, yieldssome ultimately verydelicate tints. is used to make thus, being in relief, one PURSE, carried in the hand or at the being other matrixes, the original thus be New dies is symbolicof St. Matthew, originally can intact. girdle, preserved milar sialso St. Laurence a tax-gatherer obtained ad itijtnituin, by a process ; fered bears a purse, in allusion to his havingsufto that which procures the punch itself. martyrdom rather than giveup the POUPEE (Fr.) A child's church treasure entrusted to his charge. PUPPET, with moveable limbs with St. Nicholas is represented three doll ; a small figure made to act in a show. purses, in allusion to his bounty. (See These PURPLE, VIOLET, HYACINTH. p. 306.) colours PYRAMID. The name are compoundsproduced ("?"".) givento secondary and of the primaries BLUE those structures which were used as tombs by the union is RED PURPLE KED. graduated with by the kingsof Egypt. It is likewise applied in CINTH HYAto and gular rectanred the predominating; BLUE, any quadrangular in VIOLET tumuli of enormous extent. the blue predominates; They In blended. first piledup in large terraces of are were the two primaries equally the smaller pyramidsare the various hues of purple are limestone (only painting, and red of blue mixture the of a nd then the terraces were filled by brick), produced also there but riveted with stones which are purple ments, pig; pigments up ; they were Such as MADDER received polish, and were also adorned PURPLE, VIOLET POWDER OF CASentrance PURPLE and the with The to the sculptures. MARS, from the of closed w hich a was compound interior, by single 8icus,t prepared of beingremoved, is difficult stone capable the oxides of goldand tin. Burnt carmine to find. The stand on plateaus, yieldsa purpleuseful in water-colour largest In the nomenclature of colours, among the Libyan ridge of hills round painting. with orange the secondary about Memphis, in several partlysymcorresponding metrical should be termed and green violet, always by artificial groups surrounded roads, as it is produced by the union of blue and embankments,tombs,and hypogea. red in equal strengthand proportions. The foundation, which is square, faces the the three colours The of four cardinal composition Accordingto Grobert, points. of the pyramid Cheops, at Ghizeh, which is
.-

extensively,

wooden
a

engraving depicts " curiouslycarved Church, Ewex. pulpitin Wenden t This is used to stain glassor porcelainof deep red or purple tint.

Our

of all, is about 720 feet long ou the greatest about 44"X each side ; the verticalheight

PYRE.

(GV.)

pile of wood

"

RAY. of Raffaelle havingpainted probability any of this ware ; but adds, the designs for were, however, furnished by his many from the original scholars, drawings of
"

which

Knocked

the rider ofl'his horse if the blow, avoiding board properly, as it for arrows,

he
or

was

not careful in

did not strike the

on

turned

its pivot.
A
case

QUIVER.
the back belt.

of the

slung at or warrior, hung to his

was

their great master." RAMPANT. A term cative of the

of position

in

indi heraldry,

"

Among

the classic nations it

and when reared on shield, generallyconstructed of leather, ornamented. for attack. sometimes richly A close covering for the head, RANSEUR. An implementconsisting QUOIF. of worn with by elderly a broad, by both sexes, particularly piercing blade, similar ones rally late; projecting persons, and those of the graver professions retained as a distinguishing hence it was all having from itsbase, tillthe middle of costume feature of legal double cuttingedges. Our the seventeenth century. liest engraving representsits earof a building The external angle QUOIN. from form, and is copied itis frequently one of the time of Edward ; where bricks are used, formed of stones laid in loiig and short in rich IV., the armoury at Goodto giveit an ornamental character. courses Court. See Discus. QUOIT. RAPHAEL, ST., THE RADEGUND, ST., A.D. 587. Wife of AKCHANGEL. He is one of Clothaire, King of France; she was early the seven archangels, and the inducted to Christianity, leftthe court, and guardian of mankind, and died at the monastery at Poitiers, which she usuallydistinguished by a had founded. She is usually in depicted or pilgrim's a staff, carrying royal garments ; sometimes with the crown in allusion to the belief fish, at her feet, emblem of her renunas an ciation that he was the companion of its splendour;and sometimes of Tobias, and aided him in with wolves by her side, wild beasts or the fish which per- \ capturing about he* to indicate the legendary story formed the miraculous cure of her familiarity with them. of his father's sight. ItAFFAELLE-WARE. A fine kind of RAPIER. A lightsword from ancient majolica, with a very narrow upon which scenes blade, as well as other fancysubjects introduced from mythology, Spain in the and portraits, are lours. paintedin natural cosixteenth century, and generally
"

any animal on a its hind-legs, as if

worn by gentlemen on either designs occasions. ordinary or under his personal painted by RafiUclle, RAVENS. In Christian Art, ravens the pottery being estasuperintendence; blished are an emblem of God's providence, from at his native city of Urbiuo, the their having been the means selected by dukes of which placehaving founded a Hun to feed the ProphetElisha. They and bestowed much tion attenmanufactory, are frequently depictedin conjunction to the improvementof this fine with saints. St. Oswald holds one in LU ware,

It has received its name

from the

tradition that these

were

itbecame celebrated all over

was

the world.

It

hand, bearinga ring in

Benedict has
one

its mouth;

St. the

abandoned

at the end of the sixteenth

at his feet ; St. Paul

century.
'*

Marryatt*
error

has shown

the im-

Hermit,one
RAI S.

of Potteryand Hittory

origin of the
tor

Dictionary.See

Porcelain. The true i* noted in p. 281 of this also MAJOLICA and POTTERY

him a loaf, bringing "c. In Christian Art, are emblems of light and glory, and are therefore introduced round
name, sacred
MONOGRAMS

further remarks, and engraved of this peculiarand beautiful ware.

specimens

of the There

Inly
cw

personages, "c.

KER.
j.*o

367
and

aorta of rays

"

and pointed

wavy

; these

name,

Care should nmy be introduced alternately. be taken that the rays be producedfrom the centre of the glorified object.Rays
are

persons as arms, and

originally adoptedby not to privileged also by ecclesiastics. We

was were

such bear
grave en-

from

as proceeding frequently represented the nebulae under angels.

REBATED.
was

Turned

back.

The

term

to applied

the point of the lance used

used of peace,* and it still by builders in the corruptform of rabbeted, when from a curious instance of the latter, they wish to express anything of the windows in the chapelof Our one clampedin this way. collar worn A plain REBATO. and which by gentlemen Lady, in Gloucester Cathedral, Thomas in the fifteenth and sixteenth cencontains the rebus of turies. Compton, the Abbot of Cirencester in 1480. It simply It turned over on (rabattre) whence its name. consists of a comb, with the letters t.o.n. shoulders, The act of restoring beside it,making his surname. REBITING. The device worn of the tun was most lines in an engravedplate one by the action of commonly acid,which is effected by again covering adopted. Beckington, Bishopof Bath and beacon has and the surface with etching-ground, a leaving Wells, tun; Abbot Boldo this is work of the bolt blunt To a the lines open. (or ton, arrow)transfixing and the etching-ground or Sir John Peche (died some 1522) has tun, "c. delicacy, and then his rebus in the windows of Lullingstone, is not melted on the plate, wax Kent to as a peach with the letter e upon it, spreadover the surface with a dabber, but melted on a final make the accentuated termination to etching, it is previous up That particular class of plainpieceof copper, then taken up by of his name. and known and delicately heraldic bearings the dabber from that, slowly by the French as " the and by ourselves as on armes deposited by that means parlantes," allusive arms," and "canting heraldry" forming a thin film plateto be rebitten, the surface, over care being taken that no armacantantiai), possibly (fromthe Latin, filled h owever is in mediaeval taste for the i n this line, delicate, siting originated depoup the ground. As the action of the The old coat of the Devonshire rebus. acid takes placewith much more named Arches,may be cited as a rapidity family, in lines once engraved than on a plain in tournaments
u
" .

"

etched surface, it is not necessary that the ground should be laid on so thickly.The
is then sufficiently, thus storing replatecleaned, it in a great degreeto its original depth of tint ; but though the dark lines

acid,having removed,and

bitten the

may

a generally and a practised rotten look, or worn eye from a can always detect an impression restored by this means. plate

obtain almost any amount have the lighter ones

of blackness,

REBUS.
as

Dr. Johnson

has defined this

"a

that

represented by a picture;" word, however, is always a proper

good example ; it consists of three
*

word

arc/u*.
on
a

See

MOANK.

two

simple and

one

double,borne

itr.e" shield.*
same

RKD

The bore

way

family,in the three herns (theold name

Treherae but the oddest
of all was

for the

heron);

secondary, GUF.EX, it produces equalstrength, or r"/-grey in RUSSET, and it is the principal primary
r

urple. Mixed

with the

in

that exhibited

by

the Dobell

family,of
a

all

BROWN

tones, except WMC-BROWN.

Sussex,who

bore

passant, between

indeed, they may in the Abbot of Ramsey, who bore a ram the sea; or Islip, Abbot of Westminster, who sometimes bore an eye and a slip, or
branch of
a

RED iscontrasted with its opposite, on a GREEN, bells three and YELLOW of equal argent; if, composed of BLUE be rivalled by not fairly strengthand proportion. Among the pigments sable shield
dot for artists' prepared use, that which the nearest to the approaches purityof its

type in the spectrum is carmine

are

; but all

less with blue or or alloyedmore from falling yellow. The most useful red pigments are artists similar Sometimes ! t adopted scarlettlip carmine,vermillion, chrome-red, indicative of their names as lake,madder-bike, devices, ; and light red,burnt sienna : in picuncommon Venetian red, dian Intures these are yellow-reds. they are by no means and engravings of the fifteenth century W""-REDS. are red, crimson-lake, curious examplesof which They are derived from the three kingdoms ; for some of nature. must refer the reader to the word The following we from the are tionary. mineral : Vermillion (sulphuret MARKS, in the earlier part of this Diccury), of merscarlet-lake (biniodide chrome-red, gle RECTA. Indian red of tnercury), (Lat.) A tunic worn in a sin(carbonate of oxide a nd the to red (clay coloured by piece, fitting closely ofiron), light person ; in use by the classicnations of antiquity. oxide of iron), burnt sienna (an ochreous of right earth). Those from the vegetable RECTILINEAR. world Consisting
"

tree, and at others a man / a tree, and exclaiming,

lines. RED. One of the three

lours. primary co-

are

the lakes and

madders.
us

The

animal

Its type is found

or

in the rainbow
or

kingdom supplies with carmine, which is obtained from the cochineal insect.
RED

prismatic spectrum,
RED with is a
BLUE,
a

the

common

LEAD,

MINIUM.

fine scarlet

wild poppy. mixed when

to imparts

warm a

the deutoxide oflead of chemists. colour, and, pigment, and liable to decomposition cold colour, It is fugitive,

of its own when mixed with other pigments; hence portion is to be avoided, unless warmth of tone. Mixed in equalstrength its use in painting and proportion with the other primaries, used pure and alone. it yields A term comprehending secondaries e. g, with YELLOW, RED OCHRE.

the latter

"

orange;

with

BLUE,

violet; but

when

classrather than

an

individual colour, and

mixed
"

in excess, it

raf-orangeand yields

old example of a family rebus may be the ailettes of a knight are 10, where emblazoned w"th of a winnowing-tan, seven either obtained in its native state, which he bore on his shield, in allusion to his or prepared from yellow orpiment,by Another name. graved Septcans. example is also enin our cut to the word SHIELD, which mountains, burning it. It occurs in primitive exhibits the family bearing of the Hawkers of sometimes in conjunctionwith Essex and Wiltshire, and represents a hawk his lour standing on perch,with his bells on his legs, native arsenic ; it has a deep scarlet coand unliooded, ready for the hawker. in mass, but is orange-redwhen mirably t The taste for these foolish bearings is adreduced to powder. " It is considered to ridiculed by Ben Jonson, in his Alchymiit, who invents for Abel Drugger a coat to be less durable than yellow orpiment, suit his name thus :"" First, he shall have a and extremely corrosive ; for Merimee relates* that's Abel ; and by it standing one whose bell, is Dee. in a rug gown and name on rightagainst that where it had been eir ployed ; him a dog, snarling err.'" rebus A quite as foolish as this has been noted as used for St. " Lt Utavt. la Peintwre a FEtale,p. 1S4 Seep. 314.
teen

An

in p.

scarlet ochre, Indian Indian red, including ruddle. "c.,as well as the ordinary ochre, A pigRED REALGAR. ORPIMENT, ment,

KED"

KKL,. in

369

it appears to hare corroded flower-pieces, the priming." Mrs. Merrifield.

"

REDUCE. In

To copy

on

smaller scale.

neck ; the lefthand inflating this is done by a series of them with a Statuary, order mark small w hich in due while the bellows, was graduated points, right employed in playingon the distances throughout the original and the keys. Our engraving In Picture",it is generally represents an angel thus employed,from the copy. far as regardsthe outline, as effected, by a painting by Memling, on the chasse of distances on each edge, St. Ursula, at Bruges. measuring regular threads across the surface of and passing REGINA, ST. A virgin martyr of the third century, who which thus forms a series of is usuallydepicted the picture, number of the cruel torments of her martyrdom, undergoing by rulingthe same squares; the canvas or by being bound to a cross, and squares to any scale on the same to her side ; or in a havingtorches applied paper for the copy, and placing of in the cauldron each or boiling portion corresponding receiving spiritual ; copy consolation in prison, by a beatific vision square, the most correct reduction may be For outlines, the pentagraph of a dove on a luminous cross. ensured. REGUARDANT. A term in heraldry may be used,and reducingcompasses for "c. of a lion,or any figures, denoting the position geometric

sented

and sculpture as carried painting choir. by saints and angelsof the heavenly They were supportedby a strap round the

REDUCTION.
work of Art.

smaller

copy

of

other beast, when looks back.

he turns

his head

and

A term denoting the i epaRELIEF, RELIEVO (/""/.) Works in RELIEF of three kinds, ALTO-RELIEVO are engravedline which has been MEZZO-RELIEVO in printing, or not bitten sufficiently worn (high relief), (medium re-entered middle and which line is with and BASSO-RELIEVO or a relief), (low deep, The ancients do not appear to sharpgraver, and cut to the proper depth. relief). LIGHTS REFLECTED settled terminology are such lights have had any perfectly round body receives on the shadow in applyingnames to the different kinds a as of RELIEF, whose laws are difficult to an illuminated to determine, side from its opposition of kind. it hovers between both of the as object any of Small portable Arts REGALS. and sculpture painting.Antiquity organs used treats it rather in a plastic manner ; and modern times, in which painting minates, predooften pictorially. The artistendeavours, the by moulding givenmaterial, to furnish the eye or by laying on colours, RE-ENTER.
of
an rat ion

and

the mind and

of the beholder

with

the

appearance

of representation

bodies

He as theyare found in nature. precisely attains this in the simplest plete way, by a comimitation of the body in a round form (rondo bosso) ; but alterations in
the

form

are

rendered

necessary,

times some-

by by
are

the elevated

sometimes position,

the colossal size of the statue ; these determined by the point of view from

which

they

-are

seen

by

the

beholder,

whose eyes should receive the impression of a natural and well-fashioned form. The
in the middle ages, and

frequently repre-

problem becomes

more

who* complicated
B
V

370
the natural
on a

REL"
down forms, pressed
to
as

REP.
coration

it were
a

freer than
therefrom.

the

but antique,

sulting re-

are surface,

be exhibited in
shade and

weaker

play
work

of

light and
of;
A

than is the

round
case

admits

such

with the differentkinds of RELIEF.*

RENO. (lat.) The short cloak worn which onlyreached by the Roman soldiery, to the hips, and was made sometimes of skins. REPLICA.

RELIQUARY.
case

portableshrine
or

or

ginal (Hal.) A copy of an oriin the middle of the goldsmiths done by the hand of the picture ingenuity taxed in the inventive master same ever, greatly ; copiesby pupilsare, howages was the took of their designs.They occasionally variety palmed on pictureforms of altar shrines,portable feretories, buyersas genuine replicas. hollow crosses, or REPOSE, Rrroso (Ital.) Pictures so transparent ampuls, named have for their subject, mounted on metal feet, altar furniture ; as the Holy of form and a surprising Family restingon their way in their exhibiting variety into Egypt. The figures enrichment; and it is scarcely possible, flight are times somesubservient to the landscape in the compass of this notice, to impartan ; in idea of the richness of their mais treated in a terials, other works, the subject adequate and the exquisite ideal style. The group consists of beauty of their lofty, design. They may be classed as follows : Joseph, the "VirginMary, and infant 1. Standingshrines;2. Feretories; 3. attended by Christ;they are sometimes Crosses ; 4. Ampuls, or standing who minister to them, or strew angels, rent transpamounted in metal ; 5. Chests ; roses vials, upon them. When 6. Paxes; 7. Folding tables of wood covered the word repose is used to characterise with silver; of Art, it alludes to that 8. Busts of silver on rich a work in painting set uprighton which gives it entire bases; 9. Arms of silver, quality 10. and inlaid with jewels and bases, Images ; dependance on its inherent ability, ; does not appealby gaudinessof colour, 11. Pixes; 12. Monstrances; 13. Tabernacles or of attitude, to a falseestimate exaggeration ; 14. Purses.f A generalquietudeof colour REMIGIUS, ST. Bishopand confessor,of ability. and is A.D. as rying cartreatment, an avoidance of obtrusive represented 545, generally the vessel containingthe holy oil; action in figures, is geor tints, striking nerally the ST. AMPOTJLLE from a or comprehendedby this designation receiving when dove ; J or anointingClovis,the French The appliedto a work of Art. works of Fra who kneels before him. and nardo LeoAngelico, Raffaelle, king, da Vinci may be generally RENAISSANCE cited as new (Fr.,literally as an birth). A term appliedto that peculiar examplesof repose ; while, example of the very contrary,the repulsive of decoration revived by Raphael in style picture Nicholas of Leo X., and which rein the pontificate National sulted our own by Poussin, from the discoveries he made of the Gallery, may be instanced ; this painting in the then recently exhumed and his Followers paintings represents"Phineus Thermae of Titus,and in the Septizonia. turned to stone at the sightof the Gorgon." " The works of the school termed of deThe Upon these was based a new style which in the cline deMacchinisti," originated

for relicsof saints

martyrs.

The

"

of the time of Va-ari, it used the term Mezzo-relievo for the appears, basto-reliero for the less promihighest relief, nent, and ttiacciato for the flattest or least
*

Italian writers

of the Italian schools in the

teenth seven-

century,abound

with

other

stances. in-

raised. t Some

REPOUSSE'. (Fr.) Ornamented

work, formed
metal from until
in relief by

metal

described

FK RETORT, t See p. 22.

of these forms are more this dicti-mary, for in MONBTKANCU, PlX, "C.

minutely
which
see

striking up the behind with a punch or hammer the required forms are roughlr

REP"

RKS.

in relief upon the surface ; the work of the author. This w original produced work the marble, being finished by the process of done in statuaryby piecing and in some instances so effectually as lu chasing. leave little REPTILES. Christian In for the eye to Art, repjuncture very tiles detect. The series of antique in general emblems of sin and of marbles in are British Museum to have nearly our like the serpent, all been evil spirits, cleaving to the process ; the royal tombs the dust. They were frequently introduced, subjected in ancient sculpture. at St. Denis, near with this allusion, which were Paris, smashed in the first French AsmfeRE-BRAS. (Fr.~) grievously REREBRACE, of the upper arm. The armour fully revolution, may be instanced as wondersuccessful restorations; the battered RERE-DOS. (Fr.~)The screen at the it was sometimes composed monuments in the TempleChurch, back of an altar; London, have been work in tabernacles, also to the same of sculptured niches, subjected cess pro-

and

statuaryof

and, at wall- decorations in geometric painted patterns,

or

racter, very sumptuous chaother times,of simple of

a was

with great and

success.

The

restoration

much paintings requires

to ensure ability,

knowledge, taste,
success,
am.

that good works are occurs frequently i n the in relief* over its surface ; occasionally, destroyed process. To thoroughly well the work of a great mind of silk or tapestry hung over the reproduce hangings no ordinaryhand, and great wall, forminga back ground to the altar requires also decorations. The term rere-dos was of the knowledge of the manipulation master whose work to the is the in front of to be screen restored. In choir, applied the picture should be first It doingthis, well displayed. upon which the rood was and all holes or broken surface also used to designate the open hearth, cleaned, was filled in with which fires were whitingmixed with size or lighted, immediately upon is much and in the centre of under the louver, glue; if the picture it obscured, be of which b enefited ancient halls, greatly good examples may by beingkeptin in the common hall at the Hospital a strong sunlight for two or three months ; occur then a thin coat of mastic varnish should and also at of St. Cross, near "Winchester, be laid over all, to bringup the colour as Kent. Penshurst, A liquidwhich be to its proper tone,which flows from near as may RESIN. should be imitated (withan allowance for of this trees naturally or by incision; of the larch and kind is the turpentine decay) by matching it with clear and

the wall

cut with ornaments

it

abele,the sandarac of the African " arbor pure tintsnot made too fluid. " Whoever the mastic of the pistacia lentiscus, presumes to restore a work of Art should vitse,"
Damara benzoe, amber,and copal. resin, RESSENTI. sionally (Ital.) A term occaemployedto designate power, or forcible expression.Thus, we speak of muscles ressenti, The ressenti. or a manner Farnese Michael modern Hercules
may

the benzoin of the storax

have

and a just thoroughunderstanding of the fine qualities of the appreciation

a

master, to be enabled

to do so without deterioration of his excellences. It cannot be denied that all pictures suffer some

deterioration by less that back

can

be cited
a

in ancient Art; and

specimen cartoon of

as

beingtouched at all ; the be done to them the better ;

it should be
as near

Angelo
Art.

as

good example in

RESTORE. of Art, as
near a

To
as

may

bring back any work be, to its tive primiimitation of the

justsufficientto bringthem to their original state as possible, and in every case they should be entrusted to efficient hands only."*
" H. Mogford's Instructions for Cleaning and Restoring Oil Paintings,a useful and very sensibly-written handbook the subject, on con" tainingmuch that is particularly valuable.

state,by
"

correct
SeeDnnm.

BB2

471 BET1ARIUS.
was

RET"
who (Za".) A gladiator

KIN.
;ibove the

and th" liquor drinker, flowing

armed

for the encounter trident

with

net

(rete)and

only. (See

ATOR.) GLADI-

RETICULATED. meshes of
a

Constructed like the

; a term to latticeapplied and cross-hars of a fence,

net

windows,to the of stone work in walls when to a species slabs are placed lozenge-shaped upon each thus the lines of imitating other, juncture
net-work, "c.
RETOUCH.
a or

To go

over

work

of Art

second
to

add

time,and restore a faded part ; for its general ment. improveportions

This term indicates the

in

thin stream

of the animal RICA.

thread from the mouth into his. passed

or

(Lat.)The

ceremonial veil worn

and

RETOUCHED. restoration of and

worn

by

ladies in Greece
of

Rome

on

sions occa-

decayed colour in pictures, lines in engravings.

To
renew

RETRACE.
of
a

the defaced outline medal which

drawing.
That the side of
one a or

REVERSE. coin

religious solemnity.* RING-MAIL. In Armour, is composed of small rings of steel, sewn edgeways of leather a strong garment or quilted upon cloth, is a variety in f Banded ring-mail
which bands the ringswere attached to straps or of leather ; and these again were

opposedto
or

person

upon action to be commemorated

the
is

fastened to some of strong under-lining (SeeOBVERSE.) represented. material. RING-MAIL differs from CHAINRHTPAROGRAPHY (6V.), literally in the of laced Dirt Painting. A contemptuous term bestowed MAIL rings the latter beinginterwith each other,and strongly ened fastor STILLby the ancients on GENRE with rivets. kinds These of a nd like them armoui LIFE pictures, including in the thirteenth, and during were worn all subjects of a trivial, coarse, or common of the fourteenth centuries. kind (BAMBOCIATA), and for which the part RINGS for the decoration of the hands Dutch and Flemish painters have rendered of great antiquity, and were are sively extenthemselves famous. Such pictures were used by the ancient Egyptians, of antiquity, who executed by the painters In used them for for the embellishment of rooms. signets. Holy Writ, generally mentioned ; and when The most famous of these ancient artists they are frequently who was Pyreicus, paintedsuch subjects Tamar wished for a token by which to barbers' and cobblers' stalls, and Judah,she obtained from him his identify as shops, and staff at other times fruit or shell-fish. Such signet.They were extensively used in the East,and so continue to be ; kind of painting is common the walls on from thence theywere introduced to Greece, of houses at Pompeii and Herculaneum. where every freeman used them, not for RHTTON. A of (Gr.) drinking-horn as theyalwaysbore a seal, is copied ornament a peculiar only, shape. Our engraving from the impress of which the bearer from an antiqueoriginal in the Museum at Naples, and has the head of a stag ; its would be known. The Romans adopted the but form horn a t he a s of was primitive custom, chiefly luxury. In an probably from the and which of Greece the liquor flowed through early days ox, Rome, they orifice at the smaller end,which was an were only worn by senators and ephebi; afterwards ornamented
rarious animals

with the heads of

*

and

birds. up

In

drinking,

"ee

FLAMMEUM.
MI

die

t See
word

example

in

our

cut

illustrative of tb"

rhyton was

held

by

the handle

H ALBEKK.

374
tions of animals and culled
are foliage

ROM"
sometimes

ROO. this combination

of the natural
a

and

the

Count give Caylus antique ; and brought from Egypt,adopted example than the accompanyingengraving which is copiedfrom a fresco at affords, the Greeks, and received amongst in the age of Augustus. Of Pompeii,in which the Egyptian asp. the the Romans romanesque
was

cannot we artificial,

better

says from

it

are ichneumon, and the butterfly, brought

RONDE

into combination it is

with

real and

fanciful

scribes (Fr.) This term dein their full sculptured objects

BOSSE.

in contradistinction to those which foliage forms, ; and though all isbased on nature, in RELIEF, or attached more so are absurdly combined,that we may or less to point to it as a good example of classic a planeor ground. ROOD. A representation rococo. of the Crucified ROMAN ITALIAN EARTH. A of the OCHRE, Saviour,or, more generally, pigment of a rich,deep, and powerful yellow colour,transparent and orange durable. It is used, both raw and burnt, in oil and water-colour painting. ST.,A.D. 639. A Norman ROMANUS, bishop,who, having miraculouslyconquered
-

dragon which infested that

try, counquished van-

is

with the usually represented monster by his side.

This saint, A.D. order of monks, important is usually in the dress of an abbot, depicted to a pointing ladder, by which his monks ascend to heaven ; or else as seeing a vision

ROMUALD,

ST.", 1027.

who

founded

an

of the

same.

RONDACHE. carried
upper

(Fr.) A circular shield, to protect the by foot-soldiers, partof the person, which it entirely
a

covered; it had
for for the

slit in the upper part, seeingthrough,and one at the side,

of the point sword
to pass

in Catholic churches through. Trinity, placed

ovei

ROS" tbe hence altar-screen,

The

ROU.
roses on

375 the head, or contemplating Saviour in a bouquetof the same

are

termed the

the rood-

her

tereen.

beam

across

chancel,
poor for

Infant ROSES

the rood,in bearing

a

churches

too

flowers.
the attributes of St. Dorothea, in
a

The termed the rood-beam. screen, was rood consisted of the three persons of the

who

bears them them

roses

basket.

Sts. Rose
or

Trinity ; the Father

an

elderlyman
was a

being represented fully clothed,around

as

Elizabeth of Casilda, of

and Portugal,

Viterbo, carry
Crowns of

in their hands
are worn

whose head

nimbus.

In the fifteenth

caps.

habited in full Rosalia, St. Angelus, St. Rose of century, he was generally and wore the papaltiara. He Sts. Ascylus and Victoria, "c. pontificals, is alwaysrepresented a nd ROSE LAKE. A rich tint prepared holding seated, the Son is which from lac and madder a on an crucified, cross, upon precipitated the Holy Spirit as rose descendingin the form of earthybasis; it is also known The dove over his head. a engraving madder.* exhibits the generalcharacteristicsof the kind of kke A coarse ROSE PINK. sacred group, from a drawing in Queen chalk with or whiting producedby dyeing Psalter work of the fourteenth "c. a decoction of brazil-wood, Mary's (a in the British Museum. rally, GeneA circular window ROSE- WINDOW. century), of the Holy Virgin and St. from with a series of mullions diverging figures at John were distance ing forma the the centre to on placed slight join cusps around, bear a generalreeach side this principal divisions which semblance group, in allusion
to

by St. Lima,

John

xix. 6. very

The

altar-screens

were

to the leaves of

rose.

sometimes

and large,

took the form of

ROSSO

ANTICO.

(Ital.)The

grained, fine-

and chancel, deep-tonedred marble used by the known ancient in France statuaries in Egypt and early the name were by ofj'ube, merly Greece, and forand in Germany by that of kttner, and occasionally by the Romans.f the with minute in England by that of rood-loft, It is of a deep blood-red colour, white division itself being known white spots,and occasionally as the roodnacle-work, veins. ecreen. They were composedof open taberand the stone in ROSTRUM. or wood, (Lat.) The stagein the and taste were orators dressed adForum from which utmost ingenuity displayed Roman and sacred feature of the and which obtained its in this important the people, nental from being adorned with the beaks Catholic church. name They abound in contichurches and cathedrals. The of ships. Hence the term is gene(rostra) rally constructed for the Church of St. Mary Magdalen,at Troyes, to a place applied

canopied gates in front of the

possesses

a a

very fine one, which

cited

as

very

perfect example in
ST. One

may be all par-

use

of orators.

The

rostrum

of

Roman

was galley

the

presenting pointedbeak,usuallyre-

culars.
.

the head
of the later saints

of
an

an

animal, with

enemy's vessel. Calendar (she died A.D. of the Romish ROTUNDA. church, (Lat.) A temple, chosen as the patron saint of Naples. or other building, circular within and 1617), and is sometimes She lived a solitary life, without.^ and skull the name of rouge i n with ROUGE. Under a a cross depicted cave, ; of of at other times, as receiving several a chaplet are sold, most preparations from the Virgin,or else crowned roses
ROSALIA,
which

they ran

into

therewith.
OF ROSE, ST.,

See

the articles LAKE

and

MADDER

in this

LIMA.

comparatively

Dictionary.
t There
in is a colossal statue of Marcus

Agrippa,

modern She

Catholic saint,who died in the seventeenth of the earlier part century.

is

the Grimani from this marble.

palace

at

Venice, sculptured
MONUMENTS

J See

cut

to

CHOBAGIC

and

with depicted usually

garlandof

Mo.vopTES.o8.

376 them
or

ROU"

ROY.

beingcarmine diluted with alumina, paintedfor the FoundlingHospitalwer"

more

even

with frequently

chalk.

The

and exhibited,

this led to the idea of other

rouge, which finds its way to the toilet-tablefor the strange purpose of

real French
"

exhibitions of

placein

the

took EnglishArt. The first of the Society of Arts, rooms

the painting
the Sowers

is lily,"

from the prepared

ing ti"ictontts) by infus(carthamus in a weak solution of soda, years afterwards, George III. gave his charter to the associated body of artists, the colouring matter on and precipitating cotton talc, with Sir Joshua Reynolds as president at wool, or on finely-powdered " Dr. Ure their lemon siders conunder the titleof the juice. head, crystallised by Boyal of an this the only preparation Academy, for the purpose of cultivating be used for the and improvingthe Arts of painting, kind that can innocuous ture, sculpthe cheeks. and engraving." purpose of colouring ment ROULETTE. The society consists of forty (Fr.) A small instrumembers, to produce a used by engravers the president, including twenty associates, and six associate engravers. series of dotted lines on a plate.It takes The funds its for from a rise two forms,one like a spur-rowel the ex(Fig. 1), hibitions support entirely of the works of its members, and
safnower

in 1760 ; it was so successful that native Art asserted itsclaims to notice ; and eight

others who

contribute to the annual which

hibitions; ex-

average
to draw

of

generally produce an Students are "6,000. admitted,

the collection of caste from

from

the antique and the living is rolled over the surface of the model, and covered with the etching- to the lectures, to the application platewhen upon and another which of rolls some council, 2) a ccompaniedby (Fig. specimen ground ; is their which further tested of with the shaft at right the ability, by angles tool, a the rowel being thick in the centre,and preliminary drawing from the antique, made within the Academy, and accomwhich are notched to the sides, panied diminishing anatomical of a and sharpenedto a series of fine points an by drawing ; and the the several act figure skeleton, d enoting they etching-ground by upon bones and muscles. If these be approved, off minute carrying portions. which ROUNDEL. carried hand The small circular shield soldiers in the fourteenth and It
was

the

student receives admission to the Antique School for his and library collectionof studies. preliminary are also prints Prizes of medals in

by

fifteenth centuries.
to ward not
more

held in the
was times some-

The open

off

blow, and
a

to his reference.

than

foot in diameter.

goldand

silver are

dents givento successful stu-

of the gold medals This, the only ; the recipients body of artists in England having a royal have the chance of beingsent to Rome to charter of incorporation, with an annuityof "100 each and originated through study, the desire felt by artists during the reign their expenses paidgoing and returning. of George II. for somethinglike the academies Every three years the council sends one of the Continent,0 Eternal City." in which they such student to the could meet for mutual It has been the custom for each member and instruction, have the advantage of the Academy to present a picture of drawing from the on model. Sir James Thornhill and his election ; and these form a very curious living valuable as to establish them, and did series of works, exceedingly Hogarth sought but of without the school. much illustrative ultimate good success. English Among so, About the same of Sir W. Chambers and time,the pictures them are portraits both by the latter Sir Joshua Reynolds, " h"c 2 of this Dictionary. Fuseli's "Thor the Serartist, battering pa^c

ROYAL

ACADEMY.

"

ROY"

RUS.

377

and the original Lawrence's guidedwith oars alone, Charity," Ruitic Girl,"Wilkie's formed like a large Rat Catchers," rudder was oar ; and Flaxman'g two were and Marpessa," Bank's usually Apollo placedat the stern of the vessel (one on each side, as exhibited Falling Giant,""c., "c. 34 and The collection of early cuts in art possessed our 202). The rudder by pp. the Academy chiefly consists of a noble "eries of casts from the antique : they of great have, however, three pictures value in the history of Art ; one an unfinished cartoon in black chalk, by Leonardo da Vinci, the Virgin representing and Child accompanied by St. Anne ; and

pent," Stothard's
"
"

"

"

"

artist's " Last copy in oil of the same Marco d'OgSupper,"made by his pupil,
a

when gione, that it is

a

the

was original

in

perfect
now

Btate,and which

is very

valuable

nearly perished. They

also
as adopted

bas-relief in marble, possess Michael in Angelo, an unfinished state, by

a presenting who is in the Saviour, of the Virgin. arms ROYAL BLUE, BLEU DU KOI (Jh) A rich deep blue preparedfrom smalt, and used for enamel and porcelain painting firstintroduced in the royal ; it was and received its name factoryat Sevres, in compliment to Louis XV. Being a vitreous pigment, it is not eligible for it fades in the one water or oil colours, as

remarkable

was

an

emblem

of Fortune,and

which

representsSt. John

appears crossed
on cornucopia,

dove to the Infant

the by her other attribute, lection, colof the Stosch a cameo

which RUFF.
worn muslin,

is here

The

engraved. of large collar,

both
sexes

lace

or

by

at the end of
teenth seven-

the sixteenth and centuries. RUSSET.

of the beginning

process, and blackens in the other. RUBENS' BROWN. A rich brown

pigment,which

obtains its name

on

from the the great ochreous

colour, tertiary YIOLBT secondaries, and ORANGE, in equalstrength ; or, more is it derived from a correctly, red-grey, the mixture of the three primarycolours in equal strength, but in unequal tions, proporof consisting two partsof RED and
A so-called

composed of the two

patronage bestowed Fleming ; itisa warmer

colour than

it and

by
more

one

e. g. part each of blue and yellow,

:"

Vandyke brown. stone A precious RUBY. varying in scarlet and crimcolour between a bright son
; hence
arts
as

Red*

KLr
It may
a

RuMet.

those tints

are

known
a

in the

It is ruby-coloured.

stone next

in value and hardness to the with the it had

diamond,but

also be regarded as compounded of primarycolour (RED) with a secondary, in excess. The GREEN, the primarybeing to RUSSET is green-grey, which opposite

of the sixteenth century jewellers consists of two parts blue added to one value than the diamond ; a higher part each of yellowand orange.* a even now perfect ruby of a deep rich RUSTICWORK. tion An affected imitathan 3J carats, tint,and weighing more of roughly constructed buildingor valuable than a diamond is more of the in masonry byleaving decoration, produced same the surfaces of stones rough,or columns, weight. RUDDER. That portionof a vessel See the .AnalyticalTable of the principal which determines its course, and guides it combinations of the three colour* if
*

safely. The

most

ancient vessels

were

primitive Hundertpfund'i Art of Faintingrtttortd.

378
as

SAB" if
cut partially

SAL.

from

unhewn

stone,

SAGGITTART.
centaur

(Lat.)
;
a

The

hippotion juncand

imitation stalactites, "c., cut on it woodIn work, to give it greater quaintness. with
it is used
to

(seethat word)
man

fabulous

of
arrow

and beast armed

with bow

designate

summer-

(sayitta).
While the the officers superior the
PALUDAwore military common

houses

and limbs

garden furniture made

of

from

SAGUM.
of the Roman MEJJTUM,

rough

trees, and
In

arranged in
a

fanciful forms. SABBATONS.

soldiersand inferior
of cloak

Armour,

roundworn

officerswore made of

toed,armed
SABLE. those made
are

coveringfor the

feet,

the SAGTIM, a kind and wool, open in front,

generally

duringpart of the

sixteenth century. The best kind of brushes

are

from the fur of the sable ; they and strong and elastic, exceedingly

to the touch of the givefineness and spirit artist : they are, however, unfortunately brushes made. the most expensive sword with a A broad cutting SABRE. curved blade,adopted from the artistic nations in the middle ages. (See SCYMETAR.) SACELLUM. A small unroofed (Lat.~) altar sacred to a enclosure containing an deity. The term is also used to indicate small monumental a chapel within a church, generally taking the form of a with open sides enclosure, square canopied formed the tomb in the by stone screens, and having centre beingused as an altar,
an

altar-screen at itshead.
masses were

Within

these

chapels,
fine

said for the repose of

are

the souls of those buried therein. There

examplesof such tombs at Boxgrove, and in "Winchester Cathedral. Sussex,

SACRAMENTSHAUS. shrine for

fastened The
TOGA SAGUM was

across was

the shoulders the

by a

BROOCH. as

(.Ger.) A
which
of
a

garb of war, that of peace ; * it was by

the northern
A

the

sively exten-

holdingthe sacrament,
churches is sometimes

worn

nations, particularly light kind

of

in German

in Germania

and Gaul.

highly decorative order. very The finest known is by the famous Peter at in the Church of St. Sebald, Fischer, Nuremberg. largeand
SACRISTY.
and

SALADE,

SALLET.

edificein which SAFFRON. The

That apartment in an ecclesiastical the vestments

preserved. of the older zafferano Italian writers is produced from the flowers of the crocus used it as was a glazing. ; helmet, introduced during SAGGITTARII. The (Lai.) body of
archers attached to the Roman termed from the
or taggittte

sacerdotal implementsare

the fifteenth

army,

so

arrows

they

The engraving is copied from a Roman of a barbaric chieftain in the Louvre ; he wears the sagum his tunic, and also over the characteristic bracchffi.
statue

SAL-SAP.

378

and for the use of foot-soldiers. attached to fasten it round the instep chiefly eentury, varied in ancle. with fig. 1 represents a German salade, They were frequently visor in one to cover the head and and exhibit great differences their detail, piece, in their decoration and in the mode of
ranging ar-

the straps,which were embroidered, and sometimes

frequently
decorated
were

with gold and

jewels. They

articlesof articlesof use, or costly wealth to the taste or according

wearer.

simple luxury,
of the stance sub-

SANDARAC. upper part moveable visor,as

army, of

resinous peculiar the African

the

face.
worn

Fig.2 has
in the
Both
are

obtained
vita?
or

from

arbor

English
in the

temp. Edward
at

IV. A

in small cylindrical articulata) (thuya of tears, a paleyellowcolour, spherical

of

armoury SALAMANDER.

Goodrich. Court. fictitiousmonster

and brittle. It is used in tha transparent manufacture

varnishes. spirit
A

believed to be generated and to exist in flames. It was adoptedby Francis I. of France

as

SAND-BAG.

leathern

filledwith fine tightly

sand,used

cushion, gravers by en-

his

as badge,and represented

lizard in the midst of flames. SALIENT.

to

animals SALTIRE.

applied by heralds as represented springingor

An
or

A term

leaping.
heraldic

bearing like
Cross.

the letter X, SAMNITES.

who
wore

St. Andrew's

(Lai.)A class of
a

tors gladia-

and close helmet,a shield, and who received that name from greaves,*

convenient prop their work at a to or motion a plate or to givefree angle, "c. curved lines, woodcut,in engraving
to

the circumstance of their beingarmed after the

manner

of the Samnite

soldiers. call attention the

SANCTUS-BELL.

The small bell carried

rung
to

formed by picture a glutinous is effect that the general ground,so and coloured similar to that of a ; picture SAND-PICTURE.
A

sand of various tints on arranging

by
to

the

and acolite,
more

the

solemn

parts of

the additional effect of embossed by the depth or produced readily

surface

body of

Roman
on

Catholic church

service, particularly

the conclusion of the words

"

the elevation of the Host, and at when the ordinary,

sand laid upon the surface, by which bold with It obtained. relief is was practised last in the considerable success century, in the neighbourhood seen is stilloccasionally districtsremarkable of coasting colour of the Alum
A

Sabaoth" These

Deus and Sanctus,Sanctus, Sanctus, are pronouncedby the priest, them

and from which the bell receives its name. with most other in common bells, articles of church

for the varied

"

sand

near

such

as

Bay, deep

in the Isle of

furniture, occasionallyWight.
blood
from
are

enrichment ; and, for large much SANGUINE. display sometimes so structed, conare from they cathedrals, prepared that three small bells
to act
a

colour,
the

oxide of iron.
is formed

are

cealed, con-

SAP-GREEN
of buckthorn mented

juice
then

under

one

large one, forming

which berries, tub for

firstfer-

sort of cover, and

their sound. softening

in
a

eightdays,and

SANDAL.
of consisting
*

A
a

for the foot, placed in protection to which thongs are and sole, alum,
our

As

exhibited
of the word

in

trative engraving, p. 95, illusnure

CAMPETEC.

of press with a small quantity concentrated by gentle tion evaporaby enelo; it afterwards is hardened in bladders. It is used in water-colour

SAR" but painting,

is of
no

SCA.

real

as Talue, can

better

pigment* of the

same

colour

be produced

by

mixtures of blue and

yellow.

SARACENIC. which Arabs

teristic the characPossessing

of decoration species introduced into Europe by the was or Saracens. (SeeALRAMBRAIC.) feature of that A tomb in which
a

pointed goat-like ears ; sometimes alna with protuberances the neck (LACINIA), on the forepart of the head and, in old satyrs, is bald,the hair bristly, the tail scanty. But sometimes they are of nobler forms.*
SAUNDERS' BLUE. The
name a times some-

given

to ultramarine ;

corrupted

SARCOPHAGUS.

rial bu-

form of eendres

was made, so vapieo^ayof SAW. This is an consuming), because the stone of (flesh constructed St. Simon and which they were apostles originally was

called from

from calcined

the colour being obtained bleu, lazuli. lapis

attribute St. James

a

of

the

the Less.
sword
or

believed to have
was

dagger, smith goldupon and jeweller were formerlymuch all but the teeth of a body placed employed. Fanciful subjects and mythotroyed logical of forty stories were in it in the course embossed days; an event frequently doubt accelerated by the use of quickmade lime. on them, and they were occasionally no is in the precious The finest antiquesarcophagus metals,and adorned with
stone

obtained

and

was

This that power. of Troas, the city which desort of pumice-stone,

near

SCABBARD

The sheath of

which

the arts of the

that in the Museum which

was

of Sir John

Soane,

gems.

In
some

the British Museum beautiful

are

served pre-

from Egypt by Belzoni, brought all over and is of alabaster, sculptured with hieroglyphics. The Roman phagi sarcowith were sculptured frequently of an elaborate and ornaments figures

Holbein Others Jubinal.

designsby very of daggers. for the scabbards are engraved by Meyrick and
An (Ital.) Guide by
at the

SCAGLIOLA.
invented marble,first
at

imitation
del

kind, and
treasures

among of modern museums.

are

the

most

valued much

Conte,
It is
tion solu-

Carpi,in Modena, by
a

ment commence-

SARDONYX. valued

A siliceous stone

of the seventeenth

century.
of

by the
its
name

nations of
from

It derived antiquity. in the

formed

substratum

finely-ground being

its resemblance

colour to the flesh under It

was

calcined gypsum, mixed with a weak of Flanders glue, the surface finger-nail.

used extensively

the white and

effect of
a

for ing, gem-engravred strata having the

modern
A

cameo.

studded, while soft,with splinters (scaof spar, marble, granite,bits of gliole) coloured gypsum, or veins of clay concrete,

imported substances silk stuff, in a semi-fluid state. The originally is It from China. so manufactured, employed to colour the spots and patches of the that it does not exhibit the crossing the several ochres, boles, terra di are and weft in weaving, but has warp surface. uniform and highly-glossed silk. is also thicker than ordinary SATYRS.
and
as monsters,half represented men an

SATIN.

"c. chrome yellow, Sienna,

of the column

The

surface

It

is turned

smooth

polishedwith lathe,
and pap, to

stones

a upon of different

and finished with Demi-gods resident in woods, fineness,

some

plasterother

give it
are

lustre. Pillars and smoothed

half goats,in allusion to their libidinous horns also propensities. They have goats'
on

flat surfaces

by

carpenter's

with plane,

and the chisel finely serrated,

the

head,and
or

are

in

bacchic which

saturnalian
"

tion. with plaster generally represented afterwards polished by fricof the gloss, The glueis the cause orgies. The

marks

characterise these creations

jured but it renders the surface liable to be inor even by its moisture, SCALE. or Proportion

of the Greek

poeta (the good

of satyrs"
not

for
"

nothing
ful powertics, gymnas;
"

by damp
measurement.

air.

and wanton

Hesiod)are

forms, but
or

ennobled

by

developed elegantly ; snub-nosed

Vide

MUller'i

Aneitnt Art and

itt ttemaiju.

382 kind in

SCE.

England ;
"

and

that records, and

the

have been perpetuated Daniel,the poet, Maid of the Mill," and line Rooker. The son of in trivances, conengravings by machinery,
of the scenes,

ornament

this engraver

was

one

of the most
his

brated cele-

made the most conspicuous part of the his masque, " The when entertainment,"

and scene-painters,

drawings
he
could

still attest the

which ability

in 1610, bring to the task. But the greatestname presented of Prince that as hitherto connected with the art was of creation the Henry on de Nienolas and James of Laniere, Wales. Loutherbourg,who Philip InigoJones invited by Garrick to preside the over was the musician, had great geniusfor these his theatre. cost was of The the scenic excessive, but arrangements productions; of the powers of this great stage could not afford first display therefore the public t he made in ShakPuritanic was it. In the landscape-painter age following, it which "Winter's was neglected Tale," ; and spere's gave the stage was entirely and in which not resuscitated tillthe end of Cromwell's greatest scope to variety, introduced a variety of new D'Avenant produced his Loutherbourg reign, when made into in of the aid "c. 1656, effects of Rhodes," by transparencies, Siege of art the anxious to properspective John Kemble was equally by a representation mote

Queen's Wake,"

was

"

"

in scenes." Betterton
effects on
was

the mise-en-scene of the the first to

immortal

improvescenic
"

bard,and
had

set the stage of the theatre in Dorartist the of and name one Gardens,
"

engagedWilliam Capon,who the painter studied under Novosielski,

with
accurate

he

at the opera, to furnish him

Streater time. much

is recorded

as

The

scenery,

employed at that however, partook

historic plays, for Shakspere's a scenery task his knowledge as an antiquarian draftsman enabled him
to

of the character of that exhibited

effect most

in the older court masques, and it was of of not capable a heavy and elaborate kind,

admirably ; his architectural designsof old English street-scenery, of which some remarkable for the minute those quick and striking changes effected stillexist,* are stage. It was entirely truthfulness with which they resuscitated upon the modern what is now termed setof the of nature old England. Robert Dighton and Charles b uilt the art in London ; up by carpenters Dibdin also practised scenery, regularly to be taken to pieces and Patrick Nasmyth in the north, before the curtain rises, many Elaborate "machines" when itfalls. of works admirable whose of were scenes again for the rise of superhuman personages, or Stanfield and The Art. livingartists,
their descent, "c.,were

theywere
have
been

also invented ; but and appear to cumbrous, equally

David

Roberts,commenced

their
"

career

as

scene-painters ; and

the admirable

way

as

we

see

vagances Acis and in which the former enriched chiefly copiedfrom the extraof the Versailles court-ballets, but a few years since, by the aid Galatea," of the them exhibited in prints of his magic pencil, cannot be forgotten by

his scenery. Grieve and period. The great reformer of the stage any who saw John Rich,whose in this particular was selves themdevoted who have since Phillips, taste completely layin gorgeous pageantry, did to panoramic painting, great and who sparedno expense in the decoration thingspreviously for the stage ; but the of Covent Garden, while it was it at present possesses is greatestpainter under his management, in the early of whose scenes part William Beverley, many of the last century. Frank Hayman, as are as perfect pictures any hung on the Thomas Dall, John Laguerre, and William walls of a nobleman's gallery. scenes i" Hogarthoccasionally painted It is an art which, unfortunately, ; and the original Richards, secretaryto the RoyalAcademy, was so successful in the The Editor of the present work possessei The vt, that two of them, exhibited in two, which fullybear out all that is here uid.
" "

SCE"
too short-lived in its nature to be remembered

SCH. ornamental
ancient

S8S

manufacture

invented formed

long ; and
often way weeks destined
to

for another
be

productsare be painted out, to make before many subject,

its best

Venetians,and

by the by fusing

coloured

until the mass assumed the glass of and other jasper, c ornelian, appearance
rare

as

quires passed ; stillit is one which reshare of a large knowledge, general well as artisticability. He must realise

stones.

SCHOOLS
of of

OF

ART.

Certain

modes
pils pu-

followed by drawing and painting,

a

the various natural features of the countries in which the action of the the
a

great master, hare

of well-defined

led to the of

drama

foundation

"schools"

lies,

as

well

as

of its peculiarities

palaceto the hovel ; diffi- thirteenth and fourteenth centuries, culties he has also to contend with peculiar which and colour consequentfrom of light into the Florentine and Genoese diverged the artificialconstruction of the stage, schools (Cimabue and Giotto taking the head of the former), and the schools of well as the combinations of such unnatural as and Umbria and The fifteenth Bologna. things as wings,sky-borders, century those who the great period of artisticdevelopother accessories. Few among was ment, whence we may trace modern excellence, enter a theatre to be amused, pause to coneider how much thought has been employed commencing with the FLORENTINE to render their instruction BO effective; SCHOOL, at the head of which were Fiesole still fewer appreciate the labour and reand Masaccio. This school diverged into search the stage the different styles, make of 1. Such consisting necessary to truly time ; natural truth, and whose the mirror of lifein pastand present as studied exact but this has been done on the modern stage firstexponent was Ghirlandajo ; 2. Such i n wonderful therewith combined of poetic manner. a species as very frequently a SCENOGRAPHY. The of art (G"r.) treatment, as Fra FilippoLippi,Sandro entire and Berrozzo Gozzoli ; 3. Such or object Botticelli, representing any building of treatment as it stands. as adopted a sculpturesque An works SKEPTRON the in of Andrea del blem emas seen SCEPTRE, (GV.) figure, of sovereignty and dignity. OriginallyCastagno, Antonio Pollajuolo, and Andrea it afterwards Veroccio. a staff or walking-stick, During the first half of the
from buildings,
"

since the revival of the Art among painters, the Byzantineand Tuscan painters of the

became assault ; and

weapon

of defence

and

the

of habitually by privilege

sixteenth century, this school was adorned the genius of Leonardo da Vinci and

it was indicative of power and staMichael Angelo. tion carrying THE ROMAN SCHOOL to kings more especially (intowhich that ; it belonged also borne by and leaders;but it was of BolognaRomagna merged) is the most and judges. Those effect for itssolidand legitimate priests, ; seers, heralds, important who bore the sceptre the to result which be attributed swore solemnlyby it, a may itin the right it to of feeling of studyand delicacy engendered hand, and raising taking purity Raffaelle Sanzio heaven. At an early it assumed the period by itsgreathead, made of ivoryor the form of a truncheon, d'Urbino,followed out by Giulio Romano, with Mazzolina di Ferrara, or preciousmetals, Zucchero, Baroccio, pierced golden and encircled with gems. The and others. silver studs, Carlo Marratti, in ite SCHOOL THE VENETIAN was gloried ivory sceptre of the kings of Rome surmounted bute and the magic pencilof Titian by an eagle. It was an attricolour, of Jupiter which Giorgioneand and Juno as sovereigns of it a position gave the gods. Sebastian del Piozbino had but prepared of him SCHEELE'S and successors GREEN. it for. The pupils (SeeEMERALD " in who GREEN.) dippedhis pencil the rainbow," Paul SCHMELZE-GLASS. A peculiar viz. Bonifazio, Bordone,Tintoretto,

SCH. and Veronese, Bassono, Garofalo, and followed in his footsteps, "rhool
a

vidual others, nature, and led to the adoptionof indiso whims, which,following rapidly gare this
one

European renown.
LOMBARD

upon

as THE SCHOOL, also known established by that of the Eckctics,was of which hare the Caracci,the principles

sink from Giardano.

to prop

caused the school to another, Guido Rheni,and Guercino, to

Nicholas Poussin endeavoured

in a sonnet of explained by Agostino be thus which may composing, of the the translated: design "Adopt been his
own
"

a reversion to the purer of principles classic Art ; but neither his

its fall by

genius,nor
under

that of the
as

men

who

had

ranked themselves the the

name

Roman,

with the colour of the Lombard

shade

opposers of the school of Naturalisti, could prevent

school,adding the motion and

of

decay of

Italian Art.

"This

that of Venice. Join the just symmetry of Michael of Raphael with the power the truth of the Correggio, purity Angelo, of decorum and the of Titian, solidity

decline resulted with many painters from and pleasing, but superficial a light tion, invenful, skilaccompaniedby a corresponding but decorative treatment; in others, from a close but spiritless it proceeded herence adto a set

Tebaldi,the learned invention of Primaof Parmigiano's and a little grace." ticcio,

To this school and migiano,
whom

of obsolete

which rules, individuals

and ParbelongCorreggio from the painters such were

were

of destroyedthe peculiarity
as

well

as

of schools. With

few

exceptions,
lost."* be said to

the Carracci

induced to select

sound

of their Eclectic style qualities ; "for and Annibale were, at the commencement Agostino of their career, unacquainted of the with the works of the originators imitate. t o beauties which theyprofessed Before opening their celebrated school, however,they visited Parma and Venice, the and became familiar with the works of and Titian ; but it was onlymediately, Correggio works masters of the throughthe strate above mentioned, that they could demonto their scholars. their principles The St. Cecilia of Raphael was not, and could not have been,taken as a standard Lodoof that great master. of the style vico is the real founder of the Bolognese school;he was the guide and instructor of his cousins, who were some years his * in of Their style proceeding juniors." to their making up" a painter according has been severely above given, own recipe commented on by Fuseli in his eleventh lecture. Certainly with the age of the Macchinisti began the decadence of that great and pure Art revived again by the genius of Raphael; and a meretricious and untrue in which the dictum of a style, school took the placeof the teachings of
"

as science, in painting, was manipulation

technical

the basis of

THE have

GERMAN

SCHOOL

may

with originated

the versatile genius

was

of Albert Durer, and

van

by Lucas Netscher, Mengs, "c. Leyden,Holbein,

remarkable
for
a

followed

It
to

was

strict adherence

power of drawing which stillremain the chief qualifications, characteristics of

its

nature, and for much

modern

disciples,

and Overbeck. under Cornelius, Kaulbach, with combines SCHOOL FLEMISH THE the German with of after the middle
of the sixteenth

history begins century. Its early the Van Eycks, who have given to

in Roger a school of their own Bruges, Hans Hemling, Jan Habuse, and Quintyn Matrys. Its great glories and Vandyke; their in Rubens centre the world works command
wants
are

remarkable
of

for brilliance of

colour,exactness
grace ; and
as

drawing,and great
:

of chiaro-oscuro
in

but
of

Rubens
on style

founding his

his power on nature, relying

her he
saw

exhibiting

lacks her, he frequently

ments, dignity. Teniers is one of its chief ornalost he though very frequently hia of his in the lowness proper position Spranger,Snyders, subjects.Steinwick,

"U.K. racterur,!.

Womum's

Epockt of Pointing

Cha-

SCH.

365

Niefs, "c.,
among which
may

be may the remarkable

as particularised
men as

THE

SPANISH

SCHOOL, while it.possesses

of

school

great power, has for its characteristic

certain the national mind. of

be considered

the

legitimate a
co-

descendant

of the Venetian

school of
lower

gloom and wilducss belongingto This peculiar school

"

lourists. THE
DUTCH

SCHOOL

is

even

in

the

refinement

displayed ; but the great genius

importance.
His
was

of painting appears to have been one of e stablished .the momore dern recently schools of Europe ; in its prevailing it exhibits
a

vated characteristics .Rembrandt,elepainter, by its principal

it into

close

nection con-

marvellous what
the

power over world had died with

was

and shade light

never

him

before seen, and it has who first exhibited it. It the fault of this school to
scenes

Italy, those of Venice and Naples, especially to though its earlier developmentseems
some

with

of the schools of

have
works

been

due

to

the

immigration of

too

much

Flemish artistsinto Spain. The undertaken

in

principal

the vulgarest of the thus of find time we II. ; they were cuted exepencil; employment Philip chiefly and a and the principal by Italians, Spanish great power of drawing, colouring, of Art, painters studied in Italy. Titian spent a perfect mastery of the mechanism devoted few years in Spain in the reign combined with high artisticfeeling, of Charles which works oil no to some V. but the he executed were unworthy subject, ; and which but excites pictures, and chiefly geniuscan redeem, easel-pieces, which, talent so misdirected. in colouring to the Spanish a feelingof regret to see thoughguides less the models of the great Ostade,Gerard Dow, the two were painters, Fieter du Laer Karel of masters Jardiu, Breughels, Spain than those executed in N colas iJau Liugelbach, of Spainhave time. The painters Bamboccio), (called Philip's been classified into three principal Maas, Gabriel Metzu, Frans van schools, local as but these divisions are as much Aliens,Eglon van der Neer,GasparNetCornelius Poelemburg, Paul Potter, characteristic scher, ; theyare those of Valencia, Pieter van and Godfried Schalken, Seville. The following Slingeland, Madrid, are of these several masters Jan Steen, Gerard Terburg,and Philip the principal as the prinof the places with the names cipal schools, Wouvermun, may be named of this of the school. resided and where ranged worked, arpower exponents theychiefly and marine of from Of the landscape the sixteenth painters chronologically, the the followingwere the same Of the sixteenth : period, century inclusive : : Ludolph Bakhuyzen, Nicolas Antonio del Kincon, Toledo ; Alonso Berprincipal Berghem, Jan and Andries Both, Albert ruguete, Castillo and Toledo ; Luis de Cuyp, Simon van der Does,Jan van Goyen, Vargas,Seville ; Alonzo Sanchez Coello, MinMadrid ; Luis de Morales, der Neer, Jacob Ruisdael, el Divino, BaAart van el Greco, Swanevelde,Adam dert Hobbema, Herman Theotocopuli, dajoz ; Dominico Pynacker,Adrian and the two "Williams Toledo ; Vicente Joanes,Valencia ; Miguel

select the

of life for the

Spain date from

"

"

Vande

Escorial and Toledo ; and Alonzo Velde, and Antony Waterloo. Of Barrosa, G. Hoekgeest, Vazquez, Seville. Of the seventeenth century architectural painters: HenCordova and der Heyden, Pieter Neefs, Pablo de Cespedes, Jan van : Steenand Hendrik van de las Koelas,Seville , Seville ; Juan diik van Vliet, still of Valencia ; Juan del de birds, life, Of Francisco Bibalta, painters wyck. Jan the ville Francisco following: Seville Pacheco, Seflowers, "c., Castillo, fruit, ;
" "

Davidsz de Heern, Melchior de Hondekoeter,Jan van Huysum, Rachel Buisch, Jan Weenix, Jau Wynants, Adrian van
and Willelm Utretcht,
*

Andalucia and Madrid ; Alonso Cano, Antonio de Pereda,Madrid ; Diego Velaa perfectlywonderful
the best of
;

Kalf.*
,

Van

Kalf

"c. plate, glass, picture*of fruit,

are

game,

all the dead birds, "c.

Utretcht was, perhaps, Dutch painters of

c

ecu.
quez,

Madrid;

Juan

de

Madrid; Pereja,
Madrid ;

France.
kind
was

The Greek ideal of

monumental for historic

Francisco Zurbaran, Francisco

Madrid

Seville and

adopted by
has moroid

him

and Ilizi, Madrid; Claudio Coello, painting, " and as a Zaragoza; Juan de Yaldes
; Antonio

been

terised happily charactique." an-

imitation of the

Leal, Madrid
lasco

Palomino

y Ve-

He

was

followed in his stiffinsipidities

Cordova ; Barand by Gros, Girodet, (theSpanishVasari), Guerin; but nature again appealed to the world in Esteban tolome Murillo, Seville; and el Mozo (the Francisco de Herrera, young), the work of Guerin's celebrated pupil, whose " Wreck of the Medusa" Madrid and Seville. This list comprises Gericault, of Spain; there were appalled all the great painters by its truth to nature and power in Art. masters in Leopold Robert followed in the no Spanish very distinguished and produced the eighteenth some remarkable century. The following same track, and life-likescenes. Paul Delaroche took of those above the most distinguished are to delineate hismentioned : Antonio del Eincon,Luis de tory up bis wondrous pencil, with the of a and the Koelas, genius Vargas,Morales,Joanes,Cespedes, power Alonso Cano,Velazquez, truthfulness of a historian, and nature Ribalta, Pacheco, againappearedon the walls of the French Zurbaran, and Murillo.* exhibition-rooms. No painters SCHOOL of painting excel the THE FRENCH was, modern French school in history until the latterpart of the eighteenth century, ; but in
"

in all respects a branch of the schools

of

landscape they are

inferior to

those of

develop- England and Belgium. ment THE ENGLISH SCHOOL is the youngest dates from the reignof Francis I., of the cycleof Arts; but its youthful who employedmany distinguished Italian artistsin France ; and what is termed the vigour has given it a wondrous position in short time. The first from the examples a comparatively French school arose left by these Italians at Fontainebleau. great native genius, who neither copied in a school, followed its rules The masters who engrafted the Italian nor who struck his out in he own the which of Art French has were path, principles among been hitherto and whose thoughts, II Rosso,Primaticcio, and Niccolo dell' alone, and sympathieswere all essenAbate. The earliest French painters of subjects, tially William and the only two who cannot English was distinction, Hogarth. be said to belongto this Italianised school "had no model "Hogarth," saysWalpole, to follow and the sixteenth Jean He created of Cousin improve upon. century, were his art, and used colours instead of lancalled Jeannet, and Francois who guage. Clouet, His place is between the Italians, belongedto what is termed the Gothic whom in the manner consider as epicpoets and traof the and painted we gedians, school, and The t'nree greatthe Flemish Italian quattro-centisti. who painters, est Italy. The
earliest mature
" "

names

in French Nicholas

Art

are

Claude Lorraine,

are

as

writers of farce and editors of burlesque

Watteau.

nature." * Poussin, and Anthony the Hogarth's was Le Brun, Le Sueur, Dufresney, period of the revival of painting in land Engbut be considered
of people
a

can Jouvenet, and others, as

the

transition period, hitherto

an age, Art. It menced com-

whose

works

rather than
was

the taste of picture the exposition of true that

a new

"

with J. L. David

era

departmentof the art ; the in the annals of names brightest his contemporaries Englishpainting were Sir Joshua Reynolds, Gainsborough, Wilson, West, Romney, Cotes,Cosway,

in every

in Art, which may possibly have " The been generated the revived classicalities best exponent of Hogarth is Charles by who written has admirable Lamb, a most essay of a revolutionary mania which convulsed his genius, for which on he was the first to assert a high claim ; since followed by Leslie, " R. N. Wornum'g in his lectures before the Royal Academy. Epocht of Painting.

SCH"

SCU. such
as were

387 manufactured in Flanders

Barry,and
added

Mortimer
"

; to whom

may

be

"

Loutherbourg, and Germany, one of which we engrave, all from a print by Hani Zoffany, Cipriani, Moeer,and Fuscli, Burgmair, 1511. In the succeeding domiciliated in England. Toward the of century,a variety end of the century, the most conspicuous fanciful forms were a chosen, very popular masters one in the department of history to the elbow, were being a human arm which Harfrom the wall, and grasped projected Northcote, Opie, "Westall, Copley, the socket for the candle. Large plates of low, Hilton, "c. ; in portrait Sir T. metal,embossed and engraved, ened fastwere Lawrence,Hoppner, Jackson, and Raeto the walls as a foundation or supburn ; in genre and Wilkie, Bird, Smirke, port for these sconces. and in landscape Constable, Newton; SCOURGE. This implement is placed and Collins. "We must refer to Callcott, in the hand of St. Ambrose, St. Anthony, for account of the VKRNON GALLERY our such other names their Boniface, as Guthlac, "c., to signify belong to modern love of t hemselves. and which have a mortifying EnglishArt, given position A tool with a triune blade, SCRAPER. to our native school for the first time each of to remove a edge which is sharpened, now position duly acknowledgedby
the foreignersDe
" " " "

those who surround SCH WEINFURTH'S

us.

GREEN.

liant A bril-

prepared by boiling sea-green colour, togethersolutions of arsenious acid and drypoint. It is necessary that it be sharpened whole to rest for a few days. with in or great the SCIAGRAPHY burr care, it a removing (Gr.,skia, shadow, scratches the of surface the and yrapho,to delineate). The draught plate. SCREEN. An open partition between of a building, its plan and displaying the nave and choir, to divide the officiating general arrangements. from the congregation. Such screens SCONCE. A candlestick, which usually priests were enriched by carving generally takes the form of a projecting, highly bracketted and gilding, and the lower panelsdecorated in wood or metal, and is affixed to support, with painting. Above their summit the rood was placed. (SeeROOD-SCREEN.) SCRINIUM. The wooden boxes, with movable covers, used by the ancients for keeping their books (or rather written rolls). They were cylindrical, and sometimes
use or

acetate of copper, addingits own weight and quantity of water, and allowing the

the burr

or

which rises on ridge

of the graver

plate copper-

by the

in the fifteenth They originated secured by a lock. Their form w*" and were of enriched century, generally convenient for holdingsuch exceedingly much ingenuity in condesign, exhibiting ception which were labelled above, documents, for and taste in execution, particularly exhibited in our cut. as easy reference,
a

wall.

cc2

888 from
a

SCR. and

characteristics of itsoccasional peculiar in our first may be seen to advantage example,selected from a painted frieze, which ornamented the Baths, SCROLL. A decorative ornament, in at Pompeii, where Greek Its the earliest rather from than use period. simple taste, Roman, The elegant convolution is visible in Egyptian works of an antique curve prevailed. has here been used as the foundation vase on of Art, but is firstdecidedly pronounced the vases of the ancient Greeks. The quaint of the ornament which is altogether adopted,
forms

at Pompeii. Straps were painting nience sometimes appended to them, for conveof removal,particularly by scholars.

of

fanciful character.

Our

tration and illusThe

which

of the word ROMANESQUE another fanciful combination.

exhibits The Roman

decorative Arts

wall-painters appear to have taken much i n pleasure givingthe rein to fancywhen

a new impetus to the in the fifteenth century. forms in nature seldom faithwere fully but were copied, adapted by the

gave

working for internal decoration ; and the resuscitation of some of their works led
to

the

which arabesques

of the object to style the scroll applied.Thus, they and which occurs here copied, upon a piece is evidently based on the study Raffaelle adopted, of pottery,

Roman

artiststo the
were

which

of

This is not, the tendrils,not easily be decided on. creeping plant ; the leaf, the berrymay stillbe detected, not unbut the we as case however, always ; are so much the ivy, hawthorn, oak, disguised by the mannerism frequently-find of peculiar that their prototype could taste, laurel, palm, and other leaves combined
a

and

with
and

and singular fluency

vases

care

upon

cups

uses.

The

seed-vessels of in

are plants our

also
ex-

intended

for the

commonest

as adopted, occasionally

third

J90

SOU in which 48). *'A religion blended with the life of exists With them,a statu" of beauty, but a sacred onlya thing What itseffect upon their impersonation. sir minds must have been we may judge by
was

p.

connected
not

therewith.

deityis

that which

in in nature, and finds its consummation doubtis the Greek man did), religion (as In Art." * lees favourable to the plastic

what is stillfelt in Catholic countries for for

some

looking upon
co

the works

his of Phidias,

of figure

or saint,

some

of picture

intrymen beheld the Olympian Jove, or

sacred

event, which

may

be looked upon

with a deepreverence for some pious reason, of Art, it may as a work be although, below To them was a see the divine presence. mediocrity. The nightof barbarism which succeeded not to see them before death, nepentlws; the fall of Rome almost as great a calamity as to die was brought with it rude that constant uninitiated into the sacred mysteries." f attempts in Art, to satisfy of model the the human wished mind to When for a sculptor craving presentation repositive human Divine upon the highest form, the thoughitresembled the work youthsand maidens of the noblest families of infancy a lower gradeeven than that of the crippled that become his models, would cheerfully of ancient Egypt. sculpture In most selection of the the works of he might, the tenth century, a finely by grotesque of delineation look achieve the but the we of men on sirous delimbs, developed struggles of exhibiting than human excellence. So greatly that which they had a more to create aright. Their labour no the Greeks imbued with this love of were power be considered of in the lightof pro"contests that beauty" may graceful form, gressive such held. Amid a were experimentstowards sculpture, occasionally rather than the art itself. There is, devoted to Art, it is less surprising ever, howso people, at times, and barbaric to find its triumph. No nation, a rude power about these works,rather the result dignity during the two thousand years which have of observation than innate strength. To have bestowed such an since then elapsed, is it likely delineate realities, ever rather than shadow attention upon it, nor again coarsely of the mind of forth imaginings, their province. to take so full a possession was their protectress, Minerva,not as an image, but as a reality ; they felt themselves in
"
"

nation

as

it did
all its

among

the

Greeks.

Hence make the

were

Borne,with
could not

glory and
of a

its power,

statuarywas, as near as theycould of life; hence it,an impersonation

which

originatesimilar works; the

more

and gilding with painting

they

of that people were thoughts character

"

tical pracquest, con-

decorated

love of power, war,

for the

necessary adjuncts productionof a certain effect,

were
a

commerce,

combined

to divert their

limited to

of transcript

nature.

This

of painting statues was and to occupy their best energies. practice common attention, To them Art was an accessory rather than during the middle ages. The document
a

it necessity;

was

employed
"

to

adorn

recordingthe
called
cera

wax

vehicle

or

varnish,
Andrea

Fisano varnishinga door in worshipped thing marble statue over the principal the moderns of the Cathedral of Orvieto, them. In this feeling has the facade among have followed their mental too rigidly been mentioned by Sir C. Eastlake.* This is alluded to more than once in the guidance. The great distinction between practice in their the ancients and moderns, taste MS. of Le Begue, and in the Tabula Imfor Art, dependsgreatly the want of perfecta on is a reference to some directions, the religious fervour the former people contained inTheophilus, round for painting and other images {imagines rotunda) rather than to be
a
* Mutter's Ancient Art and its Remaini. t Falkener's Jfuieum of Clauieal Antiqwtiti, TOl. L

of their mansions, or eternise the memory selves, themtheir power and victories to glorify

colla,furnished

to

for

painting and

"

Material*

for

History "tf Oil Painting,

p. 170.

scu. articleswhich nre not covered sculptured with leather, cloth,or parchment. The most remarkable example probablynow in existence of the union of painting with is the in the near baptistry, statuary Cathedral of Novara. the between
sons

of the present

day
more

feel to this *"rt

from

of decoration arises

prejudice

than any sound or consistent reasons." From the latter part of the twelfth to the beginningof the fifteenth century,

is circular, the art of sculpture The building most was and supported by a series of columns ; the immense cathedrals that the columns contain

flourishing ;
were

erected

covered with exquisite were during that period of the Passion. the events The figures, imagery,executed with wonderful in plastic skill. A great degree coloured, of grace is visible in work, are as largeas life, in resemblance gious and, some cases, the many of these works, and a strong relito lifeis completed fervour is apparent in the artist, milar siby the addition of real hair. The wall behind the figures, which to that visiblein the works of Giotto in fresco, and Fra Angelico. For delicacy is painted of exserves as a background pression to all of them ; and the light, and simplebeauty, aerial tone these of many of the painting old works may be cited most favourably, to the contributes much effect of the figures. in spite ment of a certain quaintness of treatstatues extended which belongs The custom of painting to a school or a period, also to the colouring like the archaisms of ancient Greece. with a kind of enamel of figures and bassi-relieviin terra-cotta ; They have received their meed of praise of this kind from one of the greatest and the numerous specimens sculptors, English of decoration which stillremain, prove the whose mind was most thoroughly imbued estimation in which this art was once held. with the beauty of classic Art. At the The most distinguished artistin this style close of the fifteenth century, a great Luca della Robbia,to whom was change for the worse is to be remarked in many of sacred imagery, much of that executed in ascribed. its improvements are In Spain,the art of colouring wooden England vergingon the grotesque. The school founded by Michael Augelo and statues was continued to a comparatively into late period. Pacheco Torrigiano gives instructions Bandinelli mergedthrough rather adaplcUfor adfor paintingstatues ; and it appears that a decorative style, in a palace, he did not disdain to practise self, junctive the art himment, --v for ornasculpture rather than for that claimed the honour and he even of ture, pure figure-sculpwhich is the great end of the Art. of painting having introduced a better style at the earlypart of the seventeenth Alonzo Cano and Montanes are Bernini, sculpture. his with commenced career said to have frequently that century, stipulated, considerable the art of f or sister but should themselves the a none feeling paint he introduced cious meretria painting ; and imageswhich they had carved.* imitative in considerable of colouring a This practice style, statuary may find its parallel with the Greeks, but it can degreeof the flow of draperyand play of and shade belonging rather to paint be considered the to as belonging light scarcely than lowed folThe best period was of their Art. It is an usage sculpture. novelty ing of less genius, which has excited much attention and controversy by many sculptors hence of somewhat and decadence a in a rapid Art-critics, particularly among to and it kind succeeded his was The of itsfriends be period ; Germany. opinion may of not until resuscitation the true An image thus stated in Pugin'swords : taste, and isintended to represent and should by a proper study of the antique, reality, such to its return as a resemble it in colour well guidingprinciples as consequently Michael made Raffaelleand form ; and the dislike that many was Angelo, as by perthat we have been enabled to place modern Mrs. Merrifield's introduction to Original in its present highposition. Th" Trtotitet on the Art of Painting. sculpture
recesses
"
"

"

392

SOU"

SEA.

like the Greek CLYPEBS, it was ourselves, by the impulsegiven among of the Elgin Marbles, and and shapedsomewhat rectangular, importation their true analysis by such master-minds and Canova, have pointed out as Flaxman and of the right path study. Germany England hold now a proud pre-eminence in modern though the sculpture ; and

oblong,
like th"

patrons in

our

own

country

pre

ficiently insufstill

its appreciate full; and such names as Foley, claims, Baily, MacDowell, obtain a European reverence equalto that bestowed on Flaxman, who instructed to
is
in even now

better known

and

reverenced

other countries than

England, though
denotes

that is honoured

by

his birth.

SCULPTURESQUE
SCUMBLED. SCUMBLING. softened effect in tints with
a

the character of possessing Tints

A mode

highrelief, sculpture. blended together.

of

obtaininga
a

painting, by blending
colour of
semisort

neutral

human

body.

It

was

made

of wicker

or

of

a raw transparent character, forming a when lightly rubbed with a nearly with a metal rim.* glazing A sharp-cutting SCYMETAR. of a picture sword, dry brush over that portion with a curved blade, which is too brightin colour,or which u sed chiefly by the Asiatics. unlike regular requires harmonising ; but, it does not entirely, but only parglazing, tially the ground-tint, the brush cover and never beingused charged with colour, thus by its partial D ldryness depositing SCYPHUS. A capacious drinking-cup, nute of colour over the granular portions used orders of the lower the ancient by surface. In chalk and pencil drawing, it is producedby lightly rubbingthe blunt of the chalk the surface, or over point the harder lines by the aid of spreading the stump, which producesa peculiarly used sometimes soft effect. It is, however, quently to an objectionable extent, and may frehave the ill effect of destroying

of

wood, covered

with

hide fastened

clearness of tint and decision of drawing. Etrurians and Greeks. Dennis says,t"it SCUTCHEON. The shield of a knight, was the cup of Hercules,as the cantharus his armorial bearings.(See ESCUTor It has often a that of Bacchus." was

CHEON.)
worn shield, by their heavy-armed It was painted infantry. with emblematic figures, decorated by or

pointedbottom, so
A

verted that it has to be in-

SCUTUM.

Roman

when SEAL.
a

laid down.
A matrix

raised it

embossed work ; and, in attacks on fortifications, which each soldier raised it above his

of imparting capable to impression anything upon of is pressed. Seal-rings are

nead, and closing formed together

pact com-

covering.Instead

of

being round,

* See cut CAMPESTBE. Our to engravi.ig represents one from Trajan's column, t Citiesand Cen*eterittof Etruria.

SEA"

SEC.
duce

303 the kind of abjasion wished boxwood

gems

and were the greatest antiquity, as lieu of the modern autograph,

are

used in

they still

the artist. When

is

for by thus engraved,the surface tools and

are
markable re-

in the
of the

East.
wax

In of
an

recent

times, the
a

with polished The

a

in impression mark

official seal is the

ment. docu-

rotten-stone.

ancient the
as

of genuine legality

for

higher and
for

Seals may

be divided into 1. Papal,

than modern

is

possessedby
works, as well

polish of generality
a

finer

having heads of Sts. Peter and Paul on of the Pope on the and the name one side,
other ; 2.
and

more

ous vigor-

and

effect. sculpturesque

sometimes are presented reroyaltitles, SEA-MONSTERS Regal,containing o f in coat-armour the the are on sovereign, generally figures ; they for the field ; 3. absurd inventions of heralds, but are the throne,or armed used by them for the distinctive by the seriously appended to documents Baronial, and imitative of the regal; 4. thus theyhave a SEAof families, bearings nobility, such include all in which with the as we DOG body of a talbot covered Monastic, a ffixed to documents with nected conand beaver's tail; a SEAa were generally scales, with the church, and
were

commonly
each
was

upon which the saints to represented dedicated ; 5.

HOUSE

with webbed and the

feet and

the tail of

fish ; *

SEA-LION

a exhibiting

Municipal, similar combination. SEA-PIECE. actions A marine view ; a sealegaltransby affixed to documents, fight. ; 6. Personal, and sometimes SEBASTIAN, ST.,A.D. 288. He was a taking the place of the sign-manual ; such seals always bearing soldier in the Roman army, and martyred his under Diocletian. He was first tied to a the name of the party, and generally affixed tree to be shot to death by arrows, and or badge; 7. Mercantile, arms, rebus, mark of geleft for dead, but recovered by the tj bales of goods, "c., as the nuine was assistance of his friends, but was merchandize.* again SEAL-ENGRAVING. An art of great seized and beaten to death by clubs. He is and practised by the ancients generally depicted antiquity, by artistsas bound to a In article wondrous on with with many our success. tree,nearly naked, and pierced have briefly alluded to he is represented we arrows, but sometimes OEM-ENGRAVING, with the arrows in his hand as an attribute, fine examplesof this work in ancient some them to heaven on one knee. We may here simply or offering and modern times. SECCO. "in allude to the apparatus in general use (Ital.)Fresco painting by
which
used

the citizens in their

the workman, and which consists of a lathe and moving a small turned by a treddle, horizontal steel

secco"

is that

kind

which

absorbs

the
a

colours into the

and givesthem plaster,

into which the dry,sunken appearance. cylinder, them revolve SECONDARY to tools are inserted, COLOURS. allowing Any two of the the gem, which is held by the hand against primary colours when united in equal close to each point, colours. Blue of the workman cutting proportions yield secondary the surface by the aid of diamond-powder and yellowproduce GREEN ; blue and red, VIOLET and into a paste with olive-oil. The and made yellow red, ORANGE ; ; and adapted to proeither tools are very simple, if, however, primaryis in excess, a grey tone is produced,partakingof the " Of this latter kind, examples occur as anof that primary; thus,blue added quality tient as the time of the Romans, and have been We found in London. indebted are to the in excess to orange or yieldsblue-grey Smith of Mr. Roach for this curious acumen red OLIVE added redto produces green ; discovery,which he first published in his Colieetanfa new Antigua, where, indeed, many yellow added to violet grey or RUSSET;
facts
now

science were that careful characterise

universallyreceived in antiquarian first promulgated, the result of and sound deduction which analysis this antiquary'slabours.

* The antique hippocampus, p. 237, may be the origin of this creature, which only differs in having hoofs instead of webbed feet.

394
or yellow-grey produces same are

SEC"
CITRINE.

SEN.
and for any

The

the church

result mixed in

ensues

when

two

secondaries

; thus, OLIVE equalstrength

result* from the union of green and violet; violet; CITRINE, RUSSET, from orange and

modated,
assistants. In and large cathedrals a row of such seats and they are is j rorided for the clergy,

too pour living wealthy district*

of The opposites from orange and green. the primaries the secondary colours are ; thus,BLUE absent from their composition and yellow) of ORANGE ; (red is the opposite
BED

is the

of opposite

is the ; and TELLOW yellow) and blue) When VIOLET (red

.

is mixed

with

(blueand of opposite a secondary a total its opposite primary,

GREEN

extinction of colour ensues, and a lifeless result ; but when two grey or black is the one mary prisecondaries are mixed together, violet and double strength; e.g. blue of consists violet orange fore and red,orange of yellowand red ; theretwice them as in strong as red exists other the primary the power of each of colours in itselfalone,so that they cannot
is

in present
"

neutralise each
or

but only form halftones other, TINTS

are

TERTIARIE8.

SECONDAKY

those of

Applied occasionally as greys, "c. canopiedand enriched with medium The denotes sediliaof the middle ages, the phrase ability.sculpture. to style, of if designed That part for important a DISTANCE. SECOND uses, were rally geneground. and backand between the foreground highly enriched with painting picture
subdued kind, such

SECTION.

A verticalplanof a

such as were gilding, particularly We building, for high clericaldignitaries.

designed
engrave
a

showing the construction of the interior, beautiful example of the fifteenthcentury, the thickness of the walls,comparative which was made for the use of the burgomaster of in the old town hall at Erfurt. of rooms, and general disposition height
the which whole, appears
as

if cut

through

SEME.

An

heraldic term the

its centre. SECTOR.

so

shield covered with small A mathematical with lines of

as

to a applied its over charges

instrument

entire banner

in surface, of France

manner

of the old

marked

tangents, sines,

"c., secants, chords, all radii and scales.

SEDILIA. in
a

to

adapt itself to

SEMICIRCLE.
two

engravedp. 193. A circle divided into

equal parts through its diameter; a

The leading idea which of a governedthe generalconception

used

(Lai.) The rows of seats Roman amphitheatre. The chairs in houses. The term is now usually
seats
on

half-circle. SENTIMENT.
has

restrictedto the stone

the south

eide of the altar in Catholic churches,and which are used by the priest, and deacon, sub-deacon in the intervals of the church service ; hence found in they are usually cates triplicates onlyis seen, it indi; or if one that the priest alone was thus accom-

to

visible work of Art, or which makes itself of the spectator the eye and mind

through the

work

of the artist.
a

"

termining In deof

the merits of will perception

are

work

Art,
laws

often be

just where

of

no

avail.
are

there

tional, Though there are condilawt perhapsno positive

SEP"
of criticism in Art be every work must reference to the motive
,

SKR. The Castle of St. Angelo, at Rome, is but of Hadrian. Sepulchre

considered with
or

the remains of tho

end

designedto
mere

that of

illusion or
of another

be attained ; whether the or imitation,

or

SEPULCHRE (OF THK SAVIOUK). The of the sepulchre of Christ, representation

and

excitement

several of the

the ceremony

sensations of which This of two

the mind

us brings of painting distinct developments

"

is tible. suscepto the consideration

favourite in the Roman side of the chancel

of his entombment, is a Catholic church, with

on

and is usually to be met

near

the north
some

the altar ; in

it is a niche in which the altarimitation with, and imitation without an instances, Good Friday till ulterior object the sensuous and the sentimental, crucifix is placedfrom
"

for the

allied to the
an

sensuous purely sphereof mere as an

is closely Christmas imitation

as
an

Day

or

it is an

altar-tomb with In
01

image of the Saviour

and rich

end.

The

sensuous

end is a form

cathedrals

placed upon it. a group churches,

filled the niche,repreof imitation, sculpture entirely development perfect senting the dead Saviour surrounded by it is the most powerful element as a means his mother and friends, of Art. A distinction between imitation with a figureof the and the objectof imitation is obvious : Almighty,the Holy Ghost,and angels these two departments as evidently require above,and a group of armed soldiers below.
for the

the

exertion of
"

two

distinct faculties of of visible perception

of

In
is
a

some

of the continental churches

and artistic

this the

the mind normal the

one, the

most

forms; the other, a knowledge

their

SERAPHIM. choir angelic

The

imposinggroup. classof secondary

and and CHEBUBIM) ; and incidental appearances, ANGELS (see of their uses. This may with wings they are usually represented appreciation and a flaming heart, be illustrated by the various appearances to typifyspiritual incident to the various passions ; and thus, motion and divine affection ; or covered all over with eyes, to denote their knowof in the representation any particular ledge of all human work of Art must events a counsellors or sentiment, as passion of the Most High. and effect unless its cause be imperfect The seraph'shead, are in heraldry, is usually understood by the artist.These delineated with six adequately two be above of and two two below,which spectively rewings, departments painting may each termed the imitative-formative, and one cross each side of on other, and the imaginative gree the head. ; and there is a deSERGES. of their combination The largecandles used in which, when Catholic regulatedby a justrefinement of feeling, the ceremonies of the Roman and must constitute the perfection which of Art."* sometimes church, weigh SEPIA. A pigment obtained from the sticks pounds. The sockets of the candlemany used in water-colour painting. are cuttle-fish, generallyprovided with a It is of a fine warm, brown hue ; mixed pricket, upon which the candle is stuck. with a red,it takes the name In some candlesticks four feet of Roman instances, in set the ground near sepia. height are upon SEPT-FOIL. the high altar, A typical as in St. Bavon, at Ghent, posed figurecomof seven equalsegments of a circle, where there are several such of silver, used in the Catholic church to denote the which were by Henry VIII. of presented number of its sacraments, the gifts The candles of the sometimes England. are "c. with lettersand devices. Holy Ghost, painted SEPULCHRE. SERIAL A tomb PICTURES of that order for the dead, are the ancients, which, among occasionallyin which a story iscarried on consecutively, assumed the form of an important building. such as the four seasons, the four ages, "c. In Sacred History, the joysof the Virgin, " her sorrows, the life of Christ, "c. In Wornum's Epocta of Painting.

SEli"

SMA.

dici,"I black-lead sketches is by passing then History,the " Life of Catherine de MeIn through milk spreadover a flat dish. A by Rubens, in- the Louvre. " Marriage-a-la-Mode," by much better plan consists in using weak Genre, the

washed in the EnglishNational Gallery. isinglass Hogarth, A SERPENT. symbol of eternity. flatbrush. SEVERE. A The serpent as the symbol of renovation to work the a god of applied is an attribute .Esculapius,
of the ef of

over

the surface with

term

of Art, a

when indicating, adherence rigid

healing art,or medicine his father,Apollo. Under

a

and also the form

a

to

certain rule which hand

of the artist.

guides the idea

Such
a

and

term

is

of the to the works peculiarly applicable ancient in and the archaisms 205), of seen was Egyptians ( as represented p. place quently freGreece. these are and of reptiles (SeeART.) figures SFREGAZZI. feedingon an altar. In (Ital.)A term applied depicted in a of to a mode the Temple of Athena, at Athens, glazing adopted by Titian and other old masters for soft shadows of flesh, den constructed for its use, lived a great "c., and which consisted in dippingthe serpent, considered as the guardian of the temple, and supposedto be animated into the colour, and drawing it once finger snakesurface The the of Ericthonius. be to the soul along by paintedwith an its received of movement. who the Mrs. daily even Merrifield, god Acropolis of Athena, notes the usage in her Ancient Practice sustenance from the priestess and once month was observes, trialwill show propitiatedof Oil-Painting, every of cakes of the purest that there is no other method with piousofferings by which soft In the shadows be Christian can so serpent honey. easily Art, produced. in The reason : it figures a prominentplace given by the Venetians why occupies Paradise ; the brazen serpent restored the the fingers to the brush for are preferable
"

of serpent, the guardian spirit

stricken Israelites to health.

ancient Christian monuments,
to

On

many

this purpose,
laid
on

is because

the colour

can

be

it is affixed the

thinner

in this way, and it has the

all the intersticescaused

the

cross

we

see

it also under

effect of

filling up

feet of the

VirginMary. St. Euphemia. It is the symbol of cunning and perfidy ; also of as a serpent, prudence. Satan is represented under which form he temptedEve, and it is frequently delineated with a human dued, subhead. are Serpents represented
of St. Cecilia and
or near

It is an attribute

by

the strokes of the brush.

of the

The

ness thin-

paint also contributed to the

of the colours, because as the durability varnish or oil dried more from the quickly of paint, thinness of the layer the colours from beingchangedby the were preserved

many

saints as attributes, to

action of the air upon them." SHADE, SHADOW. Rays received from
a

show their power over Satan in this form ; like St. Patrick, lously or else that, theymiracucleared SERRATED. SETTING.
a

luminous

source an

the partsof
rays
are

called direct, and are rect receivingthese diobject The the

not to receive

country of such leptiles.

said to be in LIGHT.* situated

as

Having

zigzagor

regular irso portions

if direct rays are said to be in SHADE; edge,like the teeth of a saw. The tendency of crayon to rub and be destroyed or pencil Absolute unity, that is,a large work con drawings would of one group or mass of light only, by handlinghas led to the adoptionof sisting heroic without be defective
*
"

as

various

means

to

secure

them

upon

the

or

surface,which
some

of

that it always requires. done by passing mind variety which usually is absolute unity ; Rembrandt's manner material over them. The properties he often has but one little exhibits group, and clarified ox-gallin letting than or one spot of light in the midst of fixing more

is

any with

as an poem collateral incidents to recreate

sode, epithe

black-lead in
p.

or
a

crayon

lines has been noted

of

large quantity
mass,
"

of shadow

; if he
no

lias

se

that second

bears

201 ;

proportion

xmd to thi

very

simplemode

setting principal."

398
"Unce

SHE"

SHI. the value of

being removed

by

me"u

of files

the official "8,992. In 1847,

cameos

and

by

the

is next broughtout gravers, the figure venient of smaller tools. A very conuse of tool for this purpose ifl of steelof pieces wire,about six or form

value of the
was

importedfrom
A

i'rano*

"6,502."
SHELL-LAC.
on

made

flattened at the end and inches long, eight of about then ground to an angle hardened, stone. oilan on and sharpened carefully 45", The tools largest
wire may
an

stance red, resinous subof the Indian produced twigs figand other plants, by the punctures of the
a

small insect which

a

feeds upon

it. It is

be made

of

and deep red colour, semi-transparent and in is sometimes the form of a hard,
on

of

of "wire about one-eighth

meter. thick crust inch in diafor tools

the stems

of the

plant,in

Smaller of
a

will

serve

which is

shapeitis the
as

medium
an

size; but

for the smallest

and is esteemed

stick-lacof commerce, the best kind. Seed-lac

produced by pounding this resinous tools, secretion with water, and drying the grathe to and same angle, ground nular hard, quite when inserted in a wooden handle, portion. Shell-lac is produced by will, be found very useful in deepening the meltingthe seed-lac over a firein a thin it to fall on any smooth of the former finer lines. The advantage bag,and allowing it is spreadin tool consists in the absence of any angles surface,by which means
that would
and
a

left ordinarydarning-needle,

be liable to scratch the work ; tool thus formed admits of being

as
a

thin scales, shales. or SHIELD. The form defence military modern different ages, but most

of this article of

used either
as

gouge

the flator round the work. of

according chisel, side is broughtto

or

has varied

in considerably

of all in comparatively

act

on

times;

old forms

have,

and however, been occasionally revived, the original of the pavise of the middle is said to be of in the sculptures earned on at Borne since about the year of ancient ages may be seen and first the manufacture At 180-5. was fined conEgypt Babylon. The form of to Italy an Egyptian shield is given in our cut, ; but about twenty-five years the engraving p. 41 ; that of the Greeks,on p. 34 and Italian commenced an since, of shell-cameos in Paris ; and at the preon p. 42 ; that of the Bx"mans, sent pp. 1,43, number of shell- 94, 187,210,"c. The pointedor kitetime a much larger made in Paris than in Italy. shaped shield belongs to the ancient Siciare cameos lians, artists have attained perfecand was The Roman tion adopted by the barbaric tribes of the North ; representations in this beautiful art ; and copies from of their soldiers the antique,original and covered occur designs, entirely by traits, porthese huge safeguards. executed by them in the most The soldiers of are William the Conquerorbear them, as reboth in styleof finish, exquisite perfect presented and taste. Nearly one-half of all contour in the Bayeux tapestry, from the cameos made in France are exported which our which cut, Fig. 1, is copied, of these afterwards to England; here was are shaped to the body,as in many mounted as brooches, and re-exported to This Fig.2, from the Temple Church.

The manufacture

which shell-cameos, Sicilian origin, has been

the United States and the British colonies. In 1845,the officialvalue of the cameos from France was but the imported "1,126,

cumbrous when it was

defence

seems

to have

been the

favourite until

the

thirteenth

century,

shortened.

In the fourteenth

which duty of 20 per cent, on the value, century, it was modified into that which has become then existed, the received form a as of the ragement operated great encouto the smuggler. The effectof shield in heraldry, knightly as displayed the subsequent reduction of the import in our cuts, pp. 62,77, and 199, as well duty to 5 per cent, on the value, to was For account an of the genuine increase the quantity entered in 1846 to see p. 93.
*

SHU"
M

SIB.
were

393

the first in

our

group chosen

illustrative of group exhibits heralds for

ESCUTCHEONS, p. 179, this

*.he various forms

by

or stamped with ornamental figures, with coat-armour, and other devices. painted McUl shields, richlysculptured.

and Celliniwas nobility, in their decoration. occasionally employed The latestform of shield, as used for jousts
were

carried by the

of peace, may SHRINE. for an of armorial bearings, which, display the the time of about Crusades, originating distinctionin the shield an were important of a knight during the middle ages.* In the shield received, the succeedingcenturies, of with other portions in common ing accordvaried and changes, armour, many fashion which to the taste or peculiar the times in supreme favour at the time. Someat sometimes it was curved, square, others cut at the edgesinto fanciful forms.
was

be An

seen

in

our

cut, p. 146.
tabernacle
as

ornamental

in

our

times, represented which exhibits an ancient engraving, sacred to Osiris, Egyptian shrine,

idol in ancient

The

large lance adopted by knights in led to the universal adopthe tournament tion of the bouche, or indent at the right side,that the spear might pass through, ing without hinderand rest upon the shield, of the breast it from entirely covering third in the knight,as represented our In early times,the material for cut. shields was generally wood, or hides ; the
Greeks and
Romans

and is copied from In modern relic.* SIBYLS. in stained

bas-relief at Thebes.

Catholic countries, shrines contain the body of a saint, or some particular

Among the figures sented repreand other church glass,

ages,
we

used

metal.

The with

decorations of the middle find the frequently

very

with sibyls represented who foretold the coming of which, the prophets metal, or covered with leather, is in the fifteenth and sixteenth centuries,the Saviour. Although their history involved in great, and perhaps impene* and its illustrative enSee HERALDRY, gravings. mediaeval shields were
*

wood, banded

See

KERETOBT.

400

SIC"
our

8IL.
should and
on a

in forefathers, did not the Ages of Faith" and devotion, hesitate to representtheir images in sacred it seems editices, necessary and proper, in of this kind,to give an account of a work

trable obscurity, yet,as

"

rise
cross.

again." Emblem
This

"

uaunc;
a

listis taken
was

from

bov/"

canonical

hours,which

the symbols and oils and eventually counts, thicken, acto them. parent, According to some dry into a transassigned to flexiblesubstance, which yellowish, they are twelve in number forms skin a the tall of of surface are the b ut stature, upon oil, others, ten. They
"

the use of the church at the the sixteenth century. traditionally SICCATIVE. Drying. Certain prophecies

for printed of beginning

full of

tume vigourand moral energy ; their cosornamented but conventional, rich,

and

oils are
are

retards its further alteration. Such said to be drying, or siccative, and

on

stones. They pearlsand precious Christian in Art, represented selected each with her appropriate motto, 1. SIBYLLA LYBICA. : from her prophecy Prophecy" That the day shall come, shall see the king of all living when men h. lighted Emblem" taper. 2. things." he "That SAMIA. SIBYLLA Prophecy

with

used

this account

in the preparation
"

are

thus

of varnishes and

colours. painters' used

Dr.

Ure.
A marble

"

SIEN1TE.
for

by

the

cients an-

"

statuary and decorative purposes.

a

"

who

was

rich should Emblem

"

be born
rose.

of

poor

virgin."
CUM
AN A.

A
"

3. SIBYLLA

Prophecy " That Jesus Christ ornaments made in a mould ; also termed from heaven,and live and should come The ancient modellers in clay BYLLA SIectypa. reign here on earth in poverty." 4. were God abundantly CUMJE. facture employed in the manuProphecy "That of such articles for household gods, and converse should be born of a virgin, "c. and cheaply A cradle. 5. sinners." Emblem They were often rudely among like the modern common SIBYLLA EBYTHB^EA. Jesus of made, Proplwcy figures Italian an Son of God, the Saviour." blem Emimage-man. Christ, SILHOUETTE, A horn. 6. SIBYLLA EUKOP^A. (fr.)A profile, or side face entire of an That figure and her a anything ; son Proplwcy virgin repre-. sented as a solid black mass, the general should flee into Egypt." Emblem A the form. sword. 7. SIBYLLA PEKSICA. A flat Prophecy outline only indicating That the devil should be overcome by piece of metal,card, or wood, cut to a certain form, to givethe solid outline of a Emblem a true A dragon under projphet." of ornament. her or piece feet, and a lantern. 8. SIBYLLA figure fine threads produced by AGKIPPINA. SILK. The Jesus Prophecy "That
"
"

its distinguishing compound rock, being the presence of hornblende and ren felspar. It obtained its name from the city of Syene, in ancient Egypt,where it was originally quarried. SIGILLAKIA. (Lat.~) .Small imagesor feature

It is

"

"

"

"

"

"

"

"

"

"

Christ should be outraged and scourged." A whip. 9. SIBYLLA TIBUKTINA. Emblem shall come Prophecy " That the highest
"

the silkworm ; the material manufactured those threads. It was from originally

"

manufactured, and the

bred for the purpose, in

worms

virginshall be shown in the valleys of the deserts." 10. SIBYLLA

a

from

heaven,and

artificially duced China,and intro-

into Europe by the influence of the in the sixth century. Prophecy."" That a prophet Emperor Justinian, should be born of a virgin, in the middle ages as known and that he It was should be crowned with thorns." Emblem and cloth ofBaldeck or Babylon, baudekyn, A crown of thorns. 11. SIBYLLA HELfrom whence it was supposedto come LESPONTICA. That the Venetian traders obtaining it from the Jesus Prophecy Christ should suffer shame of the Greek empirein the East, workmen the upon cross." Emblem" A. T cross. and keeping its trade in some 12. SIBYLLA degree a PHHTOIA. secret monopoly, from which they derived Prophecy" That our Lord DELPHICA.
" "

"

"

"

401 he chooses to represubject sent. in abundantly exemplified works "bout A.D. he off of Greek not carried and 1130, Art, forcibly unworthily shown in many modern sculptures. and established manusome factories silk-workers, in Calabria and Palermo. A ladle used by the (Lat.) Italy, SIMPULUM. ancients for lifting wine from the large became the seat of a tionary stain consequence, soon vesselsin the cellar to the portable European trade, which spreadto Spain, and ultimately to France. The religiousvesselsfor the table. It had a longupright with a hook at the end to hang it in the latter persecutions during handle, country, beside the the early wine-vessel when not in use. part of the seventeenth century, SINOPIA. A fine red pigment, much with perfect knowledge brought many refugees in the beauof the art to settleamong tiful as seen ourselves ; used by the ancients, red grounds of the mural paintings and the revocation of the Edict of Nantes, This is in 1685, occasioned a still greater influx of who settled in and workmen, Spitalfields,
gave of xr"at wealth. During the expedition to II. of the Land, Holy King Roger Sicily in pathos

the

of be

Pompeiiand
a

elsewhere. A

It appears to

fine oxide of iron.

their silk manufacture The basement of

there

very
or

great renown.
SILL. door. SILVER.
for A beautiful white metal.
a

window

It

musical instrument, mystical by the ancient Egyptiansin their religious iu especially ceremonies, the worshipof Isis. It was so peculiarly that the personification of the Egyptian, used

SISTRUM.

is employed in

and staining glass yellow, on painting porcelain. Many of its Kilts as the nitrate, the chloride, and
"

country upon the coins of Hadrian the sistrum, and has the ibis at her feet, as
in from
our
a

bears

iodide

"

are

employed as
an

seen photographic

purity, of that emperor. It for ornaments appropriate consisted of a intended for images or chapels thin, of the VirginMary. oval, metal frame, which passed SILVERY. A term sometimes applied through to which of metal rods, a number to light tones of colour, rings remarkable for sometimes attached. It had a short were softness. agreeable and was held in the righthand, is usually handle, SIMEON", ST. This prophet the depicted bearing infant Saviour in his him in the temple, as arms, or receiving in our engraving, seen p. 339. is frequently SIMON, ST. This prophet with a saw in his hand,in allusion represented to his martyrdom, which is said to have been effectedby sawinghim asunder. He sometimes bears fishin his other hand, in allusion to his having been originally
a

agents. SILVER is and therefore most

emblem

of

ing, engravdenarius

fisherman. SIMPLE.

Unartificial ; true 10 nature. SIMPLICITY. Purityof conception

and execution ; absence of apparent pretension natural grace ; an ; reliance on adherence to the rule of nature,and a of what meets the eye; this transcript does not by any means quality argue want of power in the artist, or want of effector
and-

from violently shaken, it derived its" name.

which circumstance The

Rj-.nu.si

became

familiar with tliis instrument, by

DD

SIZ"

SOA.

the introduction of the worship of Isis before the commencement into Italy, shortly of the Christian is used in Nubia and
era.

the human
the

in pencil or figure with chalk,

a

simpleshades only, or
same

rough draughto"

Tlie sistrum

in colours.

to this day. SKETCH-BOOK. A book formed of Abyssinia from an a nd for sketching is used drawing-paper, in. Our second engraving copied the Berlin SKETCHING. The art of copying antiquesistrum of bronze, in from nature for a finished work. Museum, discovered in ancient Ei?ypt. SKETCHY. the character Glue made from leather, parchment, SIZE. Possessing of strained. sketch and a finished. boiled in slightly water, ; "c., SKEW. It is used by painter*.*The purest and Anything slopingfrom another from parchment,and is at an obtuse angle. best is produced to harden A thin,flatsliceof marble for SLAB. used by print-colourers, much which lithographic decorative uses. engravings the paper upon and which is very SLING. An offensive weapon, used by are printed, would and absorb in ancient times, for casting colour, soldiery, soft and porous, of lead, "c., at enemies, if the paper like blots, it run stones, pellets and make and allowed did fatal execunot saturated with size, by which they frequently was tion. it. The It has been in is to discarded colour before to dry, applied European
use

of size

as

vehicle is constant has been

our own

in

warfare

since the end A

of the fourteenth

class of Art which

with practised
Stan field and

century.
SMALT.
used

glasscoloured by cobalt, a as painting ment. pigwork admirable It has her in to on cient anMerrifield, nothing recommend it. SMALTO. The minute, regular (Ital.) painting, says" r" The fact that some times at of coloured were used in the modem of painted oil-paintings glass squares parts Roman mosaic.* with size-colours is established beyond a not only of the Venetians, SNAP-HAUNCE. A Dutch as the practice firelock, doubt, to the introduced to the English army but of the artistsbelonging in the
great
success
"

by

Roberts

we

mean

Mrs. scene-painting.

in water-colour

other schools."

Paul Veronese sometimes

time of Charles I.

in tempera and finished began his pictures and frequently them in oil, paintedhis
skies in size
or

tempera colour.

One

of

a pictureby Perugino is with smalt,temperedwith starch painted da farina). or flour-paste (colla A long sharp knife, carried SKEIN. by the ancient Irish as a weapon of offence.

the skies in

collection, in by Soane,is preserved its original No. 13,Lincoln's-innlocality, the private residence of Sir John, fields, and bequeathedby him to the nation. It is open to visitors on Thursdays and Fridays the of months during April, May, and
formed Sir John June in each year; and likewise on Tuesday, from the first in Februaryto the last in
or written applicaAugust,by personal tion for tickets, a day or two before the

SOANE

MUSEUM.

This

SKETCH.

The firstembodiment

of

an
or

artist'sidea in modelling clay, canvas, work to he intends from which paper,

to

his more finished performance intended visit. The house is crowded in ; perfection Varies from thin every corner but which with objects of interest, frequently the and often displays gatherings of a longlife, original conception, containing enough less vigour. A copy from nature fill a house three times the size only to properly finished for the artist to secure of the present sufficiently the most one ; consequently, materials for a picture.An outline of a devices have been resorted to,to ingenious of street-view. A transcript or building obtain the utmost space for the display of its contents ; and the picture-room is so " It is dissolved in
w"ter.
as
a

vehicle, in

tempera-painting. Mixe.i with 1* used for priming grounds.

Cliina

clay,it
"

See

GLAM

MOSAIC.

4.03

that disposed,
leaves of
a

the

".ii!.-" open thi-jt.

like

the

which

was

afterwards
at

to Nn["opresented

in 1807 ; the Tilsit, by Alexander, lection colchairs and table of TippooSaib ; and ivory suffers by this want of space, which of other articleswhich a numerous variety and occasions makes it look less than it is, Sir John's constant in collecting activity much had secured to him in the course liable to be overto be hidden, or of years, looked. The most remarkable objectin him to add to hisconfiiifj and which obliged the collection is the Egyptiansarcophagus space in every possible way, and ultimately discovered made the house almost as curious as the in a tomb in the by Belzoni, of Biban-el-Malouk. It is entirely contents, inducinghim to stipulate with the valley be covered with hieroglyphics within and that should they inseparable, country and is formed of one when he bequeathed block of them at his death. without, which is perfectly SOBRIQUET. alabaster, transparent, (Fr.)A fanciful name ; a althoughtwo-and-a-half inches thick. It nickname. Many such have been given fine to artists by their companionsor friends, cost Sir John "2,000. There are some to distinguish Greek vases ; * and a large collection of them by their manner, "c.; and antiquegems, intaglios, medals, Thus, Fra works, or place of birth. and of Fra Angecasts known' is Bartolomeo better as fragments architecture, lica, many collectedfor the purposes of study.Among loveliness pf his works and from, the-, the chief works of Art are sixteen sketches the seraphic character of his 'compfeitiott Flaxman from"Ms and models by The Snake in John Breughelwas distinguished ; the Grass,"by Sir Joshua Reynolds Van Velvet Breughel,from brother Peter as ; the Texel,"by J. an sive expenTromp'sBarge entering wearinga velvet coat in winter, his three in custom M.W. ostentatious and one day. Turner, R.A.; Canaletti's, of his fais better known vourite Du Quesnoy,the sculptor, one fine, depicting remarkably views on the Grand Canal, Venice. from the circumstance of his as Flamingo, from the students of the progress The four pictures delineating being distinguished in his and the of an Rome, by Hogarth, Election," youth,as // Fiamingo (the of some Rake's The devoted to "The Progress," Fleming). privatenames eight the few artistsare seldom used,as in cases remarkable works are by the same artist,f and Michael Angelo of Raftaelle Sanzio, of a remarkable man. Among the books is an illuminated copy of a Commentary Buanarotti; and in other instances not at called of Antonio Allegri, which to St. as in the case all, on formerlybelonged Paul, from his birth-place. rated decoCardinal Grimani, and which was Correggio, withA slipper SOCCUS. or loose shoe, by the hand of Julio Clovio; the tie of out the Gierusalemme w orn or fastening, manuscript original the Greeks by both in the handwritingof Tasso; among Liberata, in Rome by females but for John Thorp's sions; sexes, designs Elizabethan Manwho had them illustrated Pennant, only, Fauntleroy's and more "c. "c. Among the "curiosities" is the of finer quality, watch of Sir Christopher Wren ; the pistol ornamental. They were ^ also worn the stage by c^mic acton.* on which Peter the Great obtained from the SOCIETY. An at Azoff, Turkish commander in 1696,and assembly or body of to laws artists, meeting under subjection The most quaint and beautiful is engraved framed the o f members. by f majority on p. 3S4. series are the largest SOCIETY Election and OF T The ARTS. This society, best finished of the artist's works. longed They beestablished "for the Encouragement of to Garrick, and were purchased at the

book,

and

other display
The

pic- leon tures

within and

behind

"

"

"

"

"

sale of his widow's effects, in 1823, fur the sum of XI 732 10s. "The Rake's Progress" is not vrel' painted. The HP series were bought by

Our

man

cut of the soccui fresco, representing

fotne.

in 1802, for "598

t See

ST. LUKE

copied from a R" dancing comedian, (Academy of;,p. 274.

a

is

4M

soc.

Avta, Manufactures
founded in 1753
a

and Mr.

by

Commerce," was William Shipley,

the
out

Edwin whose

Landseer, "Wyon,and
names
are now

many

others

great iu Art, first

drawing-muster, and brother to followed of Asaph,who, iu this, Bishop

the

had their impulsesfostered and rewarded within these walls. In science the Society

and the terms liberal, proposalof Benjamin Franklin,in have been equally bestow American which their of the they reward.*, upon 1748,for the formation that they shall all be for the Institute in Philadelphia.stipulating Philosophic have enabled them to freely held on the 29th of benefit, Its first meeting was public

March, 1754, at Rothmell's Coffee-house, otter to the world the use of manj exeelfcnt inventions. Since their foundation, Covent Garden, and continued Henrietta Street,
to be
so

uary, until the 10th of JanPeele's Coffee-house

in
was

1755,when
resorted
to.
was

thus expended by the Society the money has exceeded "100,000. They have remodelled their laws years,

a place of Subsequently,

within the last few

to
our ever

meeting
op

taken

ing Court,CharCraig's
held

adapting them
have

increased

where Cross,

the firstmeetingwas

knowledge,and

been

ready to

The Phoart or invention. tographic the 5th of March, 1755. In the following aid any new taken in the in their founded were was Society larger apartments year, assembled and their exhibition of manufacturing the Society Strand;and, finally, rooms;

its present building in the Adelphi, Arts, ancient and modern, really the Great Exhibition of 1851, which was erected for them by the Brothers originated count and the Crystal Palace at Sydenham. Adam, on the 12th of October,1774, Visin The

Folkestone being the first president. The pictures, by Barry,which decorate Exhibition the of walls their nated origiare lloyal Academy great meeting-room

in the

being the
Prizes
were

in 1776, history.The society, of the newlythe members of medals of various grades instituted Royal Academy the decoration ; and offered each "15 also of of this room, the Academy to be repaid were prizes by many this the pictures for the best drawings by boys or girls exhibiting w as proposal ; for permiswhen Barryapplied under fourteen years of age, the first refused, sion awarded to nature the labour, to execute being muneration, asking no reprize of that afterwards at the same names, although, Cosway. Numerous time, of no larger he was so poor as to be owner high in Art, first gained honours and The prirewards here. than sixteen Bacon, in 1758, sent a a sum shillings. vilege he for which of was and he set to small figure Peace, was granted him, quent illustrative awarded ten guineas work with a series of paintings ; and on nine subsethe occasions he gained their highest of the progress of Art and Science, ledged acknowhonour of final an and its gratefully premiums morality, development in retribution. The subjects are six in number, sculptor by the distinguished to the Society 1. "Orpheus Civilising and consist of: after-life, by the presentation of the Mars, Venus, and Narcissus which the Inhabitants of Thrace;" 2.
as

in 1760,* Society in England. first of the kind for the given by the Society
rooms

of the

as

the most remarkable in England, among well for their instructive excellence
for their

encouragement of Art

in the young,

sisting, con-

proposedto

"

"

now

decorate their
met

rooms.

Nollekens and

"

A Grecian Harvest

Home

;" 3.

ing ''Crown4.

"The Olympia;" tribution Society.Lawrence, as a boy Triumph of Commerce;" 5. "The Disof thirteen, and received their silver palette of of Premiums by the Society five guineasfor his drawing of the Transfiguration. Arts ; 6. "Elysium,or the State of Final Sir William Boss had a similar for Retribution." These noble pictures, reward at the earlier age of twelve ; Sir have purityand grandeurof conception, been surpassed; See pp. 3 and 37G. and, indeed,the never

Flaxman

with

equal notice at the

the Victors at

hands of the

"

106 voice preacher's

are canopies

SOU"
among

SPII.

the

and auditory,

SPHENDONE.
worn

preventits being lost by ascension. Such

round

(Or.) The broad fillet the head of the Grecian ladies

A

frequently richlydecorated
A

to confine

the tresses. fabulous vented monster, in-

with carved work. SOUTANE.

worn

SPHINX.

by

white woollen cassock, the Roman Catholic clergy as an beneath the rochet.
tween space included bearch of a door or window The
outer
was

and frequently by the ancient Egyptians, with in their sculptures. met It

of three

under

garment SPANDKIL. the upper

kinds, the ANDKO-SPHINX,

.and the square

form
a

mouldings,which
It takes
a

frame

thereto.

gular trian-

form, and
armorial

is sometimes

filledwith

bearings and
BLACK.
A

or enrichments,

'elaborate foliage. SPANISH

from colour

produced

burnt cork ; it is

and softer lighter

A rich reddish and

than

ivory-black.
FERRETO.

SPANISH

brown, obtained by calcining copper in closed crucibles. sulphurtogether

SPANISH
RED.
An

ochreous
to

red

bearing great resemblance or red,but slightly yellower

SPATHA.

Venetian

warmer.

The long,flat, two(Lett.) acute an point,used the Roman by very generally soldiery.* SPEAR. A simple but eflective implement of warfare, whose early form may

edged sword,with

our cut, p. 21, and which has altered in its progress towards scarcely times. our own seen

be

in

"

with the head of a man looking-glass. and the body of of metal, a lion, union of intellectual denoting the one and highly polishing reflecting and physicalpower; the CKIO-SPHINX, surface, using the other for decorative purposes. with the head of a ram and the body of a The reverses of antique metal mirrors are with the lion ; and the HIERACO-SPHINX, for the beauty of remarkable generally head of and the hawk. a same body They their enrichment,and have frequentlywere all types or representatives of the and other scenes executed allegorical in king. The two last were probably so incised lines on their surface. Claudian in token of respect to the two figured describes the chambers of Venus as having deities, Neph and Re, whose heads they the walls covered with mirrors to reflect bore; the other greatdeities, Amun, Kheni, her beauty. Pthah, and Osiris, heads, having human SPETUM. A military fering and, therefore, implement difall connected with the The ancients constructed them very littlefrom the partisan and form of the ANDRO-SPHINX. The king like them, it had a spear-like was ruHseur; under the mysnot onlyrepresented terious with other blades projecting blade, laterally "of a sphinx,but also of a figure from its base ; but differed in being and this last had and of a
ram,

SPECULUM.

(Lat.)A

of

narrower
"

form, and lighter.

Se" cut. p.

moreover or JPhrah,

the

an, Kijf 2.

hawk; of peculiarsignification " the Pharoah, sun," persom-

SPH. fied by the monarch. The

40?

inconsistencyfacture in metal, used by the nations of for shields, of representing the sphiuxas a female is If we antiquity vases, "c. quently look backwards to the most remote obvious. times Sphinxeswere fresufficiently of Greek industry, find that long before we placed before the temples,on became to the the outer side of almost either, fire-casting 'approach customary, carried out by gate.* The Greeks looked upon these every kind of work was Even productsof of Egyptian these simple means. figuresas mystic emblems created in this manner, and as theology in its enigmaticalcharacter. Art were and the like could not be describes them monsters statues, as Pliny living vases, the of their real nature together in Ethiopia by put was BO soldering, process ;
nails
were

learn not
even

for the purpose ; this we but only from ancient writers,

used

which have lately and the most Etruria, of which are importantspecimens now the British Museum. In one possessed by of the tombs belonging to the vast necropolis of Vulci, bronzes of a great many this very ancient workmanship were covered, disten nearly of years ago ; one them represents a bust placed ment, on a basecovered with thin copper plates, and been discovered in

from monuments

them

littleunderstood, that the poets describe the face of a virgin, the as having

and the body of a dog,the paws of a lion, tail of a dragon. They were ultimately exhibited by their artists with the head and breasts of an Egyptian female, a "i the body of a lioness, to which wings were added,which never appear on the Egyptian of the originals.The true signification became lost, and it was figure ultimately as in our adoptedas a quaint decoration, second example,where it forms an ornament to a bronze pin.f SPHYRELATA. (Gr.) Hammered the earliest kind of art-manu" Wilkinson's Mannert and Customs of the Ancient Egyptians, second series. t It is preserved among the ancient bronzes In the Museum at Naples.

adorned

with

row

likewise chased ; the neck and over

of figures, which are long curls fall down and these shoulders,

"08 formed arc parts,especially,

t

SPH. in the most be

Every
western

reader

of Homer

will remember the father of

implemanner

one

would

tempted to

the constant

which epithet

did not the whole sition eall it child-like, composhow a certain character,which

poetry bestows

experienced eye of the Artin these rude to distinguish (.iulosopher

"wibles

the

and thrones, which a quality well-nailed,"

"

sceptres, upon similar objects : he callsthem

is to be

referred not and The

so

much

to the material workmanship

Attempts
germs

at

metal-work plastic

the first

mechanical

construction

of

of those noble and

such artistic tions produc-

of

later

period. The

engraving,
and
to

to their external aspect. as objects, which the heads of these ornapoints mental

givinga
as

side-view of this remarkable

is intended

yet unique monument,

show the arrangement of the hair,which, of beautywhich decorative Art of its simple treatment, presents outpouring in spite afterwards and of t race whole spreadover every surface ot as a some slight grace We perable to possess proportions. ceive which it was ing to its magic power. that these curls are formed by rollsubject small strips of and twining together connected with the head bronzed plate, mechanical have the means we itselfby alluded to : there is no trace of soldering,

nails present to the eye create :\ of fine proportions, and are to be variety considered as the firstgerms of that rich

knowledge of

fine

itselfand

to

and

we

may

be

sure

that

we

possess

in

mer-wrought good specimenof those hamwhich of sculptures old, were spoken of by Greeks themselves as to a fabulous period. belonging this figure a "We may observe how the timid artist much subdued as possible, as has, cautiously

prominentparts,which present,in this of workmanship, increased difficulties. The lefthand is closely attached to the chest,while the right is stretched out to hold some symbol, now lost;a necklace hides the rude workmanship by
kind which head and bust is united. The which
we ment orna-

all

composes

it is

and graceful,

see,
a

even

in this instance, that in works

taste and the feeling primitive period, beauty are hidden,rather than absolutely wanting,and that they burst forth likeleaves in a warm, spring as soon night, afforded by advanced knowas the facility ledge allows their free expression.*

of of

In the
to

be

taste begins engravedabove, .and the skilful observed, ment managevase

of the nail-ornament

lends to this

" Such undeveloped works of Art to a Homer, inspiration Hesiod, a

have
and

lent
other

them,
upon

as

what

it is not do we

not

allowed to throw ridicule understand. It is true

great bards characters

of old, who read those symbolical like the written characters of a poem, presentingto the unlearned eye nothing but confusion, while the man of letters finds there the highest ideas eternalised. Those who laugh at such primitive attempts ought, rather to be ashamed general!/, of their own Ignorance,which should impose silence upon

that similar configuration- of an archaic racter chamust be considered the of as germs thoughts,only to be unfolded in the course of The poet, however, is able to anticipate ages. the fruits of such an organic development, and givesfuU expressionto what is only aspired at by the artists of those remote times."/*-. ". Braun, in the Art Jour Mil. IH50.

SPI"
vase an

SPU.
to proves
a

409
most

aspect of much
are

heads

of the nails

elegance. The edged like precious

into the earnestly stones, and the concentric circles which livened of beauty.* embrace the whole circumference are enof well-distributed by a great number and points, acquire an air of by the lines which follow pleasing variety differentdirections. Primitive alternately as is this specimenof a workmanship be-

longing
instructive to those who The finest examples of
are as

it still period, inquire of the principles origin

remote

antiqueartistic
shoulder-

metal-work

the
"

embossed

straps,known
in
our

the bronzes of Siris," British Museum, and which represent between the Greeks and

the combat

Amazons; they are in exceedingly high and are beaten into form with wonrelief, derful
skillby the hammer. breast and

They formed

very broad-bladed like the partizan, earned, spear, generally by household guards in the sixteenth SPONTOON.
A

the part of the body-armour, connecting

and were found in back-plate, the River Siris, in southern Italy, in 1820. SPINDLE. A pendant of wood used for twisting the fibres of "ilk, by spinners flax, "c.,as it is drawn into threads by the fingers from the distaff.

century. Its blade

SPUR. horseman. the The
A

was

rated decofrequently incised. figures

with ornamental

goad fixed to the heel of a In the early times it took

goad. simple form of a sharp-pointed of moveseries of a rowel, consisting able goads, firstappears in the latter end
of the thirteenth century.
In

SPIRAL.
screw;

Twisted

like the

worm

of

the

ceeding suc-

like the steeple of a church. pointed SPIRE. The pointed, terminal roof above the tower of a church. FER.) (SeeCHAMSmall overlapping plates the inner bend of the metal, covering above the elbow, and used to give arm free motion,as well as defence,to the of a knisht when ami equipped for "ijjhtlng. of SPLINTS.

century, spurs

were

made

with

slender rowels at the end, and very sharp, A vast variety of forms were stems. long and different at for rowels periods, adopted the be
era

of the fabrication of

very

guessed by closely

spur may such data.

* For other specimens of this early Art for further notico and LEBES, and HOLMOS the imiSU its onward to p3rfection, course

see

"l
on

MET"LLUBOT.

410

of the Mpyrick Skelton's platesillustrative and to elucidate will Collection this, fully

Catherine,"and
the great

sketch IV.
a

en

for grisaille
of the d"s
a

in picture of

the Louvre with

"

Magdalen ; Vandyke some remarkably noble portraits, well as his St. Martin as games. with of his Cloak the kinds several There are dividing Beggar." STAFF. used in ecclesiastical functions, Nicholas and GasparPoussin are extremely STAVES and so are the artistsof well displayed, which are as follows:"!. The PASTORAL emblems the low countries, brandt, as Teniers, Ostade, Remand abbots, for bishops STAFF "c. The to CANTORS' 2. artists, "c., English of jurisdiction. STAVES, the chant and ceremonies of the Lawrence, Wilkie, Reynolds, Etty, Turner, regulate 3. PROCESSIONAL used,as choir. Martin,"c., may all be studied in good STAVES, few foreignartists, in processions, or for as works; and some their name implies,
"

inquirer may STADIUM. (Lat.) An oblong area for and Olympic athletic sports, foot-racing,

them

the

trust. safely

marriage
Medicis.

Henry
has

Mary
Head
of

Guido
"

fine

the purpose of enforcingthe order of the nities, 4. STAVES used by confraterceremony.

for

Paul

"c. This Delaroche,Winterhalter^

one

brief notice of

collection

only, in

carryingimages
STAVES, to bear

and

emblems.
cross

5. CROSS
in
HONOUR

the

vated eleOF or

processions.6.
and
OFFICE,

STAVES

called vosges

there are so many where other capital will serve to indicate the galleries, private riches which our tains. conpictorial metropolis that to be regretted It is sincerely
their possessors do not so publicshall be admitted arrange that the for a short and

maces,

dignitaries.* This imporGALLERY. STAFFORD the protaut collection of fine pictures, perty of Duke of the Sutherland,was
borne

before

be evident that stated time; for it must of Art lie fallow,in many stances, intreasures that put to shame where alone students
taste be formed.
can

formed chiefly

at the sale of the renowned

by gathered originally gallery

Orleans,and located
"We
Art have
as brief notice, a

the Duke

of

galleries, public studyand public

of the evils of and

in the Palais

Royal.
a

It is

one

selected this collection for

wealth

thus to

gatherup
a
"

close from

sampleof the

treasures

which exist in this country in hands ; it is also a collection more

known

from other, series of engravof a magnificent ings at one from the pictures, f and was to the periodopened at stated seasons are several pictures public. The principal the Holy all representing by Raphael, Family but one, which depicts The Saviour bearing his Cross." Of those by Diana and Acare Titian the principal la Venus Guido and a Coquille." teon," than any
" " "

of immortal genius blessing an instruction and monitor to all, by their examplepurifying larly poputhe puband i t in the even lication taste, generating the world that
treasures

of

private

might

be

minds

of many.

STAG. St. Julian

and

The

stag is the attribute of

of
a

St. Felix Hospitaller, "When it has

Valois,
crucifix

St. Aidan.

it alludes to the legenits horns, dary of St. Hubert ; when it is history to St. Eustachius. it belongs luminous, between STAINED material
can

GLASS.

This
so

ornamental

designated pieces the Cross;" Murillo Jesus sleeping on but the of glasscoloured throughout ; in The return of the Prodigal Son," and term is also applied to glassmerely tinted and the Angels." Rubens has Abraham the surface by metallic colours mixed on of The a Marriage St. with proper fluxes,and affixed by fusion. Holy Family," PAINTED GLASS.) The pieces of Vide Pvg\n'iGlostaryo/"ctlesiaiticalCrna-(See
be onlyproperly is seen
"

to

great advantage in his "Infant

"when worked in mosaic

with various

"

"

"

"

mtnl

and

t There

Costume. is also
on

stained
a

convenient

work, hi 2 vuls.,
logue, cata-

4to., by John
with

Young, which is an entire etching of every picture.

were

glassof which the early windows composed were small,and they were
a

arranged in

kind

of

mosaic

jfciiUru.

8TA.
The ing improvement consisted in formof stained glassinto figures, the pieces
next

411 of coloured glasi often bijouterie, placeof real stones, or enamel,

beneath

tides

takes the

outlines and

strong shades of which

were

the giound of the metal

with
a

being cut

with black, and fixed stronglymarked the of heat furmice. This kind of the by afterwards helm-painting place to gave called.* so painting on glass, properly This
was

to give it rose-engine, its substance. prismatic light throughout

or

the graver,

STALL. Stalls were

and

A decorative seat in constructed of wood

church.

and

stone,

executed
were

in various ways. mixed

as

The

enriched abundantly

with

sculptured

colours

sometimes

diluted with white

with

of egg, and sometimes then varnished. But in both kinds of

and oil, that

were

of

it was

found colours

which and figures, sometimes foliage are a grotesque character. Rich tabernaclework is made at their sides, and canopies

the painting

of similar elaboration

affected

by the weather,a new plan was of vitrifiedcolours, or adopted -employing

enamels, which
were

abound the

them. cover They at home and abroad, cathedrals, finest beingthe work of the fourteenth
in

the glass century; and nowhere can the art of woodas at that earlytime, with gum-water, and then fixed by burncarving, practised be so well studied as in examining these ing them into the glass in the furnace.
to applied

works. is described by painting STAMNOS. Eraclius and Theophilus. The invention wines for the ascribed to the Flemings or is generally It is quitecertain that Italy Germans. with these coloured glasses, was supplied nation. or "smalti,"t by some Transalpine The Marciana MS. states that they were brought from Germany. This method
of

table

(Or.)A jarused for mixing quity. by the nations of anti-

The
4i

colours

or

"stains"

were

fused

or

flushed" upon the glass in the furnace ; the yellow stain being upon the opposite
Bide to the

painting.The
was silver,

art

of

staining

glasswith this transparentyellowtint by

the aid of vered discoaccidentally

by

Fra

Giacomo

da Ulmo, in the
"a

fifteenth century. He was ployed one day emin placing his glass in the furnace when a silver button colours, fell from his sleeve, and this when melted which penetrated a yellowstain, produced into the substance of the glass. The old intense ruby-colouris not fabricated by the moderns with that success attained by the ancient artists. Gold has been recently and givesa beautiful adopted,
to

It has been happilydescribed as high-shouldered, short-necked, plethoric

vase." STANCHEON. the mullions of

term
a

fix the

The window The

a

iron bar between

; sometimes

the

is

to applied

the mullion itself.

STANDARD. like the pole,

as

standard consisted of
a

Roman its

military symbol carried on Eagle,which may

own

ancient

be considered Each which it was with circular

their national standard.

coJiort had

standard, by
was mounted sur-

rose-colour when molten fluid; when

combined melted

with the flintIn

ar-

known,
a

and which

with

of Victor}-, an figure

open

it produces a purplestain. glass,

hand, "c., the polebeing decorated with

Mrs.
of

Merrifield'i

Original Treatises

on

the

Art it

fainting.

t The mnalii of the modern Italians consist pieces of glassabout half an inch thick, and 1:2 or eight Inches in diameter.

medallions, crescents,"c.* The the peculiar was standard adopted by Coustantine. (See cut, p. 257.) In
labarwn
"

See

K*"I.IH

STA" modern

STE.

The placeswhere eccleSTATIONS. times,the standard is the largest rest for the performsiastical borne. processions Formerly and most importantflag ance of of any act devotion. Such were it was not square, like the banner,* but but much like the guidon and pennon, elongated, and becoming narrow larger, u nless which rounded at the end, was slit, of the the standard belongedto a prince The size of the standard was blood-royal. rank of the person whose the regulated by
arms

the tombs of martyrs, and similar formerly consecrated spots. In modern ever, howtimes, used to dethe term is especially note

stages of

it bore.

That

of

an
a

emperor

was

of the successive representations Lord's which are our Passion, the naves often placed round of large ing churches,and by the side of the way leadto

those

11 of
a

yards in

length ; of

7 yards ; a prince, 6 yards an earl, ; a viscount or baron, 5 4" yards; and yards ; a knight-banneret, generally a baronet, 4 yards. It was ing divided into three portions one containhis then came of the knight, the arms his or crest; badge,and then cognizance which these being divided by bands,on
"

yards; 6" yards ; marquis, king,9

sacred At

edifices ; and each of them

are

visited L'"
devc

rotation.
tions
are

stated

suitable to the different recited, is

a

mysteriesrepresented.There example at Nuremberg, of the century.*

STATUARY.
the An

fine

fifteenth makes be after

artist who
to

understood statues,generally the term

was

inscribed his war-cry with whole being fringed

or

motto, the

his livery or
of co,llar

of some other artist, to whom designs is properly The sculptor applied. word is also used to signify a collection of termed of statuary.

colours. family
to a The word is also applied in the fifteenth century, for mail,worn armed of the neck of an the protection

which would therefore be statues,

a museum

STATUARY

PORCELAIN
fine kind of

is

term

given to
surface

and which soldier,

may be considered the remains of ttw older CAMAiL.f

as

clayused to produce in colour and statuettes, resembling

a

the

Parian

STARS
are

are

emblematic

of

heaven,and

circumstance
"

marble ; from which they are sometimes termed

introduced in ecclesiastical statuettes in Parian." frequently of churches A work STATUE. of plastic decoration. The roofs or ceilings cuted art, exewith in to other were or powdered marble,bronze,clay, generally stars, typifythe canopy of heaven over the suitable material. An equestrian statue, which faithful; also on the mantle of the Virgin is one represents the figureon the Regiua horseback. as Mary, and on her shoulder,
sometimes set up Coeli. Large stars were in churches on the Feast of the Epiphany. The
cast
an

STATUETTE.

A small

half the natural

size of

not exceeding statue, a figure.

stars on
or

the old

in fixed on substance of the magnesianfamily, which of which many cut ; hence ground, examples has a greasy feel,and is easily still remaining in ancient English it has been used extensively nese are by the Chichurches. Stars are also represented and Japanese, in the fabrication of in articles such as cups, with many saints. Thus, St. small ornamental conjunction Bruno bears one on his breast ; St. Dominic, pipes, "c. groups of figures, his head,or on his forehead ; so do Iron subjected one over to the action STEEL. St. Humbert, St. Peter of Alcantara, "c. in combination with charcoal of a furnace,
struck
azure
"

were ceilings and lead, gilt,

usually

STEATITE,

or

SOAPSTOXE.

A mineral

and
* The English royal standard, as at present is properly a banner. displayed, t See cut, p. 93. A curious engraving of the standard of mail, U gmh in ttle catalogue of

salt ; it is then hammered

or

and

ened, hard-

tempered.
and Costume.

The best steel is made

"

Vide

Pugin's Glossary of Ecclesiastical OrSee

naiiitHt

also

the

article

C. Koach

Smith's

Museum.

CALTABI.

by any means, oil-painting, within cerexcepting tain limits. The highest ledge hardly the knowadvantageof all, ignorant,as it requires of the proper use of a brush,and was however, is, that the same be part may tion, he pleases, as often as over painted which is at one time much adopted for wall decorain fresco ; and, not possible books, "c., but for marking linen, consequently, this mode new the most perfect metal are seldom by is now stamps used,as harmony may be preservedthroughout the largest preferred.* who the artist is possible painting. In fresco, STEPHEN, ST., PKOTOMARTYR, the slave of his materials His 33. stoned he is their to death in A.D. "was here, with the master to the fullest extent. arbitrary death has been a favourite subject STEREOGRAPHY. with. The met and is frequently (Gr.) The art of painters, saint himself is less commonly depicted drawing solid forms on a plane surface ; ; he is so, he is usually when represented shaded geometric drawing. STEREOSCOPE. in one in a deacon's dress,bearing a stone (Gr., from stereos, solid and the in and I book or a hand, palm-branch ; see). An optical scopeo, instrument of with of stones and beauty, or holding other, great simplicity up a lapful invented both hands. .,...'" by Professor Wheatstone, in STE'REOCHROMY. ("?r.) A species 1838, and since improved by Sir David Brewster. It is constructed of wall-painting, in which the colours are in accordance the with -whole and the well-established mixed with water, fact in picture that the roundness of any body permanently fixed by profusesprinklings vision, of water, in which is mixed a certain proto the sense portion is rendered most palpable by the fact,that each of fluoric acid ; the surface of the views the object eye hard flinty at a different angle, and thus becomes one picture mass, consequently each sees and will resist the action of fire or damp. of one side of it than of more the other; the junction of vision It is much at Munich, and was practised duced prothe discovery of the eminent chemist of by the two eyes combined fecting perthe sense of entire roundness that place, This or Obergrath von Fuchs. relief. By obtaining of painting two pictures each at resists every influence species natural angle, as viewed of climate, a and may be confidently used as by the eye and placingthe two in the box of external coatingfor buildings an in any singly, the stereoscope, upon looking through a part of the world. To the artist himself it offers the most importantrecommendadouble glass similar to an opera-glass, tions. the two pictures He is not confined to time in excombine in one, and such is ecuting it. He can and roundness,partheir apparent solidity leave off when he ticularly in representations of statuary, pleases,and for any lengthof time,which
live mode
of

procuring

certain

ment, orna-

he cannot
nor

do in fresco-work

which

may

be executed

by the most

in

"

cut, that through such openings he may trace the characters with his style. He will not thus be liable to make he would, as otherwise slips,
the wax alone, fur he will be contjned by upon the boundaries of these letters, and neither will be able to deviate from his text." tells
a us

that the eye believe that This

in

and

mind

almost
upon

refuse tc

they look

is effected

a plane surfaceby cutting a lena

half, and

affixingeach

half to

the

1'rocopius
UKV

at such tubes of vision, adjusted

distance*
respond cor-

thai

the

Emperor
cut

Justin
this

I. made

of

that the centres

to that
"

of these semi-lenses of the

tablet of wood which he traced

contemporary,
had

thrush manner, his signature in red ink. ilu goths, Theodoric, King of the Ostrocut

in

pupilof
says

the eyes.

When

we

thus
two

view,"

Sir David
a

plate of gold for the *ame ported ; and purpose Charlemagne is reto have produced his monogram (see p. *!""'") as a sign-manual by the same or means, el"e as an impressed stamp. * Seep 9H foranoticeoftheuseofthettencii"Ute for card-printing.
a

Irismonogram

in

Brewster, "

dissimilar

drawings of

nolid object, itis seen as

two

by are we actuallylookingthrough which producea second image prisms,

drawing,
and

each eye separately,

of e:t.h

when

these second

STE"

STO. the Itoman

the

iiuBgtsunite,

or

we coalesce,

sec

the solid

men they represent."Pictures low as and as are came photography producedby fulness being fastened round the onlyones which caa give entire truthas to the experiment, they are of identical with each truthfully necessity art can other in a way that manipulative

image

which

matrons, worn ; it was

as

the
over

TOGA

was

ol

the TUNIC,

the .aid of

the ancles
the

or feet, body by a girdle.

never

rival.

Solid type. A ("?"".) mode of printing the pages of a book by first as set an inverse cast of the whole, obtaining in o f the plaster Pari.-t, compositor, by up STEREOTYPE.
from

which

is obtained,in melted

type-

from. to print relief A very low reSTIACCIATO. lief, (/""//.) for works which by sculptors adopted from the could be allowed littleprojection

metal, another cast in

surface or base line chosen.

STIGMATA
amoris

or

rtV",id

the

vttlna dieina,or pliga the marks of receiving

on Christ,

the five wounds

of

the feet,
dition adthe forehead.

hands, and
St.

side ; and

sometimes, in
on

to these, of the wounds

of the

and many Francis, Romish Church, are

; and

other saints
said to have Rubens and

It had
was

either short
over

or

received these marks

other artists have

fastened

the
a

and long sleeves, shoulder by a

sewed
to the

devoted their talent to The French term

for

thrown was ample PALLIUM and brought over the head when it, The stola was yellow and greenishpigmeuta produced walking,or in winter. such be from vegetable allowed not to as worn saffron, aloes, dyes, by courtesans, or broom flowers, "c.* buckthorn berries, who had been divorced from by women A term applied to that LIFE. STILL their husbands. A narrow band of silk or stuff, classof pictures representing fruit, flowers, STOLE. of other of enriched with and or a sometimes furniture, variety embroidery groups cons, deato of articleswhich generally form adjuncts the left shoulder worn on jewels, and none of which have and across both shoulders of bishops a only, picture and priests, animate existence. pendant on each side nearly The ment instruSTILUS. nistration the to pointed (Lat.) ground: it was used in the admiused by the nations of antiquity for and all other of the sacraments In England,since the sacred functions.* or writing on their waxen inscribing bTIL DE GRAIN.
over

the delineation of the miracle.

FIBULA, and bottom ; the

had

flounce

tablets.f

engraving in in which the imitation of chalk drawings, effect is producedby dots instead of lines ; is however each dot, when a magnified,
STIPPLE. A
group of smaller
ones.

mode

of

crossed fourteenth century it was worn the breast by th i riest at the altar.

on

STONE,

All! rFICIAL.

The

ingenious

process which enables us to mould statuary for gardens,"c., as well as to produce works
See his

by
cut

hand

at

an

less infinitely

ro.n

STOLA.

The

characteristic dress of
*

over
"

of a pries:wearing the stole crossed brenst, illustrative of the word Om-

toe

FINK*.

"""""

'

PUIIET.

STO

is of uerman in general, sculpture in The chief ingredient invention. than formation

its

and its is calcined gypsum, in semble some characteristics degreeregeneral

those of

porcelain.
A smaller

reliefof mythological ami scriptural subjects (Fig. 1.) They were and one extensively exported, particular known as a grey-beard," from the class, circumstance of having a bearded face
figures tit
"

STONE-BOW.
for

kind of

bow cross-

moulded

on

used stones, generally propelling birds. for killing An earthyoxide of OCHRE. STONE iron of considerable permanence water-colours. STONEFLAMAND in oil or

met (Fig. 2.},

was

the upper part of the spout with wide celebrity, as it

on

intended by the reformers as a satire their bitterestopponent, Cardinal Bul-

whose stern face and stout figure larmine, thus ridiculed, and the vessel somewere times termed "aBellarmine." The German brown

WARE, GRES CEKAME, ORES (-FV.) A very hard pottery which, when made thick,will not readily tured break by a blow or a fall; it was manufacbut in China, at a very early period modern known in is best Europe by the
works of the Germans and

pottery was
blackened

occasionally richlycoloured
the dark
or

with various tints upon

Flemings, who

clay. The pottery known as Ores Flamand, was so termed from the tint of the clay from which it was produced, and had rarely any other colour than blue

constructed vessels in this material which

were

remarkable well

for the

their form, and

as
as

beautyof their

quaintnessof decoration,
on

surfaces.
are

The

the enduring enamel ancient and most

on

their

curious

those made

the Lower

Rhine, under
and

of the famous the superintendence Countess of Hainault after her abdication in

line, JacqueHolland,
ment retire-

1433,and

upon in moulded

placed

it.

The

patterns

were

relief upon
Their

exhibit

an

abundance

its surface,and of quaint and beautiful

forms
are

detail.

also

ceedingly ex-

sometimes singular, displaying

the most

and bizarre construction, grotesqueshapes exhibited in our as engraving

one

from above,

in the Paris collection; the

are

decorative details
to the Castle of

Leyden. They

are

Teylingen,near covered with generally

modelled generally with great truthfulness and artistic vigour, and occasionally exhibit a fine and correct 'of the true principles of taste. appreciation

STO"

5TR.

"T

and tone ia of tint' in effectof greatvariety plan adopted from the same effectto lines varying their thus produced to give etching. etching, A portable vessel for holy STOUP. and breadth,by allowingthe darkness "water ; a stone basin for the same, placed acid to remain on some longer than on done the the church-door. w hich is near by removing others, STRAP-WORK. A peculiar kind ol with or covering acid, and stopping-out in the fifteenth other composisome or Brunswick-black, tion ornament, adoptedextensively to acid, and sixteenth centuries (particusuch lines as aplarly impervious pear in Flanders and Germany) as a gedark enough. The acid is againput neral and which decorative enrichment, w hich become in other sequence conthe lines, on fillet consists of a narrow or band, folded broader and deeper; and the

STOPPING-OUT.

and

and crossed,

interlaced occasionally of

STRIA.
a

(Lat.)The

channel

or

proove

with another ; the convolution sometimes much ingenious elaboration. It exhibiting

column.

originated, however, at a much which dates period. A specimen,

back
as

Disposed in ornamental earlier lines, either parallel or wavy.

STRIATED.
as

far

STREAKS.

An

uniform series of long

the eleventh
at

century, and

sesses lines of pos-

all the characteristics to the peculiar Art Byzantine in

stone

indents on tints, or colour, duced proof the coarser hairs the by dragging

that time,is sculptured of

brush.

the church-gate at Neissen, ginating oriSTREAMER. over A long narrow flag, in the pennoncelof the knight. Saxony. The adoptionof this peculiar ornament in the was STRENGTH. Boldness of conception common exceedingly later days of the Eenaissance, and became in a work of Art. or treatment characteristicof the style. a prevailing It of STRIGIL. (Lat.) An instrument carried to great perfection waa under and hollowed like a spoon, curved, bronze, used by the Romans to scrape off perspiraHenry II. of France ; and we engrave an tion of its from the body after bathing. example of that date as illustrative (Seecut of peculiarities. ATHLETE, u. 54.)
x

"

418

STK"
A
narrow

SUD. down harsh lines in

or pencil

STRING-COURSE.
in
a

ing, mould-

crayon

draw

horizontal line,which
a

from the wall of projects YELLOW. STRONTIAN added Btrontian, It is

a

building.
of

slightly ing,or rubbing colours in powder. potash.

a

A solution of is

on paper froni It is of great use in which may be thus obtaining ground tints,

solid tints

to

chromate

laid with STYLE.

the greatest ease, and

or depth. delicacy The peculiar manner

to

any

and pale canary-yellow, colour.

degreeof permanent
an

in which

artist expresses his ideas,dependent his spiritual life and habits; it is of made leather, most upon frequently girdle, quity. antiexhibited in his of choice of forms and mode and worn generally by the ladies

STROPHIUM.

(Lat.)

The

female

STUCCO.

(Hal.) The

whose development. He onlyhas a style, is termine peculiarity sufficiently powerfulto deof Titus, at Rome). It is composed of his whole artistic with plaster energetically white marble, pulverised activity.Besides the individual style, lime, and mixed with water, forming a there is also a national style architectural for used much ductile paste, ; for instance, the the Egyptian, Grecian;the styleof ornaments. Greek Art at particular of The painting-room that of as STUDIO. epochs, (Ital.) Phidias of Praxiteles. fluences inof or The work-room a the sculptor. artist style an ; the to not of the The STUDY. conception, merely practice necessary but also of the idea. MANNER is forms, artistic education; a research into the false of with the of Art, and the modes of thought a blending the personal principles from indolent habits or itsprofessorsartistic activity, and action which have guided morbid tendencies of feeling, to The term is also applied to eminence. whereby the is form modified GURE) FIin similar a ACADEMY always the work of a student (see way, without regard to the requirements from of the ; and also to a finished sketch subject.* intended to aid in the nature, generally SUBJECT. The incident chosen by an and of more tant imporcomposition a larger for artist a of Art. or other work picture ticular work, or as a memorial of some parSUBLIGACULUM. for future use, or to facilitate (Lat.) The corerobject which was Thus, a single ing for the hips, drawing or composition. open at the drawn between the legs, and seafterwards introduced into head or figure, sides, cured round the it termed for man a study waist; was worn by Roa large work,would be soldiersin exercising, that work. A tree, or by gladiators a group of plants, "c., in the contest. It was also termed camwould be a studyfor a landscape ; as also
of

the Romans, who to their buildings(asin the baths

and is determined in treating uim, differentwa^ u, according to the changesof opus albarium of rations thoughtat differenttimes and stages of its used it for raised deco-

of

would which

be

coloured sketch

from

nature,
SUBLIME. mind with the strikes the its elevated grandeur of conception and realisation. The head of the the mity, impressof sublithoughtevinced in the
same

and general merelysecured locality

more

That

which

effects for

detailed finish in

atelier of the artist.

are

of great

and value,

Many such studies highlyprizedby

bears antique Jupiter

as cognoscenti, power of hand,and

indicative of

of the great and

artist's an easy mental perception Raffaelle's cartoons the beautiful, which are

and the elevated

have

racteristi cha-

sometimes
course

in the down, or lost, elaborate work. an finishing STUMP. A thick layer of strong paper, made round,and cut to a point, similar to a black-lead pencil. It is used for rubbing of

tamed

SUBORDINATION.
SUDARIUM.
*

(SeeGRADATION.) (Lat.)The handkerchief

Muller's
to

t See
those

the

Art and itt Remain*. illustrative of that word, and the article on GLADIATOM. cut

Ancient

BUG"
upon

STM.
his

419

the name familyarms.* Also, given to his own the long robe or miraculously, a short robe,worn over impressed portrait when below the knee, a little wipinghis face with it,as he passed tunic, terminating to the crucifixion, it being offered to of forming part of flie female costume him for that purpose by St. Veronica. ladies at the close of the eleventh century. of the same Another impressedportrait is SURPLICE. kind The outer garment of an to have been sent by the reported which originated Saviour to Abgarus, King of Edessa. in officiating clergyman, the rochet or alb of an earliertime. It is valued by the RoThese relicsare highly gious a long linen robe with wide sleeves, inish church,and form the subject of reliused of Veronica all the St. but by pictures, legend bishops. A term employed by SWEETNESS. particularly. SUGGESTUM. (Lat.) The elevated artists and engravers to denote certain in Art,but which failsin clearly dressed qualities generaladstage from which a Roman the that which itisused to designate. his troops,or an denoting emperor Painters it to express a certain clearness llouse as on constantly represented people, of is and which medals and sculpture. man drawing colouring, to the eye, like a head by Carlo SULPHURS taken by the agreeable Impressions gravers of the sixteenth centuryfrom Dolci,or a landscapeby Claude. Engoldsmiths to it clear use a the engravings executed on plate, designate delicacy paxes, of line, and a smoothness of generaleffect, "c. ; and which theyobtained by spreading such of Strange. the face as we see in the works of melted sulphur a layer on SWORDS borne as symbolsof marof of the plate, are a cast in relief tyrdom producing few of these the lines engraved. Some by very many saints who suffered death by that instrument. exist in the British and continental proofs known ST. Au early and are as SYLVESTER, "sulphurs." pope, who museums, rarest instrumental in the convertingConstanThey are amongst specimens was tine the Great and his mother (afterwards connected with the art of engraving. SUPERFICIAL. Not well groundedin Helena,by the miracle of restoring Saint) the laws of Art and Nature. which had been destroyed The term is a dead ox to life, in order to essay his power generally appliedto those whose love of by a magician, of resuscitation, indicates a want of knowledge. which failed, while that of display the saint he SUPERFICIES. is usually (Lat.)The surface of triumphed. Hence with the ox lying beside him, represented any material. SUPER-HUMERALE. and may be distinguished Another name from St. Luke for tne AMICE. He is sometimes by his papalinsignia. SUPPORTERS. The figures and was of men, depicted baptizing Constantine, of each author side of much of the Roman Catholic beasts, "c., placedon birds, the heraldic shield, and which may have ritual. in the ceremonial SYMBOLISM is of two kinds 1. of originated bearingof the knightlyshield to tournaments and 2.of form. The symbolic colours and colour, retainers of a noble or their significations Green jousts, by squires are as follow : houso. typifies faith, immortality, contemplation, NICA). and the resurrection of the just SURCOAT, (SUB-COTE, SUPER-TUas shadowed In costume, any garment worn forth in the yearlybursting forth of the
.
" "

which the Saviour

to have is alleged

over

defensive armour; is more

the term, however,

leaves after their death in winter. and love of divine works. Red

Blue,

to the long generally applied and flowing of knights, anterior drapery to the introduction of plate armour, and

the colour of the clear sky,signifies hope,

symbolises

which

w*a

emblazoned frequently

with

See

cuts, pp. 42 and '234. "

"2

20

8Y.M.

and also charity. Symbolism of form consists in representing martyrdom for faith, events and causes or types, such u" of by the justice, dignity Purple signifies of the death of a penser the sword, the cause the proper disis the colour of royalty, the the has Scarlet a palm, martyr type of his victory. ; of that quality. " often and emblem The words are indicates also symbol but similar meaning to red, the to used the to same witnesses indifferently of express the fervour and glory be but it should observed that meaning, rance, tempeWhite signifies purity, Church. sometimes the term symbol may be used and faith in innocence, chastity, God. Pale blue denotes peace, Christian
a serene

for
not

an

emblem
true

where
as

the contrary would

love of prudence,

good works,

be

for

baptism. may be either the conscience. Pale green symbolises Ease-colour indicates martyrdom,through hope ; but we could not say that the Lamb the Good Shepherd was emblem of an or attached to the flower.* the mysticsense since he himself is embodied Christ, the confessors. The in,

the anchor instance, symbol or emblem of

Saffronsymbolises fore sionally occaor represented by them ; theymust thereof saints was backgroundof figures and be this lives as their or distinguished symbols, paintedto typify .then be considered term as something White betokened chastity may thus : actions, of the whole being and character, expressive and innocence of life; grey, tribulation ; rather than death. a bute ttrior particular any grief penitence;black, violet, of the indicated or or presented. rethe quality i n thing same Their dresses, person way, The of same choice object, colour, however, their characters by the considered a symbol as be clearly Church were also may a \d the vestments of the blue signifying well as an emblem, as the sword is the s) mbolic of the services ; and sincerity iivine symbol of martyrdom, and the peculiar ; piety, contemplation, emblem of St. Paul."* Animals and creathe of tures r ed, faithful; freen, the gladness
"

divine love ; and

white, innocence

and

of various

kinds

were

also used

to

virtues and vices. Those approthe two latter colours being those symbolise priated purity, will be familiar to the Evangelists in use. most Gold, in the constantly others considered ana power ; silver, to all ; but there were same glory way, typifies stones Precious f rom ascribed were and to them in typical qualities chastity purity. thus : of the middle the fabulous natural history also used with a symbolic meaning, invulnerable faith ; Thus the unicorn was believed to The diamond typified ages. live alone in purity, and to be only attracted the sapphire, ; hope ; the onyx, sincerity "c. from its solitude a the amethyst, indeed, "c., humility, by virginof ; increased Church Catholic and hence the the during pure as holy life; virgin hand in became the image of the Virgin the middle ages, symbolismwent Mary,and of the hand therewith until every portion the unicorn the type of the Saviour. The and every articleconnected sacred edifice, believed to feed its young pelicanwas the dresses of with its service, with its own hence it became the including blood, of the and the decorations the priest whose blood was walls, type also of the Saviour, the had a mystic meaning. "It was shed for our immortal life; and so the real and the fabulous were alike made subservient ing great book before the invention of printbut was in which to read the faith," which was to that love of mysticism, overlaid by such too much the great characteristic of the mediaeval unfortunately which rendered it church.f eventually, mysticism confused and confusing. SYMPOSIUM. (Or.) A drinking party
*

Rubicundus

Apoutolis:Met
cunvallium."
1. 1
C. 04.

ilN tunt

(color) in Martjribus et et Hlia floretrosarum

lii.
DC

Mrs.

Twining's Symbols and

Emblems

of
and

Early
f

Innoc.

Sacro

alto mutt,

and Mediaeval Christian Art. See also EMBLEM, EVANGELISTS,

LAMB,

TB.IMIIX

in this

Dictionary.

422

TAG" records of the acts

of each

TAL. TjENIA. secured the

family,and
member
and

who

in the state ; had held offices

an (book 35, chap,ii.)

(Lat.) The ribands which filletor bandeau of priestly

which
cf tied

Plinyrecords

the ancients, or
or corona

the laurelwas

act of the orator

Messala,in which
from

wreath dignantly he inone

and behind,

allowed In the

forbids the

of intermingling another house those of his

to float at

the back

the head.* is
to applied

image that
the Lerini
name

came

of

the Architecture,

term

familywith

own

" ing and lineage, for fear of confoundthe race of his familyand ancestors."

band which separates the Doric friezefrom the architrave. TAIL-PIECE.

of generally
a

An

ornamental book

design,

The

same

author alludes to the multitude

of various members

fanciful
a

character, placed
or a

of statues

which
a

sometimes
; and to the

mansion

family of crowded this portion * ludes alVirgil particularly

a on

of

at the conclusion of
a

section of

book. TALARIA. attached

of

arrangement

ture the entabla-

wings
ankles

In Ancient Art, the small to the and

:
"

"

Mercury

carved in cedar wood, Above the portal, Placed in their ranks their godlikegrandsires stood."

Perseus. Sometimes
are

they

or rightof having jus imaytnes, in statues at to the sandals. Minerva, or a family house pictures to the modern right also, the daughterof Jupiter, has tho as Rome, was equivalent of bearinga coat of arms, and was equally same attribute. A photographic indicative of ancestral rank and position, TALBOTYPE. process, of family status. connection and general named from its discoverer, Mr. Fox so

The

as represented ing growfrom the ankles,at others they are attachod

The

tablinum

was

also decorated

with

Talbot,but

to which
or

he gave the

name

of

and diptychs, inclosing CALOTYPE, painting in wax besides TALENT. or familyportraits ivory, encaustic the statues thereof. TACE. The
cross or

of

bronze
or

and

marble

noble

honourable

senting repremembers

picture. f for ness CleverArt. Aptitude It is ability, in its practice. rather than genius. A superstitious TALISMAN. charm,
worn

beautiful

crutch of St. AnA series of metal

about

the

thony.f TACES,

baneful effectsof TASSBTS.

person, to prevent the " the evil or witchcraft,

attached to
of leather

a or

lapping, overancient, eye." The custom is profoundly modern plates and it is within a comparatively tude lining periodthat its use has fallen into desue-

pour-

if,indeed,it is

not

stillcustomary
ing wear-

and point,
from

ing dependbuckles small

TUIL-

with the of the

The privately superstitious.

the waist.

of relicsabout

Attached
to
TACE

by

the person is a feature ancient form of talismanic protection Church. man, of talis-

the
were

lowermost

allowed in the Romish still

Among
stones

the nations of
were

engraved antiquity,
form

termed plates
LIES, which the front

the commonest
were

covered of
the

and after the

popularwith the Gnostics, Christian era. They originated

of the eastern

without thighs, the free of the limbs. J

" jEntid, book vii. J The engraving is fr Uerdewell (1490), in Norfolk.

peding in the grotesque endeavours imuse

f See cut, p 31. the brass of William

.M

to give a visible significance star-worshippers without exposing to their mystic belief, its secrete to vulgar gaze. The

rliug Church,
*

See

cuU,

pp. 23 and

147.

t See p. 82.

TAL"

TAP.
was

423
of this

quaintand extraordinary imaginings they thus pourtrayed well calculated to were

confuse
to

and astonish any mind

at all prone

construction, having a r*guof small pegs, down the inside, to denote the quantity of a fair draught. In
lated row
the early part of the seventeenth century, Briot,the celebrated engraver, produced
some

superstition ; and
of the middle

the

the instances,

ages forms thus invented. the

ters magicalcharacin preserved, many

tophanes Aris-

for remarkablyelegant designs

kards tan-

demand made large for such supposedprotections evil against and safe controllers of fate ; by which it
narrates

in pewter, which
of his

were

cast from

dies

appears that
in

great trade
no

was

carried

on

them. fabricating and discovered, itsspecimens. Much

Great numbers
museum

have

workmanship,and generally depict scenes or mythological personages; such subjects being surrounded by enriched in accordance with the arabesque borders,
taste of his age, and the interstices filled with elaborate ornament. and Gold, silver, all employed for the body of were ivory,

been

is without
was

value

attached

and executing employedin designing works. were Many sculptured by Fiamingo. for their reception, like those worn hollow, TAPESTRY. A kind of carpeting, in triumph by Roman which with generals, contained talismans, as Macrobius relates,long nap like baize or drugget,used for to prevent the effectof evil influence. It hangingsto the walls of rooms, and as a for thrones, chairs of state, also to round was covering a hang customary "c., and embroidered child's neck ornaments of a phallic character, dyed of various colours, with goldand silver. be considered as which would now but which were lieved beThroughoutthe early extremelyindelicate, ment ages, the employof females in in-door life was to have a sovereign acting effectin counterthe loom ; and their labour decorated not only evil eye." In the influence of the themselves and families, the rings but the furniture talismans worn by Eoman ladies, and walls of their often concealed, the were or worn dwellings.The classic upon
were

fabricated with them, and they were under peculiar solemnity, aspectsof the stars,and principally by the people of Samothracia. The bullcc. round the placed
to of

tankards

at that

period ;

and

the best inventions

of the such

artists and

silversmiths

necks

children

were

made frequently

"

person,

like

the

Jewish

PHYLACTERY.

authors abound
of

The

lunar influence connected

observances

was always particularly and the supertherewith, stitious

with notices of this mode occupyingspare time in the houses of

and

the Greeks

Romans the

of ancient
our own

times have
we

After power,

descended intact to the horse-shoe

nailed "for

; since luck"

find
a

the art

was

mates.* by the fair indecay of the Roman stillpractised ; and in

over

door by a peasant, who never thinks he is Luna nearlyafter the Pagan conciliating fashion. TALUS. the game
name

The Eoman (Lat.~) described, p. 54,under

A

name

for

the Greek

of ASTRALAGUS.

TANKARD.
cover so

with drinking-jug,
etain and

from called,

quarte,
the
cient an-

pewter being the

tankard
was

metal of which

formed,and
constructed
was

one

quart
of

Bayeux tapestry we possess the most extant, f In the inventories piece of this early meet with notices of we time, the gifts hangingsin use for the churches, of the pious, and the work of their hands. of various shapes Such tapestries, and colours, used for the tion decorawere especially of the church, and appropriated to certain festivals. Durandus, in his Rationale Divinorum devotes several Officiorum, the to of figurative meaning pages
ancient

the

the The

it was quantity

to contain.

these decorations for the altar.

"

The

in-

Flemish

tankard
The

sometimes
a

wood, the inside covered with

romidh
or

of coating

See

Yates's

t See p. 70, for

fork.

Textrinvm Antiquorum. 1843. of this curiottJ a full account

resin.

old

neg- tankard

TAP" troduction of
town
arras

TAR. student
and

in which

it

was

abstruse trayed (so named from the ; the more moral of Vice first manufactured), the pictures their consequences,
which

choosing
also
as

Virtue,and

in the fourteenth century, made the custom was more general. This kind of tapestry series of patterns, very much papers. wallmodern for those adopted resembling
woven

were

commonly
the moral Walls
as

into

fabricated ; or the realisationsof romance, of which several curious

examplesare given in
might

M. Jubinal's work.
as

Sometimes bunches

they

consisted

of

thus be rendered

tive instruc-

of trees, of flowers ; at others, curious There animals. are and birds,

examplesof such

works

given in the

grounds back-

of the remarkable

series of historic

of the narratives illustrative illuminations, and which of Froissart and Monstrelet, illustrate to have been engraved Johnes, by

his edition of the works

of these authors.

In the fifteenth century, the Flemish essayeda bolder tapestry manufacturers

historic scenes, and which and pictures, religious mythological

they are in the East,with moral apothegms covering them. The art was broughtinto England by William Sheldon, towards the end of the reignof Heury VIII. In the reign of James I., a manufactory in Surrey, established at Mortlake, was by Sir Francis Crane,who had "2,000granted by that sovereignto encourage the design. The Great Civil War destroyed the factory,
of its work and little maps of is known

except
were

some

and flight,

executed

Englishcounties
The

which

duced pro-

there.*

for boldness of conception, tapestry at Paris was and was IV.,in 1607, vigour of drawing, and power of colour.
were

remarkable

voted whom he had invited Thenceforward, the highest art was deand the genius of with the manufacture had been conducted to their service, Under the state. the to Raflaelle producedcartoons for the use of great advantage The for these taste of the French at Brussels.* the factory spirited auspices ment, govern-

manufactory of established by Henry conducted by artixans where from Flanders,

first

hangingscontinued

to increase ; and

the

of many noble inventories stillpreserved in families prove that no important rooms

a

with great

the tapestry manufacture proceeded vigour ; and Louis XTV. gave

it permanent

celebrity, by
as

his

patronage

mansion
a

were

considered to be furnished
of

of the institution known

the

Gobelins,
tapestry

without
walls.

"set

hangings"
Court
are

for their

which

gave

its name

to a class of

At many

Hampton

old Flemish

still served or never even equalled, by that surpassed, preof this The other refined most of tapestries place. any

and scenes delineating scripture period, other curious mythologicinventions, on which the faculties of the artists of the day were employed; but the admirable work of M. Jubinal

drawing,and the
of
a are picture,

most

delicate shadowings

with

truth and

in this manufactory reproduced prising. surquite delicacy of the present

The age has

as

altered taste

should
to

historic tries tapesconsulted be by all who wish

on

the French

eschewed completely

such

works

wall

decorations. their

The

establishment

know

and their interest,

the

ability

at

the Gobelins is conducted

in their fabrication, well as as displayed the quaintimaginingsfrequently enlisted

grants, and
and

giftsto

by national used as national productions the time royalpersonages,

on

into the service of this manufacture.

for the delineation of the narrated fanciful in Homer and

The

labour bestowed

them
or

revival of classic a taste learning generated

events principal and for the Virgil,

demands great for ordinary TAKGET.

A

being too payment.

The

largeround

shield.

mythologyof
see

Ovid ; while the innate

lore induced

Some

love of the old the wish to

specimens of these
at

are

preserved in
The such

romance

the

lecture-rooms

St.

Mary's, York.
of

the talesof chivalry also por"

See

227.

works, ciently decoration, suffiand of the factor j explain the impossibility competing with continental fabricn.ru.

merely

character instructive their total useles"ness as

424 circularmark
or

set up ror the use of gunners archers when practising. TARSIATUKA. A mosaic (Ital.~)

be Fine Art, which Oxford can scarcely said to have possessed but which no before,
seat of education should be without.

TARSIA,

The

is the work in Italy of C. R. Cockerell. in the wood- work, much practised building and is somewhat racter, too ornate in chaarchitectural fifteenth century ; representing R.A., but less and flowers, showy grand being more fruit, scenes, landscapes,

and impressive than its Cambridge rival. of wood of various colours by inlaying pieces It was erected from bequests made by Sir and shades into panelsof walnut-wood. Robert Taylor and Dr. Randolph, for firstdone in black and white only; It was ing edifice and establishbut afterwards other naturally-coloured a erecting proper woods were and improving and when they failed a foundation for the teaching adopted, and for the European languages, in giving the tints wanted, they were for the reception stained the required colour. Thus, box of the Pomfret galleries while and various such stained was Marbles, engravings, yellow by saffron, paintings, tints of brown were producedby singeing and works of Art, as may occasionally The Pomfret to the mode adopted be left to the university. white wood,similarly The Marbles have been much injured for poker-pictures. subjectsmost by injudicious tarsia-work restorations them have for to are presentations reperspective recently ; proper of buildings, full of windows been added the Arundel collection, merly forlocated in a dark room in the quadana angular lines,to which force and rangle of lights and of the Divinity School. They are relief are given by means in spacious, shades: it was frequently employed in now well-lighted galleries. of t he choirs churches, The modern well includes the gift of as decorating sculpture the entire series of the original models of as the backs of the seats and wainscotings, of doors. The art was cultivatedChantrey's with his studies and the panels works,together tian from the antique; the whole to the greatestextent in the Venewas sented preterritories.* his widow. The by drawingspreserved here are, however, among TASSEL. A pendant ornament, genethe most rally of a knob, from which remarkable in Oxford, consisting Art-productions and consist of the enormous number of hangs a bunch of fringe. hundred and thirty-seven TASTE. The power of expressing or one by Raffaelle, the finer qualities of Art as and fifty-three appreciating by Michael Angelo; they formed part of the wondrous exhibited by the practical or felt by artist, gatherings connoisseur. The want of made by Sir Thomas the amateur or Lawrence,and wera Dutch of the Messrs. it may be best illustrated in some purchased by the University Woodburn for with of colour the Earl of Eldon who, "7,000, great grace painters, introduce into their picand composition, tures nobly subscribing "4,150 of the money. vulgar or indelicate incidents. The They are all framed and hung on the of taste ensures and exhibit the mind and style of possession grace or beauty walls, the master, from the simplest in the works of an artist, and the avoidance sketch to of all that is low or mean. the most finished study; they are chiefly It is as often of beauty executed with the pen or in bistre, the result of an innate sense the of white. art-education and The or as lights no heightened propriety, by ; power of Angelo and the grace of Raffaellc cannot geniuscan fully compensate for the want of it. TAYLOR INSTITUTE. home This be better studied than
of

in the

templation con-

building
of

Is to Oxford what the Fitzwilliam Museum

is

to

Cambridge
"

for the works

" Vide Mrs. Merrifield's Ancient OH Painting.

Practice of

and fine,spirited, vigorous works,cast off evidently by hands of genius, guided by the first impulses before their ideas were tamed by lingering these
over

the work.

Oxford

may

indeed

be

420

TAZ" this

TEC.

which nobly recollection, trieves character of the city from the of exhibiting art worthily no imputation
the

proud of

but that of architecture.* TAZZA. A (Ital.)

a

flatcup with
vase

foot

and handles ;

shallow

similar to that

mind, althoughto others exceedingly absurd,involving as it does a ridiculous It is, impossibility. clear therefore, that such terms must be used by, and addressed to, the few; for they merely tend to confuse and mystify the majority
of persons.

to their

There is no

profession without

them, and,absurd as they may seem, they are useful as conveying exceedingly liar pecuideas in brief forms.

TECHNICS.

(0r.)
:"

TECHNICS

may

be

exhibited in and

our

cut, which
at

is from

an

the process First, by which the impression of a form is presented to the human eye by a certain of the material furnished to fashioning the artist, without regard to the properties and peculiarities of the material by means of which this is effected : this
we

regarded as two-fold

antiquein terra-cotta
in the Museum

discovered at

Nola,

call

TECHNICS. optical the process now Secondly, Naples. which the form determined by TECHNICAL. Peculiarly descriptive by OPTICAL TECHNICS is producedin a peculiar of certain modes in art,or certain habits terial mawith reference to its peculiarities, of work adoptedby artists. The terms which designate by adding to or takingfrom, by laying or manner, or which style the surface : this is called of to branch exclusively belong any art, upon or altering mechanical and often which, though are TECHNICS, which includes the arbitrary, formative understood by the professional and conand similar arts,workingin clay noisseur, but are not in ordinary materials, metal-casting, woodsculpture, use, and would not be understood, carving, or workingin metals, might even ivory, precious die cutting, stones,glass, absurd to the uninitiated. Thus,the seem drawing,painting, and mosaic. used in speaking cludes inexpression TECHNICS frequently Optical " aerial and linear perspective, of a landscape, How well the figures in and the foreground to sculpture, and carry q^the distant hills," its applications painting, architecture.* instance of what may be cited as a glaring " writers term TECTONICS. some artistic slang," but (GV.) A series of arts which is well understood by those who by which vessels, implements, dwellings, and and who would find no simpler use it, places of assembly, are formed; or clearer words to express the successful delineation on the one hand, indeed, to the agreeably of the gradations end for which of distance proare but they designed on duced in conformity with sentiments by the introduction of powerfully the other, and artisticideas. Their highest coloured figures paintedand brilliantly in pointis the foreground, than this phrase conveys which rises most above ARCHITECTONICS, the trammels of necessity, and may come be" In one of the rooms are preserved Cooke's of deep powerfullyrepresentative copies of the Cartoons at Court, Hampton feelings.t which have been already alluded to, p. 227, and TECTORIUM. which are a disgrace to a building containing of (Lot.) A species fine things. Such anomalies so many can only jlaster-workadoptedfor the decoration of exist through ignorance,and "prove" that the Eloman houses, and consisting of a mixture of the university learning does not yet extend
"

to
"

Art The pictures here are all mediocre, with the exception of a copy of Raffaelle's School of Athens," attributed to his favourite Julio Romano. "cholar.

of lime
"

and

sand;

better kind
and
Us

waa

Vide

M tiller's Ancient Art

Remain*

t Ibid.

TEG-TEN. known
as

427
a

groundof gypsum, or chalk, or white the purer temperedwith milk,animal glue, of egg. The pigments are laid on very formed to decorate were itucco ornaments white ground ; they thinly walls and roofs. upon a glazed, the roof of all the properties tilefor are A durable, TEGTJLA. possessing (Lat.) of oil a nd be cleaned with were colours, frequently shaped a house. Such tiles may water without injury. Later investigations lapping into an ornamental form,so that in overline led to else the that essential oils varied a or formed suggestion ; they and moulded with of the vehicle, wax decorated ment, ornawere ingredients they were 30. have used in been or some in the antefix, manner as as engravedp. may ARMOUR. A defence a varnish. TEGULATED Though the layingon of the constructed of small overlapping for a soldier, we pigments clude, appears transparent, may conhorn of from certain or a metal, originally stiffness, hardness, plates, and quity in these old pictures, meagreness adoptedby the Eastern nations of anti; and
to have

and was obtained from albarium, in which, raised lime of marble,

but all have

the

use

of which

may

be said rivets of

died out in the

the sixteenth TELAMONES.

Almayne century.*

that the technical part of this kind of not favourable to a free mode was painting

(Lat.)
a as

Male

figures by
to

employed
CARYATIDES,
or

in

similar

manner an

the

of supporters DETKEMPE

lature entab-

cornice.f
"

pera (Ft:') Temor DISTEMPEH, painting,a tempera," is that in which the it is now as called, pigments are mixed with chalk or clay, It and diluted with weak glue or SIZE. for and is chiefly employed scene-painting,

TEMPERA,

might be remedied and style of painting, the restoration of tempera-painting would cause a new epoch in Art, because of the of its colours. It may be remarked, durability that historically, tempera-painting was brought from Constantinople (Byzantium) to Home, and nourished for
the modern three hundred of TEMPLATE.
as

of treatment.

This

years, until the introduction The

oil-painting.
a

for the decoration of rooms. undecided as to the nature

Artists of

are

ancient

that it in tempera. The opinion painting in of kind water-painting, which was a

white

pattern used by guide for the formation o: ornamental of their work, and portions of ing, generally consisting sections of mouldin thin board. "c.,cut
masons

of egg

was (albumen)

used

as

TEMPLE.

An

edifice sacred to religious of the clasps plantswere vine.

tensively ex-

since investigais inadmissible, tion vehicle, purposes. the existence in old painthas proved TENDRIL. ings with resin, These and the substances mixed of oily

The

stalks of

used
*

by

the artistsof

antiquity
ATLANIES,

as

decorative

from adjuncts,

the

ease

with
verted congraving, en-

which
See page
cut

16.

^ 8oe
with

which

they are

illustrative of the word identical.

their graceful curves might be into ornamental forms. Our illustrativeof the term

SCROLL,

428 will exhibit tr"e

from
at

TEN" of aptitude We
vase

TES.

their flow to
ample ex-

| servingthe
forms
a

most

free and

har"vigorous It of

decorative purposes.
a

add another is

dling of the artistgave it great value.

useful and
source inexpensive

painted
the
centre

in the Museum
a

Naples;

female's head

flower,like

occupiedby from the calyxof a rising the Clytieof the Townley

in the British Museum. The

in architecture, but one which of late years has been unaccountably neglected
ornament
:

symptoms, however,of its revived

now

Gallery,
varied and

now

use

are

apparent.
DI

elaborate forms

surrounding
nature,
the eye

TERRA

SIENNA.

(Hal.)
as

ruginous, A fer-

abound

this head, although founded on with freedom, and carry the entire

ochreous

earth,used
when

in both oiland water-colour in its

raw

a ment pigpainting,
:

over agreeably

composition by

state

and

burnt
of
a

in the

their elaborate convolutions. A school of artists TENEBROSI. (Ital.) founded who by Carravaggio, in their mode
connect
were markable re-

latter instance it becomes

and tiut, dries
more

deeporange parent rapidly. It is transmixed with various useful hues of green.

and TERRA

durable NERA.

for bold effects of shadow

and

blues,it yields many

general power

of

rendering

chiaroscuro. They with the Naturalisti

themselves

by

their

study of

phasesof peculiar
of scholastic

in distinction contrareal effects, the results There to those which are The Cara-

A native, unctuous (Ital.) pigment,used by the ancient artists and tempera-painting. in fresco, oil, GREEK EARTH. TERRA VERDE (Ital.),
are as

two

kinds

teachingonly. the Tenebrosi were very much vaggeschior Venice in though strangers, ; encouraged the Venetian painters theyeven supplanted Of of distinction in the publicfavour.
this school
were

used
and

pigments in
from
Monte

of native green earth that obtained : painting

Baldo,
more

near

the

other from
has much

the Isle of

Verona, Cyprus.
the

The former

body than

Pietro Ricchi

of

Lucca,

latter; itis very useful in landscape ing -paintin oil colours ; it is a siliciousearth, coloured
of iron, of by the protoxide

called II Lucchese, Carlo

Rusca, Stefano
TENSA.

Francesco Saraceni, M atteo da' Pauluzzi,

which

and Bastiano Manzoni. Pitocchi,

it contains about twenty per cent. ; it is not affected by exposure to strong light or

(Lai.}

car triumphal

of

impure air.
TERRETTA,
TERRA
DI LAVA
or

highly decorative kind, upon which the carried during figuresof the gods were
the Circensian games, of the Juggernaut of India. TERMINAL FIGURES.
much in the
manner

otherwise (Ital.'),
or

called is

TERRA
for

DA

BOCCALI,

the earth charcoal

clayused

enware, earthordinary

with powdered employed by the older oilhave but the bust of a in forming an absorbent white painters itsbase or at similar that terminus, ground, to diminishing pillar, employedby frameand used to mark boundaries.* A festival makers in the presentday as a ground for brated gilding.Raffaelle painted named of the halla the Terminalia was always celeone the last Romans the ancient of terretta. on the Vatican in by TERTIARY COLOURS. The so-called day of their year. BAKED TERRA-COTTA CLAY. colours are CITRINE, PUSSET, and (Hal.), tertiary in clay, OLIVE, Works in terra-cotta are moulded produced by the mixture of two which is afterwards burnt, in the same secondaries;more they correctly speaking, used bricks. It was as bluemanner are anciently greys, and are either red-grey, the Lares and Penates, grey, or yellow-grey, for portable statues, whenthesejwt'wartM for ornamental friezes and bassi-relievi, in excess are or are violet-grey, they ; which Figures stone on a god
was

which being mixed

for which

its

property for peculiar

*M HKIM.I-.

pre-

orange-grey,

or are

green-grey,
in
excess.

when

these

secondaries

TESSELATED

PAVEMENTS.

Tht

430 inches the

TES"

T11A. TESTUDO.

of square, forming a cap. Some of constructed were rough-hewn piliB

(Lai.) A

tortoise.

The

blocks of stone,others of part stone,and the rest of bricks of the required height.

name given to various kinds of the LYKE, to that in which the but more especially was sounding-board

shaped like the

shell

also applied formed, of the tortoise. The name was with the flange of the Human rested flanged manoeuvre tiles, placed to a military the Antonine column on soldiery (depicted downwards, thus forming a continuous which the and else which concrete, where), by their theyplaced floorof tiles, upon

Upon

each

of

the

columns

so

composedof and lime, was

were

pounded bricks about six inches laid, evenly

mixture of

square

shields close
cover
an

to heads,

attack

togetherover their a fortress, on and

thick, and, this done, the whole preparations

for complete

the

of designs

the

protectthemselves from missiles. TETRAMORPH. (Gr.) In Christian

artists in mosaics."

Art, the
A small cubical of

TESSERA,
or

TESSELLA.

the

of the four attributes of in one Evangelists figure, winged, union

marble, standing on winged, fiery wheels; the TESSEwings beingcovered with eyes. It is the "c. LATED velocity.* type of unparalleled pavements, ornamenting walls, is also appliedto the small TETRASTYLE. The term (Or.)A porch, temple, of wood, bone, or metal, used as or other building, having four columns in pieces tickets of admission to the theatres of ansituated around the intiquity, front, or similarly terior for the certificates or as gladiators, quadrangle. TETRAVELA. sul, containingtheir name's, that of the contains (Lai.)The veils or curwhich and the day on which they had won placed between the pillars their distinctionin the circus. The tessera the canopy of the altar, at the supported
other
for

form, geometrical "c., used earthenware,glass,

liberates were

distributed the

on

stated

sions occa-

sides and in front,and which around it when the

were

drawn

not offiwas among priest the right ciating.f recipients of a certain quanTEXTILE ART. The productions of obtaininga free gift of tity The the loom,in all the varieties of pattern of food or money. tesserae hosand tint, a their name as or pitales, denotes,were adoptedfor the requirements of of luxuries dress decoration. or reciprocal hospitalities private pledge TEXTURE. The quality which chaentered into by certain families toward racterises

by and people,

the Roman gave

emperors

the

each other,and which the

and of
were

was

sometimes

fected ef-

the surface of
Art ; hence
to denote

work

in formative is applied take

of each, on the names by inscribing then breaking them tesserae, asunder, e ach a as interchanging pledge part, friendship.The tesseree conviviales of the nature

the term the

texture

excellences of peculiar like Gerard

those artists
much

who,
to

Dow,

of free admissions

to

deceive the eye by their pains realisationsof the surfaces of table-cloths, "c. satins, THALAMIFERA. bed(Or.,literally a bearers.) Kneeling figures, supporting the of t ablet figures sculptured containing the work gods or hieroglyphic inscriptions, of ancient Egypt; or others of similar the works of the Greeks and conception, richments Romans, which support architectural enor

all

bestowed publicfestivals or banquets, as citizens. on compliments deserving TESTIERE. of (Fr.) A head-covering for a horse armed for battle. It plate, differed from the CHAMP-FREIN, which defended the front of the head only, much inasas

the testiere was

constructed to fit
fitted that and shut with

the entire

head, as of a knight, and was hinges. There is a

the helmet

opened

inscribed tablets.

fine specimenin Warwick

*

Ca8Ue."__
"

See

note

to EVANGELIST*,

p. 181.

Fnsrraved

jn QroM't

Anaent

Armour,

pi.43.

t 8e' STNIDOCH*.

T11E--THR.

heat, without the The light, by placingthe prepared performances. agency liko our own, the face of such objects in contact with ths constructed much was in a half-circle, which is firstsubaudience jected print, "c.,to be copied, being disposed to the vapour of iodine, the stage; the pit being kept which, opposite to the plateopposed for the of orchestra, to it, under the name having affinity free, of full an chorus, a most importantfeature in the produces image capable ment. developStarched paper being placed in antiquestage. The scene was regularly and iodised print, will concontact with an exits took vert built,and the entrances the paper into a fac-simile of such to the placeat certain doors appropriated station in life assumed by the actor in his engraving or drawing, in which every line of the original will be exactly character. In a littletime,however,the neated. delihad of theatre Greek capable scenery THOMAS, ST.,APOSTLE, is generally beingchanged; and by turningthe pivot known which side-scenes the by bearinga spear in his hand, in rested, they upon allusion to his martyrdom by that implealtered. They had also might be entirely ment. He occasionally bears an arrow, a machines by which the deities might be in the air: thunder book,and a carpenter's floating represented square. imitated by brazen vessels, "c. There This was THOMAS, ST.,OF CANTERBURY. and turbulent ambitious deduction who no therefore, analogous prelate, needs, kept theatre from the custom of the modern England in confusion for many years, is of actingplays in an innwith a sword across his generally depicted (notyet proved) the entire scene of his death is around, head, or yard,and imitatingthe galleries When that is not the case, when constructed a was represented. proper building he is delineated in full pontificals, for the actor. The old classictheatre may a halo his head. considered as the true prototype be fairly surrounding ; THOMAS but the improvement in the appliances AQUINAS, ST. This learned doctor of the church is usually of the modern stage leave the ancient one represented
A theatre of the ancients of far behind. THEORY. The work of mental
an

TEEATRE.

buildingfor

dramatic

rendered

sensitive to

with rule which

ear,

star on

his breast and

dove at his

guides the
which
success

he relies.

Upon

and upon artist, this basis must its

his gloryand the supposed indicating of the Divine Spirit in his instigation works. THORAX. A (Lai.) metal the classic soldiery. A
worn cuirass, for the guard

depend;
be

for should his

theoryof
is

a by wrong, to a his composition throat and breast, worn regulates by the mediaeval certain form, or the prevailing tints of a military. to a certain arrangement, without A term THREE-QUARTER. picture applied which the whole would have an inartistic, size of portraiture, to designate a particular and repulsive look. commonplace, ignorant, measuring30 inches by 25. The term also It is, from delineated to the hips TICE, PRACa portrait however,distinguished designates absolute inasmuch or manipulation, only. A royal to draw may THRONE. be as a person incompetent seat,distinguished from all others, of the principles of action as well by its important fullyaware which should rule the artist. Such is the size as by itsdecoration. It was provided which makes a connoisseur. with a footstool, in its and may be seen qualification THERMOGRAPH Y. A compound term form in primitive earlyEgyptian sculptures. from the Greek,literally heatand gems, frequently signifying Ivory, gold, drawing, and appliedto a photographic adorned them. and drawings THRONES. An order of angels, who process for copyingprints with double wings, previously are usually upon paper, metal, or glass, represented

construction failure. It

the

work

432

Til U"

TIL.
of Roman

the supporting ethereal space.

throne of the

Almighty in hand,

females,and
Persian the
cut.

to

the

crown

the ancient A vessel held in the has

THURIBLE.
for

descended
our

whom kings,among true royal tiars,a?

term

in suspendedby chains, depicted burning incense,

and used at mass, vespers, and other solemn

TIBIA.
wind

(Lat.) A
the nations of

appliedto
kind, much

instrument

of the flute

used

by

constructed of the

and originally antiquity, of an leg-bone

name

animal, from whence

the

is derived.
sionally occa-

They

were

of various

forms, and

as double,

in

our

example,copied

from

Gruter, which shows the stops on each were flute,both of which played together,the cheeks of the playerbeing strengthened by a leathern occasionally
round the face.

of the Romish offices of

THURIBLES

church.
are

fastened mouth-piece, tions Representafound in TIE-BEAM.

for the solid beam A and

often

term

in architecture
crosses
a

pictures by the
masters.

German early

Flemish

which

hall

or

other

THYRSUS (Lat.\ NASTHEX (Gr.) A surmounted by a staff, light, ivy-entwined and said to have been so placed pine-cone,
as an

largeapartment, and upon which and other timber- work rest the king-posts
that support the roof. TIG. A flat-bottomed
oi drinking-cup, with four generally used for passing round handles, formerly

indication

of the custom of

among

the wine
fir-

size,and capacious

ancient Greeks with The and

their flavouring from the

obtained turpentine apple a custom stillin use

"

the table at convivial entertainments. TILES. been in

and
are use

in Asia Minor.

Decorative
from

have paving-tiles

THTRSDS

is an attribute of

Dionysius,
gaged encient an-

the earliestcivilisedera,

the satyrs, maenads, and others in Bacchic rites.* Most of the

works of Art

found in the process of excavating the ruins of ancient Babylon and Nineveh.
In

represent the Thyrsus

or

the

with
grapes

bunch

of vine-leaves

ivy,with

uerus,

and berries instead of the fir-cone ;

of

an

palaceof Ahasstatement very explicit pavement, then employed expensive

of description

the

we

have

In the court which,the fable for internal decoration : where a relates, spear-point of the gardenof the king's palace, and blue was wound a concealed, hangings, were white, green, from which was thought fastened with cords of fine linen and purple to produce of marble ; the and pillars madness. to silver rings, TIARA. A triple beds were of goldand silver, ment upon a paveand and black and on tain cerwhite, which, blue, crown, of red, that infer t he from occasions, Pope marble." "We may this, in public, wears as a sign frequently although the highways were the of his temporal power. left unpaved in the ancient cities, marbles The term was also aplaid with the of w ere courts plied palaces to the head-dress and tiles. Plinyinforms us that Bysesof among
"
"

"

See

cut

to

BACCHANTE.

of marble 620 year* introduced tiles before the birth of Christ ; and from U"

Naxos

TIL.
same we authority

439

that a glazing profusely decorated with these brilliant learn, of into the composition ivaa enrichments ; such tiles, under the name employed, which metallic oxides entered as the colouring of a azulejos (from the Arabic zuleiek, "The most varnished tile), became very popular with agents, lie tellsus famous workman The flooring of this kind was the Spaniards. of the Mayor's one of who that rich is Sosus, Pergamus, wrought Chapel at Bristol paved with these ot Spanish manufacture, hall which they azulejos which pavement in the common call Asaroton fficon,garnished with bricks were probablyimportedfor the purpose small tiles, annealed with or sundry by some one of the merchauts of that city
"

colours." Miiller givesan

Father of
account

who of the decorative

traded

with

Seville. tiles
or

The

art

was

carried into

in the fifteenthcentury.* Italy

we

of the Greeks,and hall-pavements Secchi tells us that in tLe days Alexander of Macedon, the luxuryof of coloured

Among
varieties: with

pavement
encaustic Moorish

find

four

clay ;

inlaid indented, and inlaid indented,

pavements, formed

marbles,

and that the prevailed throughout Greece, but larger. The decoration of the ground frequently forms,similar to mosaics, excelled firstfilled that of the walls and at with some impressed pattern, ceilings. of substance works different to have a These colour,at last appear, however, became the trae encaustic tile, in which been mosaic,or tesselatedpavements, and the coloured substance forming of numerous to have been formed the pattern small in the soft state to the was of naturally-coloured stones. alwaysapplied pieces of and find the both then burnt in tesselated tile, Althoughwe pavements, clay of Indented the world to which the tiles appear to have in every part together. Roman arms extended, employedfor pavements, since employed as the been rarely of favourite mode of decoration in the public it is obvious, owing to the uneveuness a nd in be the to would liable the residences of the wear surface, buildings, they and also be have continued indications of for dirt, great, we away, be a receptacle to walk upon. the endeavour to substitute the less expensive unpleasant They were in all probability of tiles for these elaborate more flooring frequently employed

with enamels ; such as have the pattern in relief; and plaintiles of geometrical

works.
to

The

extended

use

of tiles appears

for the decoration

of walls ; the true

caustic en-

have been associated with the progress of Orientalism across Europe. When we examine the line

tile beingmore

generally adopted

invaders,we shall find of floorings ; and

the- walls
are

pursued by the Saracenic as remains constantly

in the Alhambra

for pavements. Of course the character of the body of these tilesvaries much trict character of the disgeological tured. they have been manufacSometimes the body is of red clay, and sometimes of white or cream-colour; but in all examples we shall find, upon in which

with the

their surfaces tiles,

also decorated with square with beingimpressed

intricate patternstilledin with coloured

composition.
In the East the custom
its

examination,that the surface-ornaments

continued from
was are

of

differentmaterial.
of important these works
were

and earliestinvention,

extensively

The most

employed in the mosques

Arabia,where
the
art

of Persia and

the large stove

made tiles, have

of by Palissy

walls and floors testify to of their artizans. Thence the ability earned to India and Africa by the was

France in the latter part of the sixteenth

century, which
modelled
in

coloured

figurei
wer"

relief. Similar
in

slabs

Mohammedan

conquerors, and from Africa to Spain,at the conquest of that country

manufactured

Germany, and
TILES

afterwardi

by the

Moors

in A.D. and

711,afterwhich time
other
were buildings

" ATED

Soe

the Alhambra

nl"o ENCAUSTIC PAVEMENTS.

and

vv

TIL-TOG. in the Low which

at Delft, colour itself. The chromatic elements are particularly Countries, three yellow,red, and blue ; but the ture. the manufacalmost monopolised
"

The smaller tileswere

congenerally

term

colour has been extended relations in triple Thus

we now

to each
or

of

decorated with "tructed square, and were of all kinds in various tints of blue. figures

their

mixture

bination. com-

have, under the

three primariestiles were denomination of colours, twenty or thirty Occasionally Dr. and blue three secondaries red, form t o one subject. yellow, ; together placed and each conmode the taining recorded adopted has purple, orange, green, Doddridge of and love three him two in tertiaries a primaries; by his mother to excite each containing citrine, russet,and olive, learningwhen a child,by teaching him two secondaries. Each of these nine with the aid of such tiles history Scripture of an infinite number of is susceptible her in fireplace. armed its colour between b etween and encounter An TILT. gradations parent of in time of peace, as a practice white, which gradationsare tints. The knights parent colour and white,having claims arms.
" "

TILT1NG-HELMET.
HELMET.

See JOUSTDJOlance

and
course

characters of their own, do not of fall under the term tint : for once
one

TILTING

LANCE.

with

admit and

term

to

represent

two

things,

or rebated, point

turned back

REBA.TO), (see

and simplicity

distinct meaning end.

of any any unbroken state, the of between colour, varying intensity

Tint,then, is

itsparentcolour and the TINT-TOOL.

its
to cut

of white." * purity of graver, having species wood of certain

pointof

different degreesof width,

or

lines in copper

or

with
an

small coronet

of

opponent without

to unhorse spikes, it was injury ;

which breadths,

are

determined

by

the

quirements re-

We of the engraver. at the tiltor tourney. used in practising engrave signate An heraldic term to deTINCTURE. specimensof the finest and coarsest of

(Lat.) In Ancient Costume, with the shield. Thus toga corresponded Grecian pallium,in being the principal arms (p.193) is azure or blue,that royal of Shakspere(p.77) is or or outer garment worn of the arms by men ; it was usually made of white wool,the form varyingat gold. of sity intendifferent The The TINT. different periodsas taste varied. degrees of colour in a pigment, form and mode of wearinghave been subjects and strength dition the learned,but of dispute which is modified in oil-coloursby the adamong is Rich's Companion to of a white pigment; and in waterthe best authority colours by the addition of water in various the Latin Dictionary (Art.TOGA), where is fully f It may quantities. To understand distinctlythe subject investigated. of tint and tone, and the different be simplydescribed as an ample garment qualities from them the vague impression like a large blanket,capable of being separate imbibed from the very loose fo.ded about the person in a variety of necessarily in which if manner the rightanr they are occasionally, ways, but generally leaving not generally, spoken of and written on, * J. B. Pyne in the Art Union for 1844. even up to the present time, it will be t See also Becker's GaUut Dictionary ; Smith's the science of to probe slightly Antiquities. 2nd edition. of Gredk and Roman
for the the tincture of the French

tints used or the colours,metals, emblazoned of an or Jield ground

such tools. TOGA. the Roman

"

TOM"
as exhibited in free, our

TON. beautiful

435

of engraving

an

statue antique

of

Roman

senator,which

for the purposes of buildings memorials of themselves and their families,

and

this articleof dress in its amplest represents in the Augustan age, form, as worn

which

excite the wonder

and admiration

of travellers.

TONE.
or

The

colour of a picprevailing ture,

its general effect, denominated

dull tone,bright tone,"c. It depends first relationof objects in shadow upon the right the principal light ; second, upon is o f which it felt to quality colour,by from the hue of owe part of its brightness the light There is a very distinct upon it.*
to
"

the

character attaches to renders it one of the most

tone, which
or dangerous

useful powers. As regardsthe capability of advancing it would seem to or retiring, occupy

a

position midway between

transparency. In

extreme

opacityand

its most

state it approaches, as near as may perfect of ultra-transbe conceived, the quality parency state, ; and in its most imperfect
or

that in which

it may

be said to have

from justdeparted

it remains tint,

nearly

This circumstance, of itself, opaque. in the hands of the consummate renders it, a painter, power co-extensive in utility it was period body,broughtunder
at

which

wound
the

round

the

rightarm, and

with any other that may be named. But is its danger in the equalwith its utility
hands

then thrown down

over

the left shoulder, falling

of the tyro ;

as

is the

case

with all

It gave much dignity well-set and sharp-cutting instruments, not onlythe nicest adjustand grandeur to the wearer, ment, owing to which require with the nicest but to be propelled its capaciousness and simplicity, and was the back. the cherished dress of the Roman TOMB. The tombs of
most
men.

discrimination.
posing may im-

Tone

is

never

dull ; tint
cending as-

and important the

to or be,and is so when descending

are tian Egypantiquity pyramids; next to these must be of the Roman reckoned the sepulchres monarchs,such as those of Severus and

from

low colour.

A dull colour
a

in tint becomes lustrous and brilliantin colour those

not

to any of imparting tone, which is capable

"

higherthan
below

and secondary,
"

Hadrian. and

The smaller tombs

were

classic nations

remarkable

among for taste

the

even

the tertiaries

ing, mean-

and vitality,
not to be

to and formed elegant adjuncts beauty, stillbe seen in the Street as cities, may of Tombs at Pompeii. The Greek stele most considered the be as graceful may the Xanthian Temple tombs, as the most
"

sometimes impression, themselves, gained in the primaries and without which the primaries,

in their fullest and most transparent find admission beauty,could not with propriety

them." f in a work requiring of the of the mortuary memorials of The shaven crown TONSURE. stripped head of a Roman The moderns are outthat ancient people. Catholic priest; it u in erections of this kind by the * Vide Modern of the a member Painiert.'by whose sovereignshave Eastern nations, UniTersityof Oxford, vol. i. and erected the most costly, t J. B. Pyne, in Art Union for 1844. extensive, F" 2 ambitious
"

43C

TOO"

TUK. and bound

sacred rite upon receiving the preparatory and imitation believed be in of to orders, St.
on

together by cords.
materials

Sometimes

it consisted of such it was

placedin

Peter,who
crown

is

as bald usually depicted

or

tube. trumpet-shaped ceremony,

formed

For the marriage

of resinous

the top of bis head ;

of thorns

else

as

indicative

pine-

placedon that of wood. When shown upright, it was the the Saviour ; as well as of the humility symbol of rejoicing but when ; reversed, which should characterise a monastic life. of death or sleep. TOOTH-ORNAMENT TOREUTIC. (termedalso This term, in its ("?"-.) and DOG-TOOTH NAIL-HEAD). A peculiar widest sense, signifies purely formative used in the early Art, in decoration extensively and in style, any any material English styleof architecture, forming a but cast the term is or modelled, carved, ; marked feature by which it may be genesometimes restricted rally to metallic carvings, known. It may be described as in basso-relievo; or the working castings of metals with sharpinstruments ; sculpture
of the
"

in

metals; also

the

coveringof

wood

of ivory and gold. There was plates also combined with it,when a required, in moulds, and especially partial the casting beatingout or embossingornament with of a series of closely-placed, punches.This branch of Art was employed consisting of four on small chariots, on shields, armour, especially flowers,each consisting and for decorative furniture. f orward central which a to leaves, project A collar or neck-ch;du, low TORQUES. in holplaced point. These are generally

with

mouldings,and
TOPAZ.
is

are

used in great profusion. formed

and the

thick gold wires,twisted together,

worn

of

The

which gold of Heraldry,

a

originally by

represented by

seriesof small dots in

we

of which engraved coats-of-arms,

an

have

and afterwards Persians, other by nations,

example in p. 77. TOPIA. of (Lat.}Landscapes

trees

the particularly
a

mans, Ger-

fanciful

and Gauls,

Billons.

The the on torquis brachialis depicted walls of houses in fresco. Many examples wasaspiral of many coils, and generally the arm. at Pompeii, Our cut is copiedfrom consist of worn occur on Roman much a rea Gaulish compounds, representing sculpture, very heterogeneous Chinese Other eembling landscapes. captive. specimensof the torques in our TOPIARIUM OPUS. mental engraving illustrative (Lot.) Ornamay be seen of the word gardening PHALAIL*, where a Roman ; the trainingof trees into fanciful forms, in some centurion his shoulders, two bling resemwears degree upon those so extensively reward of decorative his and a as a valour, patronised by the Dutch. The Art was more mark distinctive that he had served particularly againsi the barbaric tribes with which the Romans adopted by the inhabitants of towns, among the classic for the decoration of the Such soldiers at war. nations, were so constantly small gardens usually enclosed within received the appellation of torquatus. the precincts of their houses. TORSO. The trunk of the human body: TOUCH. The torch, both in its conis usually struction the term appliedto mutilated and h ad from definite which the head and limbs a position, statues,

kind;

and

bowers

meaning

in of
a

ancient Art. It was bundle of reeds, or

structed con-

are

broken

off.

small

TORTOISE-SHELL.

The shell of In,-

the interiorbeingprobably brandies, filled testudo imbricata, seoarated into thin with pitch, or ether inflammable materials. and used for a great variety of decoplates,

438

TKA.
A

TRACERY.
to applied

term

in architecture, to be
and it,

seen clearly

when

it

is

placedover

in the geometricornament seen to be cr pen pencil used in producing the upper partsof Gothic windows, or walla fac-simile, ing by followthe lines of the original.* panels thingapplied ; as well as the same TRAJAN'S COLUMN. A monumental to wood-carving.Our engraving, representing
a

will allow the

clock-case of the fifteenth century, beautiful

is

example

of the taste

column, erected by the Emperor Trajanin his Forum at Rome, to commemorate his
the over victory with sculptured Dacians. It is elaborately the story of his exploits, of Art, is finer than the

and, as
ANTONINE

work

that word) ; but, (see valuable for the extremely it gives of the minutiae of representation Roman that of its as well as military life, foes.f It is 125 feet in height,and is ascended by 185 steps. Upon the summit was a statue of Trajan originally ; but Pope like that, it is Sixtus V. substitutedthat of St. Peter, when he
a

COLUMN

the repaired

column
on

in

and placed 1589,

statue

of St. Paul

that of Antonine.
a

TRANSEPT.
constructed that
a

When
its cross, the

church

is

so

ground-plan forms
nave

the

of figure

represents

the lower limb,the chancel the upper, and the transept forms the two arms, crossing the
nave

and

chancel croisee

at

is hence termed

rightangles ; it and the French, by

crociata

by

the Italians.
The transfer of is

with

which

articles of artizans. TRACING.

trac.ery domestic
A

was use

employed on by the older

copy of
an

antique frequently cult diffieffected, and, though an exceedingly and delicate operation, is necessary where they are liable to damage or decay. Descent from the Cross," The famous by has been Rubens, in Antwerp Cathedral, thus treated, the process beingas follows : A fine piece of muslin is pastedover and that the entire surface of the picture, placedon a table of equal dimensions. to The wood is then planed down as near be the surface as can attempted, safely the rest being scrapedaway slowlyby a the groundon which the After that, razor.
from pictures

TRANSFER.

wood to

canvas

"

"

"

One

mode

of making tracing paper

was

is

given

mechanical

in p. 326.

its lines, original, producedby following aid the of medium. a transparent through TRACING peper, which PAPER. enables
a

t The
in
a

column

described,
a

and

all its

in sculptures represented,
4to.

series of 130

plates,

transparent

(Rome,
DtKiti
qua*
a

Ciiacomo Hispanc volume, by Alfonso UtriusqueBell* 15S6), entitled Haloria Traiano Cetare

drawing or print

in columna

ejtuden Ronue

Gesti, ex rimuiac/trit Yituntur CoOtcta.

TRA-TRI. be taken away by solvents, segments of remains "c., until nothing of the gentle scraping,

439
a

paintlies must

and circle,

used

as

an

blem em-

Trinity. but the mass of colour pasted on the TRELUS. Open lattice-work. sheet of muslin. A new is then TRESSON. canvas (Fr.) The network for the in the middle ages, ladies glued on to this paint,and the muslin worn hair, by itsface the CALANTiCAof the ancients.* beingremoved, the operation resembling upon is completed. Frescoes have also been TRESSURE. An ornamental frame, transferred to canvas difficult surroundingan heraldic bearing. It is a still more and floriated. A familiar operation. generally double, TRANSLUCID ENAMEL. A process instance may be cited in the royal of enamelling introduced in the fourteenth of Scotland. arms and its in Italy, TRIANGLE. An century. It originated triangle equilateral is a symbol of the Holy Trinity, of the consisted in the subject and many peculiarity in Christian ornament are structed conpicturebeing defined and shadowed in figures dark lines beneath a transparent this principle, on as types of that covering is found of coloured enamel. triangle mystery. The equilateral
"

TRANSOM.
divides
a

The

cross-bar which A

in the most nerally ge-

in the probeautiful arches, portions

horizontally. themselves, and, painted next to the cross, is the most important picture on glassor thin canvas, to be viewed by form in Christian design. TRIBUNE. the natural or artificial light shining (Lat.)The chosen head or In it. invented ruler of tribe of men were a or body of soldiers. Germany through tures picAn of this kind in transparent elevated which speeches from place, porcelain, delivered ; a rostrum. and thicker according are very thin in the lights, TRICLINIA. The Roman diningto the depth of the various shadows (Lat.) usual arrangewhich effect called from the was means an so required room, ; by ment in mezzothe room, of three couches round obtained similar to an engraving tint, or a holdingthree persons, the drawing in Indian ink, by the each generally alone in passing through table being in the centre,and the guests agency of the light around. the various thicknesses of the material. reclining tiful. beaubute As lamp-shades, are they extremely TRIDENT, FUSCINA. (Lat.)An attriof Neptune,consisting Clear and such TRANSPARENT. fork, aerial, of a three-pronged used to urge horses the colours of as like the skies of Claude, was or in all to greaterswiftness, and also An essential qualification Titian. aerial for which fish. The the tints harpooning tive, perspecexpress
TRANSPARENCY. the
waves

window

of the churches

antagonismof thickness and in general, painting

in Art.

It is the of the sea, "c. in and muddiness

a

in the combats Retiarius, the

was gladiators,
a

of

armed

valuable

with fication quali-

trident.

TRIFORIUM.
A calcareous stone, of

(Lat.)An

architectural

TRAVERTINO.
a

white

ancient It
was

used yellowish tint, to give body painters

or

by
to

the

term for the open gallery or arcade in the wall above the arches of the nave of a

lake.
near

cathedral TRIGA.

or

church.

obtained from

the mountains

(Lat.) A

car

drawn

by

three The

Tivoli. tary (Fr.)An ancient miliof for casting stones after t hem enormous by propelling size, of a sling. the manner of three A figure TREFOIL. consisting TREBUCHET.
instrument

horses abreast. TRIGLYPH end frieze in Doric THRICE-CUT. (ffr.),

a

of the tie-beam ;

member

of the

of architecture, consisting
cut, p. 91.

"

see

440

Till
eye.
At

parallel grooves or channels with drops underneath, arranged at regular

three intervals throughout the frieze.* TRIGONUM.
SEHA TES(Lat.)A triangular

times,the
to be
or

same

msytery

was

tempted at-

rendered

by

three heads

pictorial ly visible three faces on one neck,

used

mosaic pavein constructing ments, of the musical instrument A "c.

becoming part of each individual from the Salisface,as in our engraving, bury Missal of 1534. These were, however, late attempts. The most comparatively general form in which the Trinitywas
the eyes shown above
our

in the church the

was

that elevated

as in rood-screen, represented

cut, p. 374.
THE FATHER
was

and originally

perly pro-

rather indicated,

than

from the issuing surrounded or by a hand blessings, the Divine supports and strings with a glory.* Sometimes harp kind, whose Our engraving Spirit is represented in glory, formed a triangular as figure. descending from ancient in from the as our a on gift a high, Egyptiantrigonum, cut, represents fresco twelfth in of the the Theban from a sculpture. chapel century, of the TRINITY. The representations were church, adopted by the early Trinity, characterised by considerable simplicity. is the That which has endured the longest which found be on mystictriangle, may in the the tombs of the early Christians,

by a

hand

represented, and dispensing clouds,

Catacombs
union

of

Rome,

as

well

as

in modern The

churches of alldenominations.
of the three persons

mystic
God
was

of Palermo.

It

was

about

that this period

Trinitybegan to be as also symbolisedby a Latin inscription, a visibly represented by artists; first, in geometriclines, containing head emerging from the clouds,and nest disposed of the Father, as a half-figure. at each angle the names When entirely sented, repreeach connecting u nder the figure it was Son, and Holy Spirit, generally band being inscribed with the words non neated of an aged man, though sometimes delithe eat. In the midst of the triangle was the Son ; but, in the as as youthful of God, again connected by fourteenth century, the distinction became holy name bands with those of the Trinity, each of represented fixed,and the Father was which bore the one word est; so that the aged (as in the fourth engraving to the and exalted above the Son present article),
one

in

the first person

of the

with in kinglydignity, Holy Spirit the robes and and bearing royal crown, In surmounted Italy, globe, by a cross. of at this period, the custom originated
and

the Eternal representing

robes and tiara of the

Father

with

the

Pope, the highest

human
form

8t. Athanasius
See

of faith pronounced in the creed of thus made visibleto the was

*

power of the age. the second The person of the Trinity, quently freSaviour Jesus Christ, is the most in sacred iconography, represented

cut

to the

word

MKTUFK.

"

bee

and cut*, i'\"..'"7

;uii.

TR1. He
at

441

has been, without

intermission, figured

every period since the Christian era, under many forms. "Works of Art are ever

the

and counterpart of religious belief, proof and to Him Art has

ever

when he appears unapproachable in order what we have judge. To place to say on the iconography of the Saviour, after reconsideringJesus as a pilgrim, ceiving
vere

and

to

and rendered,

his mission

from

the Father, and

the highesthonour and purest still renders, tianity, thought. During the early ages of Chris-

the Saviour
as represented severe a

was
man

almost

always

young

aspect,of middle
fair

of grave and blue eyes, height,

in curls upon the shoulders, lighthair falling

Such

and majestic riage. carcomplexion, the type as preserved was upon

his

we incarnation, study him

or as

in his infancy,

queror, teacher, redeemer,conpastor,

as

and triumphant, glorified,

judge.
01

Jesus,before
never

his

is seldom incarnation,

met

with anteiior to the fourteenth

the firstmonuments.*

About

the twelfth

century, if we
in which

except some

circumstances

the artistsceased to represent him century, determined bearded. At that time,iconography

he appears to performthe functions of the Father,in scenes from the Old In the fifteenth century, he

" of the middle During the entire course with the foetal state,proceeding ages, the Son of God was constantly decided anterior to his birth at to periods engaged in the exercise of his divine functions, he is seated, speaking to the Father, near whom Bethlehem, and Nazareth in the infant creating the world, pronouncing sentence upon and Eve, chaining Death, treading under Adam developedwhen state, with form more lisk foot the lion,the dragon, the asp. and the basiamid the doctors in the temple. During ; or, having completed his earthly vocation, his public life he is at the prime of manhood, re-ascending into heaven, and shining in the of his glory in the bosom of paradise, radiance broken down with grief under the

his age in accordance with the different Testament.* his life of represented. They epochs
even

commence

burden

of the

cross

in rising glorified

with borne

his feet resting on

on

the

arch

of heaven,

or

from the tomb ; grave, but gracious, when he stretches forth his hand to bless ; se"

is

Our representationof the youthful Saviour copied from a Roman sculpture of the fouriu

or. century, died in 359.

the

tomb

of Junius

Hassus, who

wings of seraphim through the immensity of space, blessingthe world from the tain highestheaven, or standing on that holy mounwhence descend the four mystical streams of which of the Gospel, and from the summit he gives his law to the universe, and presents his Gospel to the apostles; or he is judging nut at the end of time ; or, lastly dwelling maiiK the Father in the bosom of the Trinity,between
the
,

442

TKi.
to appear before the Father

is made

under

and St. whence

an Paul,holding

the human

form, such
The

as

was

given to the

he

gives counsel

open book,from to those who

to become the chief of his Church. ceding were preIn other representations, Father presents to he is seated on an elevated staff and him the pilgrim's scrip, throne, holdingin his hand the upon volume of the ancient law, which he only out on his divine mission.* Again setting

souls of the

in pictures of departed

centuries.

we

see

him

upon

his return

before the Father appearing from earth, bearingthe of

can

unfold. show

The him

eleventh with

and

twelfth ment Testa-

centuries

the Old

rounded Evangelists upon his knees,and suranimals of the by the symbolical Mary, is not met with before the lastepoch of the Ogivalperiod. He is naked, under As Pastor. This is one of Evangelists. the types which the earlyChristians dethe form of a littleinfant, environed by lighted and Mary, with in producing. The frescoes of the luminous rays (AUREOLE), whom she Catacombs bears. show us Christ preachingto joined hands,adores him in allages his flock, Jesus as Infant was represented where he calls the wandering to his fold; then we and painters of the Church by sculptors with him meet : as a of t he Adoration the c lothed in a at his youthful shepherd, Nativity," tunic, light which he Shepherds and the Magi," the Flight sustaining by one hand a sheep, Presentation in the into Egypt," the Temple," either on the knees or in the
"

of his travail and suffering. signs The word made fleshin the womb

in his left hand, and the

the books of

"

"

"

"

arms

of his mother.

Yet it must with Jesus

be
as

marked, rean

that if infant his the is

we

meet

duringall the ages of the Church, image is not everywhere nor always
:

same

never

until the fourteenth century it nude, but covered with a little

garment ; it was
shown fearlessly

onlyat

the decadence of Infant

was

Christian Art that the Divine

As so. naked,or nearly in the first the we Teacher, find, periods, Saviour fulfilling his functions, under the symbol of a LAMB, nimbed, or bearing simplya cross upon his head ; afterward he is placed flow a mount, from whence on four streams,typifying the four EVANGELISTS (see p. 180); or surrounded by twelve other lambs,who regardhim with listening attention. Upon the frescoes of the him between St. Peter we see Catacombs,
the Holy Ghost. He is also depictedunder of a lamb, or that of the good shepherd, because the symbolism of such representations of every divests them human teristic. characIn his human as aspect, he is seen born of the Virgin,baptized by St. John man in the rirer Jordan, nailed to the cross, ascending into heaven ; and indeed every event of his
the form
career

and

carries "We

on a

his

the other

rural

and shoulder, pipe.* As

holding in
Redeemer.
"

has

been

the

of subject

the

painter'sand

on might in indicating the forms of subject, the cross, the position of the Saviour upon of his sufferings, it, and the expression with the different together persons real or

filla volume

this branch of

our

the sculptor's art. " Our illustration is copied from a French " The engraving is copied from miniature of the fourteenth lished the Catacombs at Rome, century, as pubexecuted by Didron in his Christian Iconography. ages of Christianity.

fresco in in the first

TEl. who allegorical,

moments.

443

present at Ms Until the fifthcenturywe

were on

last | in cups the blood which drops from his seek receives that which hands,while Religion
flows from

in vain
seem

for Christ

the

cross

; it would

the feet.
and the
cross

At
moon

those
appear

in periods
on

that the firstChristians feared to

new

Art, the

sun

either

shock the
them

converts

to by presenting

side of the

fering the Saviour under the aspectof a sufmalefactor. Nevertheless they did
to employ the scruple

presented ; oftentimes they are reold to the according mythology,

sun

by Phmbus,
cross

the
we

not

and to demand
it ceased
to be a

symbol, for it due veneration ;

cross as a

foot of the

and the beloved

by Luna. At the see constantly Mary, John the descent disciple

moon
"

it became gibbet, Constantino

saw

glo- from rified

of

the

cross,

showing the inanimate

sign.
heavens

After

in the became

this sign, which

assured him
cross

the Saviour in the arms, or upon the knees of Mary, or sometimes upon

body of

the triumph of the victory, generaland constant. From of the Roman took the place

the knees

of the Eternal

Father.

The

that time it

Redemption
summatum

Eagle upon

it is the concomplete, est. As Conqueror. He is is

"

and the CHRISM the standards, embroidered the pennons by the hands of the noblest on

conqueror

when the

he

descends

into

hell with

armed which

with

triumphal cross,

ladies of the in the air.

was

floated empire,continually of gold, enriched with cross

he breaks the gates to release the of the old law. He from the penalty just

also elevated on the summit rection is conqueror when with the Cross of Resurdiamonds, of the imperial in his righthand, with the left palace. To the emperor it the Palladium was or safeguardof his he seizes the chain which holds the dead At this periodthe basilicas captive. Jesus Glorified.All the scenes dominions. took the form of a cross, and succeeding which follow the Resurrection of the have this form. It was Saviour,all his appearances during the preserved ages passed days which he subsequently onlytowards the fifthor sixth centurythat forty life of the body of the Saviour was attached to the on earth,belong to the glorified Jesus." before the tenth cenHe had already been glorified tury cross, and but rarely the until C hrist crucified eleventh, ; is always represented but in the clothed,
"

eleventh and twelfth centuries the sleeves the breast is uncovered, and the disappear, drapery becomes a simple apron, from the waist to the middle of descending the thighs this was in the abridged ; even thirteenth and fourteenth centuries, till in the fifteenth, it became finally, a which it remains this to band, simple day. entire Until the thirteenth century, Jesus was from the cross, either with three suspended
or

with four

more nails,

with frequently
use

but after the thirteenth the four, three nails

of

was general. In the firstcenturies of the Christian era, we meet with

the serpent at the foot of the cross. From the eleventh century, we occasionally see
at the feet of the

of his at the moment duringhis mortal life, but after the resurrection transfiguration, his glorybecame permanent, all that was in the victory mortal in him disappeared

Saviour

into chalice,

which

blood ; at other precious holds the times, Religion, personified, chalice ; again, we see two angels receiving

flows his

Saviour is copied of the glorified paintingof the fifteenth century, In the original he is published by Didron. supported by the three archangels, Michael, Gabriel,and Raphael.
*

Our
a

cut

from

Greek

TRI.
wiiiuh Se

he

had been,

achieved.

Jesus

glori- have
and
a

been confounded with

even

angels, apostles,
assistanceof
can

has

represented by

Christian

prophets, yet,by the

thus the

in a thousand artists
even

different ways, which, would far exceed our to indicate, It will be proper, however, to note

nirobus

characterised, we
to

nounce pro-

figure

be

one

of the

three
most

limits. that the

and nimbus, employed aureole, glory, of divine and in the glorification the particularly holy persons, are more attributes of Christ. Early monuments, in fact,always present the Son of God adorned with the most resplendent nimbus, and the most
from

holypersons of the second. probably

most

the

and Trinity, when

But

this person,

thus

decorated

with

the cruciform
of the Passion,
cross, and

nimbus,
or

bears

the great

cross

the small Resurrection from

when

that

cross

there

depends

standard

dippedin

the blood of the Divine

luminous

aureole.

Stillthe

Victim ; when
a

him aureole is not sufficient to distinguish

the person has no robe, but the arms simple mantle, which leaves
bosom

The head of persons. Christ emits rays of so much power that they force themselves beyond the edge of other divine

and

bare, and

show

the wound

personage with a clothed in the vestment

or a

is thrown open to in the side ; when the cruciform nimbus is of

a as

Latin

Greek

both archbishop,

priest after priest

because he

the order of Melchizedeck, and is the great

Divine

in the archbishop officiating

that person is surrounded Liturgy ; when attributes ; by the Evangelical

near

when XC
the aureole. Yet God

his head

we

see

the Latin
monogram with the

nogram mo-

1C, or
; when

the

Greek

he

is marked

1C, stigmata

the Father,and the

a

in the

the hands,and the side ; feet,

of thorns is either open book,

in are Virginalso, depicted The rays, but hands the

similar

ner. man-

when
his

crown a

of Christ sometimes

emit

head,and

placed upon his in or closed,

for doubt
:

Virginis similarly sented, represhedding from each finger rays of

hand, then there is no

room

grace

those who invoke her assistance. upon Thus it is seen, that the various

the person of the Trinity thus represented indeed be the Christ, for all the atmust tributes relate to

him,

and

many

could

not

characteristicsof age, feature, costume, or the aureole, guish not sufficient to distinare Christ ; since his mother, and even often honoured in an are saints, ordinary

be considered Jesus
as

to any other.* as appropriate tury Judge. Until the eleventh cen"

he
most

is represented, as before stated,

full of

bearded,with frequently
which the life, were frequently those of tender

equal degree; but the nimbus is a certain characteristic. Except in

few

more

aspect, gracious and

The acts of his
most
were

very
form cruci-

pleasant gentleness. tians Chrisearly

a

Jesus instances, nimbus.

As
are

has

always a
marked

fond

of

lating, re-

the

transverse

bars of with

kindness

and

this attribute

sometimes

the word 6 wv, Rex, and Q, or A, M, Q, it is impossible to confound the Saviour,to whom
or

love; but,towards the end of the eleventh and we no century,love gave placeto fear,

with theyrefer, allegorical persons. alone

are

any other historical The three divine

a

longersee the Good whom the rejoiced

Christians.
the words

Their

persons

entitled to We

similar

addressed

of the sight Pastor, early had heard sculptors by the prophetEze-

hearts of the

more nimbus, and it pertains

to especially

kiel to the Jews.f

In

their crude way

Jesus than

to the others.

thus learn
from
"

by degrees to distinguishChrist

Didron's

others; and discover that thoughhe might

Icoiicyraphie
.

t Kxek.

xxxiii

x.txiv.

446 after their victories

over

Till" TUM.

is used in the Arte the Parthians, great moral principle, to denote the proper and correct representathe Arabs,and the Adiabeni. It has three tion with of in whether is the and on decorated solid object nature, top any portals, and the the in as trees and or palpable, statues mountains,or figures; equestrian

centre, the emperor is seen in a car drawn by six horses. The remains of thi" arch that the rubbish still exist ; and now hid its base is removed, partially its exact resemblance to this medal of the which
is emperor's very
us

and fleeting the rainbow.

evanescent, as the clouds or walk is the exact Its highest

delineation of the

striking;but, as
to see

the

latterenables its and adds

it as he

saw

in it,

of the mind, passions their action on the physically exhibiting but also morally muscles, depicting through them the emotions which guide them,and with accuracy the fleeting realising sions pasof Art to call forth in the mind of the breast. It is the noblest province of the
pressed extemplates, con-

state,it perfect
another
to

is of

peculiar value, the long list of the

of numismatics. utilities

sentiment spectatorthe corresponding

TROCHILUS. much TROPHY.

A hollow moulding, ("?r.)

A memorial site of

by
the reality

the artist in the work

he

used in classicarchitecture. erected

a

and

on

the

canvas

the medium victory ; it Thus,the agony of the Laocoon, consisted of the action originally of the the the arms of the Discobulus, or spoils upspringing all are feated, detaken from Mercury, the real in their apparently action by the innate truth of their conwhich were formation ; and, after contemplating suspendedon a tree ; them,

with life and which he makes for expressing his inspiration.

or

thus imbue
stone

Iafterwards, it became
'

we

almost

cease

to
on

think

we

look

on

to adjunct ordinary all triumphalprocessions,

an as

but rather marble, the

same

living In activity.
refreshes landscape

way,

beautiful

the mark

of

victoryor
and the

conquest,

the eye, and almost deceives the physical powers with its air and light, if rendered. Truth truthfully the highestquality in Art. is therefore for a

sisted group conof the arms, armour,

and of the
on a

standards

T-SQUARE.

A very literalterm

conquered, ornamentally arranged

and carried by soldiers before staff, or a victor, displayed upon a triumphal it. The naval arch,or sculptured upon

trophy consisted
and

of the

beaks

of

ships,
graving en-

other maritime Roman

emblems.

Our

a military from represents trophy,

THOPHIES

and

In modern sculpture. times, been erected in churches, other public to commemobuildings, rate have victories. A
sonorous

ruler, peculiar having a cross-piece at one and thus end, shapedlike a f ; the horizontal piece being placed against the ensures a drawing-board, correct upright line by drawing the pencil the edge of on the perpendicular or a true ruler, right if wanted. angle, TUCK. A short sword or dagger, worn
as a

side-arni in the sixteenth and

teenth seven-

well by civilians as as centuries, soldiers.

TRUMPET.
of

wind

ment, instruward to-

in width bronze, increasing The the

the

the mouth.

ancients distinguished

(Jr.) Extra protection for used when plate-armour thighs ; was to the tacet worn, and appended by straps
a

TUILLES.

straight trumpet,tuba,from the curved one, which they termed cornu. TRUNCATED. Having the top cut off the to base. parallel TRUTH. This term, designating a

of

(Seecut to the word TACES.) A drinking-glass, so called because originally it had a pointed base, and could not be set down with any liquor in it; thus compellingthe drinker tc
TUMBLER.

soldier.

TON" finish his

measure.

TUR. Roman
on

447
for a Antiquities, as well as subject,

The

modern

form

full dissertation for many trative illus-

for it is preadopted cisely similar to the of ancient drinking-cups Egypt, one of which
from
a we

the

engravings.
An under tunic. (Ital.) (Lat.}A small portablo for fore censer or grate, burningperfumes bethe statues or altars of the gods,used TURIBULUM. TUNICELLA.

engrave, and

paintingat
which

Thebes,
was

evidently gested sugtiful by the beaucalyx of the

TUNIC

lotus flower.

r
An
outer

(lat.)
the of

body garment descendingto

of the most
from

knee. male

One

ancient forms its

dress,and,

and simplicity

one utility,

of the commonest.

Amongst

the poor in the classicages ittook the form

at the woollen garment, terminating reaching midway knee, with short sleeves,

of

to the

elbow,* forming their chief or only

was

garment. It
the
women

sometimes
of
an

seen

under

simplerform
it was
worn
as

EXOMis.f

With

longer; J and may be nearly identical with the under garwhen worn as an modern shirt, ment, blouse, like the or as countryman's with long sleeves as an when it appeared
considered

by

the

Greeks

and

Romans

when

they

sacrificed. It was

sometimes

formed of the

venience metals,and had handles,for conprecious of carriage.Our engravingis outer garment. published " Among all but the poorer copiedfrom an antiquefresco, who to reprebelieves it classes in Rome, an upper and an under by Winckelinann, sent if under ficing of one wife sister an tunic were worn the only, or Augustus,sacri; or, over to Mars. then the toga or stola was worn all, vation. concealed it from obserTURKEY-RED. A brilliant dye,prowhich effectually duced from madder. Rich,in his excellent Companion A varietyof has noted sixteen BLUE. TURNBULL'S to the Latin Dictionary, minute cate deliallpresenting Prussian blue, but lighter and more varietiesof the tunic, be owned, than that colour ; it is formed by differences,though, it must to be identical with garments of potassium to a prothey seem addingferricyanide much fusion condescribed under other names, used by tosalt of iron. It is occasionally from minute the calico-printer. necessarily resulting An YELLOW. researches into terms for dress in all ages, TURNER'S oxychlocontradict each other. also as patentyellow, ride of lead ; known as they frequently We must refer the reader to that work, and Cassellyellow. Greek and The essential oil of TURPENTINE. Smith's to and of Dictionary is used as a diluent in oilturpentine and as a solvent of certain resins painting, See cut illustrating the word SAGUM. varnishes ; also in cleaning in tures picmaking T See cut to that word.
*

The Greek CHITON J See cut to ENCOMBOMA. (see that word) may be considered as identical
with

to

remove

} See cut

the shorter tunic. to BACPLUS.

form

in which

The purest merce turpentine appears in comthe varnish.

as

is known

camphine. Venice tnr~

41.-S

TUK"

TYP.
on represented found paintings

of the larch. Strasis the product pentine of the pinus is the product burg turpentine of the pinea, and Bordeaux turpentine

pinus abies.
TURQUOISE.

pregnated imFossil ivory, (Fr.-) with copper, which producesa but greenishblue tint of much variety, w hen fades slightly posed exwhich sometimes It obtains its and heat. to light from having been originally brought name from Turkey. A small tower, generally TURRET. of a larger attached to the angles one, to f or opportunity assailing term givethe soldiery
and enemy, from his attacks.
an

quently
in the
at

ancient gems,

and

Pompeii.

The

was

also used for

a

sonorous

ment instru-

itself TYPE. The original in Art conception of a copy ; the (from the which becomes the subject and understood to designate design the face of a medal or coin. The Latin turns'), on used moulds tower attached to a larger building, a little by the ancient potters and makers of images were termed a stair. containing typi; generally TUTULUS. so (Lat.)A mode of dressing hence the term ecti/pafor the objects Grecian manufactured. the the hair, also termed were They originating among and adoptedby the Romans, which sigittaria. ladies, TYPICAL. rather than poIndicative, sitive the of ; representationa part for the whoie: the sacred hand as from issuing the clouds, p. 228,indicates the presence of Jehovah ; or the Lamb, pp. 9 and 262, that of the Saviour. In Pagan Art, the of is cornucopia typical abundance ; the life ; and rudder of the changesof human
tower

withdrawing Hence, the

a

for shelter

like

kettle-drum.

is sometimes

termed

turret

such types were at that time the result of the love of mysticism inherent to the With the Jewish and Christian priesthood. i t in a hatred churches, originated for, it upwards upon consisted in gathering Tertullian or fear of,idolatrous practices. the crown and back of the head, in a writes with zeal against artistsas persons and curls. conical heap of plaits, of iniquitous ribands, occupation ; and they were Its simplest in the statue of the form is seen until theyhad renounced Art; not baptized "We copy our example Venus de Medici. admitted to the church, they were once from the Venus in the Townley Gallery of excommunicated if they recurred to their the British Museum. former occupation.*Clement of Alexandria, The TYMPANUM. in of his discourses (Padag, iii. (Or.) triangular one in our cut A, which as the limits to which pictorial c. 11), space in a pediment, specifies is sometimes filled with sculpture. The allimages, art might extend. He deprecates is applied with greater propriety term to and recommends only symbols as the the semicircular spaces above doors, "c.,in
"

median
name

is also

in our cut B. The *l buildings, as to applied the tambourine,an

of great

See

Munter's much De

SinnbiMrr

und

lungen der alien Christen, Alton*.

containing

Kvmtvorstel1825; a work
on

instrument

antiquity.It is fre-

subject;

interestingmatter c. 1 1 Jtlolatria,
.

this

I/DO" and an anchor, a lyre, a ship, dove, the fish, eimilar emblems of the
on as Christians, early

UNO. middle
or

449

neutral tint for flesh, and skies,

draperies ; it is a purer and tenderer grey producedby mixture of more colours. catacombs of Rome, and have been described positive UMBER. This pigment, and engraved in the great work of Aringhi. in itsraw state, is of olive-brown felt A sock of an which becomes UDO. or (Lat.) goats' colour, redder much when burnt. It consists of worn lair, by peasants. ULRIC, ST. Son of Duke Hubald, of an ochreous earth containing manganese, is h as founder and of and and is useful in durable, good body, bishop Germany, oiland water-colour painting.It receives Augsburg Cathedral ; he died in 973, on its name from Umbria, in Italy, ashes strewed in the form of a cross upon where it first found. was is its floor. He usuallydepicted doing UMBO. saint much a works of charity.He was (Lat.) The projecting spike, knot or boss in the centre of a shield. and sometimes worshippedby fishermen, they were
delineated their tombs in the than that
,

bears

fish in his hand.

as

He

is also depicted
son

UMBRELLA.
are

These

shelters from the

and may be profound antiquity, toral pasin the of seen from ancient staff sculptures angels. Egypt and LAPIS-LAZULI. A Assyria they are borne by ULTRAMARINE, ; in the latter, in the same blue pigment obtained from the lazulite,the attendants on the king, way as carried in the East. Upon and of various theyare still a mineral of great beauty, vases the onlyone which rethey are frequently sembles Greek shades of colour, depicted heir1 a blue the her mistress. the of over in purity Sy slave-girl matic prisand a spectrum. It is made by grinding The) were also used by the Saxons, the stone,calcining and againgrinding it, with a porphyryslab and it in a mill, or muller. The ancient masters the prepared the from colour themselves lapis-lazuli.

the chalice and receiving

of

In the account
railed
"

book of Guercino there

are

several entries of the L'Amore

kind;

for the

picture

he received Virtuoso," to make of lapis-lazuli twenty-one ultramarine. It is the most expensive of the price at Venice was colours. In 1548, notes that 60 scudi the ounce. "Walpole Sir Peter Lely paid for the best kind as
ounces

much much

as

"4 10s. the

was

ounce.

In 1788,the
even as

in Paris price
as

100

or francs,

curious representation of a king with an attendant umbrella-bearer occurs in a MS. of

Lapis-lazulithe tenth century,in the British Museum,* being very rare, this pigment obtained and a copy of which is here engraved. this high price. Hence it became very UMBRIL. A projection like UMBRERE, of desirable to produce the it by artificial to a which means a peak ; cap, face-guard the attempt has proved very successful. was sometimes which moved attached, the productsof MM. Guimet In and and could be lifted freely upon the helmet, Gmeliu have beautifully coloured pigwe ments, up like the beaver, f UNCIALS. Such lettersas were adopted which, for most purposes in the of the natural pigArts, supplythe place ments, HarleianMS. No. 603. and at considerably less price. t The soldier engraved p. 14 wean one, but
crowns ounce.
"

50

the

Ultramarine

the residue of lapis- its construction ashes,

tracted, exas a

can on

be better

seen

in

Fig. 1,

tazuli after the chief colour has been

was

p. 40,

used

by

the old masters

The very large p. 101. size adopted for it in the early part of the fifteenth century may be seen in the out p. 102.
or

in

that

450

UNG"
ancients
as

URS. added.
Louvre

by the
the
URN

numerals, or

for words

Fig.1
; itis a is of

is from

the Venue
of

of th"

in abbreviated

like that inscriptions,

upon

from large vessel, reaching

knee

at the foot of this page.

the
A small

ground

to the
a

the goddess.

UNGUENTARIUM.
vase or

(ZaU.)

used bottle, glass

for unguents in the

ordinary of an Athlete, by the figure who is preparat Florence, in the gallery ing himself for his performances dering by renhis limbs supple with its contents. In UNICORN. Christian Art, the unicorn is a symbol of the Incarnation,
more

Fig. 2

smaller and

size ; it is held

and

an

emblem

of solitude and

female

It is the attribute of St. Justina. chastity. Its body took the form of the horse and and it had one horn on its head. antelope, in the believed to live solitary It was woods, and could only be attracted by a and maiden, in whose lapit would nestle, the hunters.* then was caughtby
1. 2.

UNION-JACK.
of Great which

The

national

banner
union

Roman

baths.

Our cut,p. which

two

12,illustrative
exhibits
are some

the Britain, exhibiting

of
as

of the word to specimens,

ALABASTRON,

the

crosses,

severally appear

others

here

those of the patron saints of each country ;

St. George, 1 ; St. Andrew,Fig.2 ; St. Fig. 3. The word Jack is proPatrick, Fig. bably of derived from the eurcoat orjacque the soldier, which, in the middle ages, was usuallyemblazoned with the red cross of St. George.

in the which with

British Museum, Townley Gallery, is inscribed

a

mortuary
ST.

dedication.

URSULA,
The British

cess, prin-

UNITY.
or

That proper balance of composition colour in a work of Art which conduce.

who, with the

eleven thousand
veying con-

harmonious producesa perfectly

and to which all parts of the work

she was effect, virgins

to

driven earthen vessel for was capacious used as a symbol of river winds up the deitiesby the Romans. A funereal vessel, Rhine, and tyred marconstructed of marble,bronze,or glass, with her companions the ashes of the dead. at Cologne, Our containing exhibits an elegant engraving marble urn S"e p.

URN.

France, trary by con-

water, hence

"

4W".

VAG"

VAN. blue gether, alternately and white. It is

by barbarous Fiets and Huns, about

383.
This
to have

A.D.

legend (believed extraordinary in the discovery of an originated Ursula et Undecimilla virto inscription the second name pressive being read as exffines, of number,and not a person, and
so

sand two virgins into eleven thouconverting ! See, for further remarks, Bishop

the devotion of the on Reflections Hone's Everyday Book, Church, with favourite has been a "c.) subject has and artists, employed their pencils The most beautiful seriesof extensively. in existence, devoted to the earlypictures those are paintedby Memling in story,
Patrick's

Romish

the latter part of the fourteenth century, of the the Chasse, some on containing
in relicsof St. Ursula,and stillpreserved of St. John, at Bruges. The the Hospital

seen

in the cut here

Robert de Marmyon of VAMBRACE. The which French covered the

arm

givenof the arms Scrivelsby. of armour portion

of

saint is
arrows,

It is a corruption from the and originally covered; avant-bras, only the outside of the forearm, being with is also delineated She of her. buckled to the sleeve the near ship hauberk,or beneath fastened to the hinges on the ringsof a crowd of smaller figures grouped the folds of her mantle,which she covers it was a complete mail. Afterwards, tube, to encircle the ^rm.* over represent with hinges, them, and which figures her martyredcompanions. A corruption VAMPLATE. from the Ill-defined; exhibiting want VAGUE. French at 'ant-plaque, a circular shield of of power or determination. "Vagueness metal,which was affixed to the lance of in and in painting, as speaking writing, the armed knight in tiltsand tourneysas the hand. will be alwaystaken as a sure indication a guardor shield over VANDYKE of knowledge of, and a power CASSEL of a want or BROWN, I and Is with i n EARTH. obtained a the from a pigment painting, subject ; over, kind of to or be can bognothing expected peat particular, unless earth of a fine, deep, strike the imaginationforcibly * semi-transparent t^f firmly." pronounced much brown colour. It owes ^^ The skin of the squirrel, VAIR. the wrist. her hands,or holdinga banner with a cross with a and book ; sometimes crowned, or used in the fourteenth century as fur for mentioned by garments, and frequently writers of the
its
name

with

bearing the usuallyrepresented in which she was martyred,

from the elbow to

and

tation repu-

scribing periodwhen they are dedresses of kings, the costly nobles, the brown The entire skin beinglaid Vandyke in and prelates. the dark tint and sewed edge to edge, flat, of the fur
a on

from the position supof its being

used

his A

by pictures.

the back of the animal took similar to

a

VANE.

of plate
on a

shape somewhat
small

shield ;
a

metal, movable

it is represented as hence,in Heraldry,

"series of

shields
"

placed close

toof

fixed on the spindle summit of spires, "c.,

"

sometimes

deco-

* The Nomenclature J. B. Pyne on the Pictorial Art," in the Art Union, 1844.

Sea

cuts

to

BRASSART

and J won.
Q 0

'I

452

VAN"

VAS.
and throw it by degrees into the copal, balsam of copaiba, it well each time stirring

rated with heraldic devices,as in our cut, with great and introduced as an ornament mediaeval architecture. in frequency VANISHING
to which picture

the

it is put in ; I say each time,for the dered powbe put in by degrees, must copal day in least fifteen different parts. at by day,

POINT. all the

That

part of

imaginarylines
used

of the

VANNUS.

perspective comverge. (Lat.)The flatbasket

The vessel must

be

and exposed close-stopped,

or a

to the heat of the sun,

similar

and when the time, whole is reduced uniformly to the consistence of add in antique a sculpture.* honey, represented quantityof warm solved turpentine.'" Varnish Resinous substances disVARNISH. should possess the of turpentine three qualities and of resisting in alcohol : essence damp, excluding and not injuring the colour upon which oils constitute the varnishes used in oil- air, it is laid. and painting.Of these,mastic,tcopal,J and the first the VASE. A vessel of various forms and amber," are the principal, used. Lately, most mestic however, materials, appliedto the purposes of doextensively resin has from the dammar sacrificialuses, "c. varnish made The life, used for domestic purposes, vases been substituted with advantage. Amber antique in and found ancient tombs,have been varnish has been employed to mix with well as for varnishing. classifiedby Dennis, in his book on The the pigments, as and Cemeteries ofEtruria, to a picture Cities Varnish should not be applied as follows :

by the ancients in winnowing corn, and in which the infant Bacchus is sometimes

heat, duringthe

whole

in less time than

painted.
which
was

"

year after it has been and that The earliestvarnish,

a

Class

I. Vases II. III. IV. V.

most

universally adopted in

the old verniee was Italy, unquestionably which was composedof linseed oil liquida, sandarac." and pulverised |] The older Italian artists used varnish in
as a

medium

in deeply shaded painting, particularly A excellent and for gi. .zings. very parts, varnish was use by Le Blond on his prints. Mr. Sheldrake observes : H On this subject "Le Blond' s prints were long neglected,
'

and of

are

now

Whatever forgotten.

difference

VI. prevail respecting them, his varnish, there can be none respecting of these prints in perseen some as I have fect of these vases, the In the nomenclature they had condition, notwithstanding been thrown carelessly about for nearly system of Gerhard has been followed, "ixtr years. His recipe for making it was which is now generally adoptedby the Take four parts of balsam of of Germany and Italy. The as follows : antiquaries and one of copal of these vases have been ascertained copaiba, ; powder and sift names of the ancients, from the descriptions or Its form, aa used in England in the fourteenth in from representations monumental art, be in our century, may cut, 10,

opinion may

holding wine, oil,or stamnos. amphora, pelice, Vases for carryingwater hydria, calpi*. Vases for mixing wine and water crater,celebe, oxybaphon. Vases for pouringwine,"c. o?woehoe, olpe, prochous. Vases for drinking cantharus, cyathu", carchtsian, holeioti, scyphus,eylix, lepaste,phiale, ceras, rhyton. Vases for ointments or perfumes lecythus, alabastron, ascos, bombylios, aryballos, cotytiscos.
water
" " " " " "

for

'

"

seen

p.

where

appears knight. It wag held it,and so fanned on

one

each AILETTE of a by the handles which appear the corn from the chaff.
on

to which

their

names

have been attached. word

An

They

will all be found detailed and illustrated under each in the present
art

t See p. 286. t See p. 128. " See. p. 20. I Mrs. Merrifleld's Original Trtatuet on the
Art

of Painting.
In
a

Dictionary.
VASE-PAINTING.

paper

in the

Transaction! oftheSocitty

practised

by

distinct class of artists in ancient

454 VENETIAN
A burnt

YEN"

VEK. tion. the

same

RED,

SCARLET
owes

OCHRE.
to

Green
as

VERDITER

which ochre,

its colour

terra

erdt di terra} ia (v verde,a native greer.

the presence of an oxide of iron. It is used as a pigmentin both oil and water-colours.
Its colour is

carbonate
matter.
GREEN

of copper, mixed with The verditer known as

earthy
MEN BRE-

with red,alloyed

blue and
A

is

artificially produced by
to the action of sea-salt

yellow.*
VENICE TURPENTINE.

subjecting copper liquid

and

vitriolfor three months. The

a

obtained from
as
a

the pinus laryx, and employed Joshua Sir Reynolds glazing by it is liable to do
surface of

VERGE. borne
a

wand, rod,

or

metal staff
termed

by

sergeant, who

is hence

and harm

other

painters ; but
A

verger.

the by cracking

pictures.

VERGE-BOARD. of wood-work

The gable ornament

powder made from fine goldwire,used in japanningto cover varnished surfaces in imitation of gold.
VENTTTRINE. VERANDA.
for
an

-ised extensively for houses in

the fifteenth century; it is usually written but barge-boa'^: the above

seems

to be

A word

of eastern

tion deriva-

the verge of the gable on ; and the broad of that term pronunciation by country breccia used for builders might easily lead to the conversion marked It is sometimes the ancients. of itinto barge-board.(Seethat word.) with small red or black spots. The green VERMICULATED. Disposed in incrustation produced by the action of like the undulations wreathed of lines, time on copper and brass,t worms (certnes). ETERNO. A neutral acetate VERDE VERMILLION. The of bisulphuret of copper, prepared by dissolving verdigris mercury, used as a pigment in oil and the filtered water-colours. It is of a bright red colour, then leaving in hot acetic acid, of a good body, and when beautiful dark-green inclining to yellow, solution to cool, which were much of great usefulness in its compounds with are crystals deposited, used by the earlyVenetian as white pigments.* painters, well for solid painting The delineation of our VERNACLE. as for glazings. acetate VERDIGRIS. Saviour's face,miraculously on (Fr.) A bright imprinted held of copper, prepared the metal devout the veil handkerchief a or by subjecting by to the action of a vegetable acid ; generally woman hence called ST. VERONICA (qy. the refuse of grapes after the extraction of Vera-iconica)on his way to Calvary. their juice, to ferment is frequently The subject which,beingplaced represented by of copper, covers between plates them with old artiste, f of verdigris, which is carefully GALLERY. This important VERNON a stratum for the painters' all produced by collection of pictures, removed,and prepared use. is a worthy exponent of a British artists, VERDITER, CENDRES BLEU (Jr.)Blue verditer is preparedby decomposinglime which may now take new properly school, with a solution of nitrate of copper. It is those of other countries. its placeamong " not used in the Arts so much schools of all nations art as formerly, The modern but chiefly in house-painting and decorain their respective worthilyrepresented national collections; as long, as therefore, " Mr". the to denied artists our were access Merrifield informs us that, besides living its use in painting, this earth was formerly National Gallery, lour we certainly gave a comuch employed in making the bricks of which cast upon us so blindly to the reproach of the old buildingsin Venice are structed." conmany From this circumstance the colour that of havingno Art from the continent roof in advance VERDE ANTICO.

with a sloping open portico, of the main building.

the proper mode of writing as the term it, of this wood-work indicates the position

(Ital.)The green ornamental sculpture by

"

"

"

"

obtained

its popular from Verona.

." HI-GO.

name.

It is

chiefly cured pro*

"

See

t See ScoABtCM,

See also CINNABAR. where

It is ftdlrdescribed.

VER.

45.5

But from this Leslie's " Sancho and th" Duchess," and worthy of public exposition. " c porary ontemMr. Veruon has it-soiled Uncle Toby and Widow Injustice Wadman," both " Art by an act of munificence,* capital pictures Play Scene ; Maclise's which unites patronage to living artists, in Hamlet," one of his finest works, and " which of immortality Malrolio and the Countess ; Mulready's with that amount of results from the public for cabinet picture, Crossing the ever display exquisite Mr. Vernon the geniuspatronised." ercised Brook ; exlandscapes by Nasmyth ; Newton's the ability terior which few rich picture- "Torick and the Grisette;" Robert's inof and ing select"St. which is that Cathedral" of purchasers "Burgos possess, and purchasing his own on judgment Paul's, Antwerp ;" Stantield's " Venice," and taste ; he did not wait for the fiatof Entrance to the Zuyder Zee," "c. ; but was himself "The Golden Turner's "Views in Venice," a dealer or connoisseur, all Bough,"and " William III. at Torbay," competent to see and obtain a meritorious " in wins' to interfere wonderful pictures U work, allowingno medium Vintage ; " "c. between artist and patron, and take from de Brigand," France," Chapeau ; each a proportion of profit. The pictures Ward's " South Sea Bubble," and " Dr. of Lord best painters, in the Antechamber are the best works of our duced, Johnson profor the most part,at the healthiest more thoroughly Chesterfield," pictures of intellectual life. It is a noble periods Englishin character than any artist has and uniqueexhibition of the powers of the produced since the days of Hogarth; and made free Webster's "Dame was a School;" and many Englishschool, sent preassert and elevate the to the nation by Mr. Vernon, being other works which The first exhibited at the National Gallery, character of THE ENGLISH SCHOOL. to the in May, 1849. The after his death, nation owes a deep debt of gratitude soon of Mr. Vernon, and the artists a collection consists of 162 pictures : among memory " such as still Joshua of nocence," Instill them is Sir Keynolds' Age greater one, particularly
" " " "

one

path of an artist who would see exhibited on the walla his works fine landscapes publicly Wilson,Gainsborough, by National honoured four a nd Creswick his of own good pictures Gallery,* by Calcot, ; " with the h is Cabin ;" by juxtaposition great of past including Whiteboy's Wilkie, " " that meed of applause Battle- ages, and receiving Collins' s Happy as a King;" a obtain duringlife. which few men piece"by Cooper;Danby's" Fisherman's GREEN is a variety of the and Pleasure," VERONA Home;" Etty's "Youth
alone cost Mr. Vernon beset the

of his best works, which 1450 guineas ; some

live and

reflect on

the difficulties which

Bathers," "c. ; Eastlake's " Christ mineral called green earth. who, weeping over Jerusalem;" Egg's "Scene VERONICA, ST. A holy woman 'from Gil Bias;" Goodall's "Village tival;" according Festo the legend,wiped the perspiration
"

The

Haghe's
Herbert's
"
"

"Hall
"

at

Courtray;"
and

from the her

when toiling to Saviour,

she held in Calvary,upon which received and miraculously Daughter; War," hand, of his features. A relic "High Life and Low Life,"and "Spaniels," the impression all worthyexponents of his power ; to be this very napkin is still purporting at Rome. excellent landscapes The saint is by Linnell and Lee ; keptin St. Peter's, playing disan a s elderly usually depicted woman, * Memoir of Mr. Vernon, introductory to sudarium the thus with impressed the series of engravings in the Vernon Gallery,

Sir Thomas

More

his

the sudarium

Landseer's

Peace and

In this beautiful by S. C. Hail, Esq., F.S A. " The National Gallery, in Trafalgar Square, publication, picture has been worthily every fur the proper exhibition of so companied being too small engraved, in line, by British artists,and acby descriptive forming letter-press, large an addition to its pictures,they are, at The three noble volumes. also plates have present, displayedon the walls of Marlborough House appeared in the Art Journal, to which use they ; it is,however, but a temporary locality fur Mr. Vernon's noble gift. conceded were by Mr. Vernon. originally

456 the Saviour's of her

VER"

VIG. in situations of
"

features;and the incident

of it to the Saviour is presentation of the in the pictures depicted frequently via dolorosa. She was canonised by Leo

edifices

as

degradation in sacred corbels,gurgoyles, "c.; or

feet of the of the most tations represen-

else

as

VIRTUES

trampled under the that word). One (see

is
a

X., as late as 1517.

VERT. The heraldic term for yreen,
in engravingby expressed
across

remarkable

of these emblematic mural

lines

sloping
the

side of the
which

the shield thus

"^.

VERTICAL. horizon.

to Perpendicular

by

paintingon the north of Catfield Church,Norfolk, nave delineates each as beingswallowed dragonof seven mouths, whose
"

body issues from Hell-mouth below.* The vices are seven Envy, Avarice,Anger, or Brazil-wood, (Ital.\ VERZINO, and Sloth. much which was Lust, of Pride, kind Revenge, lake, a produces and of Sandal-wood is distinguished VICTOR, ST., Marseilles, used by ancient artists. also used for the same as trampling by beingrepresented logwood were down a pagan altar, or without his foot, in purpose. its allusion been the off the to fish's cut PISCIS. having VESICA by Literally, quaries Emperor Maximian, as a punishment for antibladder ; a term employed by some such desecration of idolatry. aureole ST. VICTOR, the elliptical to designate picted. of Milan,is also represented with his foot in which the Saviour is sometimes deas a (Seecut, p. 58.)The term is said, on a broken altar ; but he is depicted been derived and have sometimes Moor, as tyrdom marundergoing authors,to by some
from the sacred character of the fish as a given symbol of our Lord,for the reasons in p. 191 of this work. VEST. A close-fitting garment of any kind. devoted to the serVESTAL. A virgin vice
who of eternal made vows Vesta, her the sacred fire watched on chastity, in her and attended as priestess altar, temple. of

in VICTORY.

an

oven

or

metallic

ox.

goddessof successful who was cients conquest, represented by the anand branch a palm winged, bearing and a laurel crown. (SeePALM.) A representation VIEW. of a building or place. VIGNETTE naments (JK), LITTLE VINE. Orof vine-leaves, and tendrils,
grapes, used in Gothic architecture. The lettersin ancient manuscripts were capital
called

The

VESTMENTS.
or altar,

The

furniture of the

the dresses of the

was

says that the term chasuble alone. VEXILLUM. soldier ;

priests. Pugin also applied to the flagof

the

by

old writers

or viticu"e, vignettes,

in consequence of their being frequently ornamented with flourishes, in the manner

of vine branches
was or

(Lai.) The

tendrils.
to

standard affixed the term Roman a square of a staff;* ornament to a cross-piece on the summit
a

used

Subsequently, signify any large

a

at the

top of

page.

In the

scarf attached to the

PASTORAL

STAFF,

f
its the
of

This

owes singular appendageprobably the famous to cross-banner of origin

seventeenth century, all kinds of printers' such as flowers, ornaments head and tailpieces
" "

were

firstChristian emperor, Constantine. VICES.

of

the

LABAHUM

and,

more

termed generally vignettes; the word has been recently,

The various immoral the mind

were

cies tendenthe

used to express all kinds of wood-cuts ot which no' copper-plate are engravings, enclosed within
a

typified by
or

definite border.

In this

medieval

artists as human
some

terised forms,characattribute indicative

by
"

emblem

sense, nearly every cut in the present work is a vignette.

of each
See

and placed rulingpassion,

ENIIOM
OBABIOM. and LABAICM.

VIGOROUS.

to Bold, powerful ; applied

t Hr*

" It is engraved in vol. i. of the publication* of the Norfolk Archaeological Society

VIN"
such,

VIR.

4"7

VIRTU. of Art or antiquity (/".) Objects such as occupy museums as that of Rubens. painting or private collections. VINCENT, ST. A Spanishmartyr,who died A.D. 304, after enduring many An order of angels, VIRTUES. tures, torrally geneof pictures which form the subjects representedin complete armour, of the saint. He and is usuallyrepresented bearing pennons battle-axes. The he with the spikedgridiron of the mental as virtues, impersonation upon which to the cathedrals and decorative adjuncts was tormented, or bearing the iron hook
and

sculptureas that of Michael Angelo,

such

"

with which
near

his flesh was in accordance

a

torn.

raven

is

churches

of the middle
common.

ages,
occur

was

ratively compa-

him,

with the

legend,
and

They

in

painting

Of the former art,we may sculpture. studysome curious examples of the time which were of Edward discovered on body of the saint after his death. III., VINE. The vine is the emblem of fruitthe walls of the Painted Chamber, at sacred to Bacchus ; the have fulness ; it was and been published by "Westminster, in the Vetmta the Society of Antiquaries, overflowing, productive, intoxicating power of nature, which carries man the Virtues Monumenta. In these paintings, away from his usual quietand sober mode of living. armed females as are represented There is much Vices. Thus, symbolism in the vine. overcoming their opposite with The vine, its fruit, was frequently Liberality trampleson Avarice,piercing adopted in church decoration during the him with a spear, and choking him with middle ages, as typicalof Christ ; the treads under foot a money-bag ; Meekness of the doorway the the "c. Round moulding disciples (Johnxv.) Anger, grapes symbolising fathers Eucharist. The a t well the of the as as Holy Chapter-house, Salisbury, of the Virtues and all compare the blood of Christ to the juice similar representations press. curious to the wineof the grape, and the passion Vices are sculptured.The most wild animals
and

which

relates that such

bird drove away birds of prey from the

The The
many

originof the idea

is

is in Isaiah. of in
pares com-

and
a

blood of the himself to

spoken grape placesin Scripture.Christ

a

similar position over

beautiful statues of the Virtues occupy the north door of the

are

Cathedral of Chartres. There

fourteen

in all. They are works of the fourteenth have been sculptint, century, and their names tured of and blue. mixtures of red the consist berty, Lithem. beside They producedby barbed A VIREU. VIRE, (JK) arrow, Honour, Promptitude,Fortitude, cross-bow. and used with the early Majesty, Health, Concord,Friendship, with a of the others are VIRETON. (Hal.) An arrow Security;the names but head, the feathers effaced, thick, lozenge-shaped they appear to be Faith, Prayer,Praise, Power, and Religion.* as crowned These figures are all represented females. In the fifteenth century, they t o the classifiedinto the Cardinal Virtues, at on shaft, an were angle being placed of Power, Prudence, Temperance, in consisting make it spin flying. and the denoted and Theological Justice; by long VIRGINS are usually The wise Virtues,consistingof Faith,Hope, and hair streaming down their back. nificanc with their lamps lit Charity having a mysticsigand foolish virgins, ; the number and these figures occasionally adopted and unlit,have been frequently in wheel windows round in painted or In church decoration as statuettes, radiating of stantly a figure They occur conReligion. paintedglasswindows. VIOLET. A rich and delicate

vine.

in Art, the

most

curious Martin

series
"

being those

engraved by

Schon-

They

are

dron's

Annulet

engraved and described ParU, ArMoloyiquet.

in

'DiU4T-

"S8 VIRTUOSO.

YIR"

VOL.

died at the commencement One who is skilled who of tht (Ital.) in a knowledge of the arts of painting, fourth century, who is depicted as a horseis well versed or or or architecture, soldier, bearinga standard, a sculpture, carrying lector club set with spikes an in the studyof medals or antiques emblem of his ; a coland natural curiosities. of antique martyrdom. front of a movable VITREOUS. VISOR. The (Lai.) Having a glassy missionsurface; barred for the ador or resembling, of, consisting helmet,perforated glass, VITRO-DI-TRINO. and to enable the wearer of air, An mental orna(Ital.) invented the tians Veneto see.* glass-work, by in the fifteenth century, consisting from the Latin vistn, VISUAL, sight; of a sort of lace-work of white enamel to that which relates to an applied epithet or mond-shape transparent glass, eight. Thus, the visual angle is that at forminga series of diais viewed ; the visual ray which an object sections ; in the centre of each an air-bubble was is the beam of lightwhich impinges on allowed to remain observed. the eye from the object as a decoration. VTTRUVIAN SCROLL. A decorative VITALIS, ST. A martyr during the enrichment ally first and adopted in architecture, century of the Christian era, and usuwith named buried in after a Vitruvius. a s It of consists pit, represented voluted, constoned by "tones cast upon him, or as being undulating ornament, which is There is another ST. VITALIS, very fanciful and varied. It frequently pagans.
"

occurs

in friezes of the

compositeorder.
forms part of house at

matrons,
woollen animals

co

"We select an in which

which example,
a

who virgins,

them from the distinguish The white them single. wore

in the decoration of

the wall-decoration of
various

Pompeii,

fillets used

animals of the

cupy ococcasionally

about to be sacrificedat the altar,

also termed vitttz* were design. VITTA. A mask for the face. A ribbon, (Z"rt.) band,or fillet, VIZARD. of a the head,confining VIZOR. The movable face-guard the hair, the encircling ends hanging down helmet, t behind. Its colour but white and purplepredominate. A term in heraldry, VOLANT. varied, sive expresVittse were of double by the Roman worn flying.
*

the centres

See
See

MITBA

and

INOCLA.

"

ifee jutt, pp. 40 and

232.

cuts. p. 232.

VOL-VOT. VuLANTE-PIECK.
An extra

459
murex was

of plate the

the idea

metal,
front

affixed to
a

of

knight's
screwed

VOTIVE

limpet,indicates that the of shells. suggestedby the spirals TABLETS. morials Sculpturedmeor

helmet, and
to

dedicated to the gods in grateful acknowledgemen

of from disease, recovering of their

the

grande garde,
covered

which breast.

the

and which

were

affixed to the walk

chiefly temples. Upon them were represented the parts of the body supposed to have been recovered by prayer to the god,with inor joust. scription his VOLETS. and The that name recording (Fr.) of the donor. The custom is extremely formed as a wings or shutters of a picture, to Wilkinson, such isRubens' famous "Descent and, according triptych; ancient, was from the Cross," in Antwerp Cathedral, in use by the ancient Egyptians. He " the volets of which are After the cure of a disease was says : paintedon both sides.* A gauze veil, of the back effected, at they frequentlysuspended a worn model of the restored part in the temple the head by ladies in the middle ages.f of the god whose VOLUMEN. interposition they had (Z"".) The scroll upon in the same which books were invoked,precisely manner as written,as the Hebrew in the sheikh's tombs of modern Egypt, law is still transcribed for the service of of Italy that church. The roll upon which the and, in the Roman Catholic chapels
It
was

used

in the

ment tourna-

ancients wrote

their works.

The

several

and

of papyrus or vellum were fastened pieces together,and written only on one side, forming a continuous piece ; to the lower

other countries, consecrated to the or a saint ; and ears, eyes, distorted Virgin and other members of their
He of these
were

arms,
as

dedicated stition." super-

memorials

and gratitude

part, a stick called umbilicus

round which the volumen

was was

ened, fast-

engraves

the curious small stone

men speciis

rolled,
here

antiquemementos
It is
a

which

and

pieceof parchment was

end, upon
which
was

affixed to

copied.

tablet,

the other work and

the titleof the

so that when rolled up written, in the the proper roll placed scrinium, might be at once taken from the box in which it was deposited.Our cut, p. 387, exhibits this arrangement, adopted for the

written

books of the ancients. The spiral decoration which distinction of the Ionic principal and is seen capital, in another form
as a

VOLUTE.
forms the

rinthian portion of the Cois said

to

tound capital ; it Amunre Vitruvius by have originated in the

on

at

Thebes, and

is dedicated
a

to

for the recovery of custom The same ear.

complaint in prevailed

in the curls worn each side of the female face has

:

this assertion

Greece and Rome, and by way of exhibiting the curious identity of the votiva used

in the we one by both nations, the true as universally engrave accepted British which at found but Museum, Athens, origin, RichJ very sensibly observes, of the lower human represents that the Greek name, which literally a part face, means above which is an inscription informing * See PENTAPTTOB. that it was votive offering us to the a t See cut to CMSPINE. J Companion to tht Latin Dictionary. highest, by a lady named Tertia. The been

40D
custom

YOU"
stillcontinues in Catholic

WAL.
also

countries,

the

of saints beingfrequently chapels hung

marble. M. Hittorf, upon when with the German travelling M. architects, Zanth and Stier, in Sicily, also discovered indications in abundance of primitive decoration by colour on architecturalfragments and mouldings; the presence of colour on figure-sculpture, and bas-reliefs, He says : " The pringeneralornament. ciple followed
of
we

found to be

"

the colouring

body of the wall of a pale the triglyphs or goldencolour, yellow, and mutules blue,the metopes and the tympanum other portions of the red,and some and these buildinggreen, same varying with such memorials of their supposed tints, or using them of greater or less the judgment of the artist agency in removing disease. as intensity, VOULGE. Another name for the implement dictated."* liant A Greek templewith itsbriltermed langue-de-b"uf, and described and the in painting gildingmust, under that word. ferent difearly ages, have looked wondrously VOUS80IR. (Fr.) The wedge-shaped to the cold, formal relic of to-day. " stones formingan arch. They endeavoured,"says M. Hittorf, VULNED. Wounded or bleeding;an 01 "by so doing,to add to the elegance heraldic term. feeding their buildings Thus, the pelican without detractingfrom her young from the wound she makes in their majesty ing, ; and this system of colourher own breast is described, heraldically, when applied under livened a pure sky,enas vulning herself. and brilliant a rounded surby sunshine, The external and WALL-PAINTING. the was by a gorgeous vegetation, internal decoration of edificesof all kinds, of bringing the work of Art in only means the ancients, has received a larger among harmony with the richness of nature. share of attention of late years, owing to Another reason would be for its adoption the increased taste for polychromy among itsanalogy with coloured statuary, t which, continental architects, the result of the with mural historic employed conjointly notices of antiqueexamples by published painting J in the edifices of antiquity, M. Quatremere students. archaeological would require, in their union with architecture, de Quincy, in his magnificent work Le in the walls a necessary similarity JupiterOlympian, first propoundedthe and decoration of the building. The most
idea of the extent carried antiquity But it was
to which

the

the artistsof

admired

structures

of the ancients derived

nation combitheir effect from the harmonious modern investigations of the three reserved for more works of arts, the establishitsabundant to positively sometimes taken reference to

their love of colour.*

use

by

antiqueworks,
Messrs.

upon

which

it still remained.

Angelldiscovered at Selinitum of coloured stucco the on vestiges many fragmentsof temples and other edifices built of porous stone ; and theyfound many traces of colour employedwithout a coating
of stucco
"

Harris and

individually, which, may approach to the sublime, but cannot, unless united, produce that sentiment of which theythen satisfactionand perfection possess."
*

See

translation

of his

essay

"On

th"

on

hard and

compact stone, and

remark*.

Polychromy of Greek Architecture," vol. I. Musrum of Clastical AnHtfiHUe*,

t For further STATUABT. t
See

in Tht
se"

remarks

on

this custom

8e"

POLTCHBOMT

for further

KS

CUB.

462

TS Borbonico
"

to the mimic scene. In excellent grouping, great reality form in example is in the house of Sallust, its highestattribute of divinity, The displayed and on the walls of the Pantheon. in the which the hav" wall-decoration, we winged goddess centre, simpler floral, by

Museo
one

we

have

the

in

of panel, pictured

the human

showering her bounties on the subservient earth beneath ; of architecture,

who
is
to the

here

engraved, also possesses the same the eye from a sense of power of relieving

of the design, flatness. The double band which forms general solidity the lines basis of the design,and the interior nullified the by angularities and and exterior of which with have different of foliage, which combine it, Ac., in varied the spaces on lead the eye agreeably colours, over patterns upon them, denizen of each side; of the dolphin, a wind round each other in an agreeable and give the idea of their enanother element,whose elegant form has circling manner, combined with the Greek been gracefully a hollow space, the harsh vacuity and varied the lively in which is nullified by the floriatedornament volute,displaying from them, which is made to spring fancy of the artist. The laurel-wreaths, and flowers are all happily and becomes an integral bands, fillets, part of the whole. and luxury this small and in wealth increased "With the thus, adjusted ; group, decoration find abundant evidence of that general of Rome house for we taste the in and when the seat of empirewas study of all objects nature, which was enlarged, it received the one great characteristic of ancient artistic removed to Constantinople,

its hard

education.
When the

addition of an eastern had to deal with flat designer

of style gave
a

which luxuriousness,
to

he freqnentl)' surfaces, adopteda decoration which mind

to natural scenery

carried the completely neation and, after the fallof Rome, the Northmen by the deliaway 'or else emulated their glories. and flowers, of landscapes many, In Saxony, Gerthe architectural enrichments adopted still found are France,and England,are which to the rules of perso arranged, according .remains of early wall-decoration, spective, to be looking that we seem out of taste for colour. In the show the general
the apartment and into the open

polychromy. Temples, churches, and other buildings, with a lavish hand ; and gilt were painted
character peculiar

where air,

rately the elaboeleventh and twelfth centuries, of edifices sacred capitals sculptured and gildwith painting ing, resplendent with ornamental the walls diapered a richly-coloured patterns on covered ground,or else they were entirely from sacred history.In one with scenes in the cryptat Canterbury of the chapels
were

and

Cathedral

are

some stillpreserved

per distem-

thirteenth century, the birth of St. John, and other delineating On the walls of Rochester sacred subjects.
of pictures

the

Cathedral and St. Albans,others have been

it would found; indeed,
j
to

be

impossible quite
at

the list of limits, narrate,in ordinary discovered abroad.*

way,

those and
same

in

churches

home

Private residences,in the decorated with wallwere halls

in

the great particularly painting,

we Fee

jrf
th"

seated figures

on

of the portions

See

p. 300

for

an

account

of

one

and giving erections, naturally disposed,

Sainte

Chapelle,at

Paris.

WAL. used as places of mansions, which were from generalassembly, and,beinglighted high windows, had flatwalls beneath,the monotony of which was annulled by arras, or tempera pictures. Henry III. tapestry, ordered the entrance
at to St. Stephen's Chapel, to be decorated with Westminster, matter
was

These pictures destroyed.' re.

in the life of St. Edward
were

presentedscenes
the

others Confessor; scripture history ; and remarkable fondness of

and of the Virtues

selected from
was

there

also

series of emblematic

pictures
The ration, decohe

the Vices. conquering for this species of Henry

manner

of figures
"

have been narrated palaces, in his description from same of monarch, received that name by Rokewode the pictures these curious its walls, he on ordered some pictures.Thus, fragments the story of St. Edward to be painted of which were discovered in 1819, and in in the Tetttsta Monumenta the Chapelof St. John, within the Tower of published the Society of Antiquaries. of that In general, of London, as well as a picture these works appear to have been painted saint ; and,in the Chapel of St. Peter, the and Sts. Christopher, of that apostle, on an absorbent ground,"composed," says figure and Nicholas; while his own Capon, in his notes, " of whiting and the Catherine, which chamber with " the history of of floated in was was painted juice the fig-leaf, In Windsor Castle Chapel, the walls ; the oil with Antioch." he state over a liquid storiesfrom the Old and New which the colours were mixed was quickly had painted imbibed, or sucked into the ground, so Testaments, "the King's Cloister" being of years all the unctuous decorated with figuresof the apostles *hat in the course ;

Painted

the Virgin, "c. ; and the famous Chamber," constructed by the

the lavish his

in which

ornamented

while the

chambers private also enriched and Winchester,

of the

sore-

romances

of the fourteenth century were

reign were
The

with the

eastle at

and for wall-pictures; pictures.favourite subjects here given is the very curious engraving at palace
scenes an

Woodstock,
from

were

also covered with

illustration of the custom.

a scene

sacred and

profanehistory.The

from

the famous

It represents Roman dt

WAL-WAT.
iu which Morgan le Fay shows Lancelot, the wall of on King Arthur the paintings the adventures her chamber, delineating
of that
as shown in. acid, engraving. WALNUT OIL, NUT OIL. One of the three oils used in painting, obtained from one our

side to carry off the

Queen Guinever.
in

his amour particularly knight, from a It is copied

with
tiful beau-

the well-known
and

fruit of the walnut-tree.

illuminated copy of the an drawing at Paris in the Royal Library, romance,

and (No.6,784),
was

It is clear, thin,and is rendered

Or LITHARGE

executed in the

early

than linseed oil, paler dryingby the addition of WHITE VITKIOL of (sulphate who saint, wealth,and followed agricultural ST.
A British

fifteenth century. Chaucer in his Romance of the Hose, of a speaks,

part of

the

zinc). W ALSTON,
gave up all his

series which,
41

gold and Deyaiiitedwere

With
same

asure

over

all,

dying A.D. pursuits, mowing;

hence he became

1016,while
the

upon

the wall."

patron

And

the

himself
"

saint of husbandmen, and is usually picted dein his Dream, scribes deauthor, with a scythe in his hand, and cattle near
in
a

him. Colours
gum,
or

chamber, paint
divers reherse."

WATER-COLOURS. with water and their

ground
serves pre-

Full of stories old, and More than I can as now

which size,

in a solid cake consistency writer's House of Fame, and The same when dried, and can easilybe mixed also described are Lydgate'sTemple of Gloat, with water, by rubbingthem on a moistened enriched and highlydecorated as w hen wanted. Moist waterpalette in the same The custom manner. tinued conin a semi-fluid state, also used are colours, until the reign of the Stuarts,* but from nature ; they require for sketching fell into disuse early in the seventeenth and are kept sometimes in a no rubbing,

century.
WALLINGwax

metal WAX. bank

so

tube, which
up. A

of composition
and
gravers en-

drying

from preserves them box of watercomplete

and

used by etchers tallow,

to make
a or

wall round the

a

for landscape, colours, flowers, figures, "c., fitted by the best makers, contains as

edge of

and plate,

form

into trough,

yellow,gamboge, Indian yellow, vennillion, light red, chrome, yellow ochre, Indian red,rose madder, carmine,purple madder, Vandyke brown, sepia,brown pink, sap green, emerald green, indigo, and cobalt. French ultramarine, smalt,
lemon

WATER-COLOUR
branch
within the position it seems that period,

PAINTING.

of Art which has achieved its great

last fifty years. Before

to have

been

dered consi-

beneath which incised the acid

is pouredover the lines and through the etching-ground,

the attention of first-class

who it,except for practised artists, rarely studies for monochrome or sketches, slight

By some of the older writers oil-pictures. attempts which bitesin the lines as it lies upon the it was termed limning.The early in character, weak surface.The wax isrendered soft bysteeping in the art were generally it was as in effect, of and monotonous in hot water,and when of the consistency of and allowed restricted in its power by the custom putty,is stuck round the plate, a with shadows to cool and harden, on a spout being made washing in all the positive
"

See

WATER-WORK

for

an

account

of

some

laU

examples.

neutral tint of various shades, and them with the local colour of each covering dark
or

WAT" afterwaius. object

were

WAX.
io the

465

various East,by weldingtogether of steel. It is formed, in silk qualities in topographical delineation chiefly and other textile fabrics, by sprinkling them the and and passing Carter, Capon, water on their surfaces, practised art; the and cold with hot or plain were rollers, Grilpin, a press others, Dayes, through among at the end of the last century and number In wall-painting, or indented. variously beginning of the present one. Sandby, it is imitated by wiping the groundwith a ner, manVayne, Hooker,Wheatly,Hearne,and Girdry brush,in a flowingor irregular about the same while wet with colour. iin, time,began to emulate ment the variety The letter or ornaof tint and depthof colour of oilWATER-MARK. guish distinto succeeded and pictures, were by Nicholson, adoptedby a paper-maker his manufacture,which is thin and Varley, "c.,who steadily Copley, Fielding, provement. road toward imperseveredin the same transparentin the placewhere it occurs. mark But the great genius was The old printers used a pot as the waterfor stout Turner,who, originally engaged as a topographical printing paper, hence termed pot-paper; and our modern term, draughtsman in the cold,hard of in kind of writingfor a peculiar style Dayes, graduallyemerged, foolscap, the course of of years, in a brilliancy watermark paper, is derived from the original

Such

quently, consedrawings,

thin and

poor.

Those

ployed em-

colour and power

of effect never

excelled his
as

"

fool'shead with cap and bells.

A
term

by

any

artist.

with Simultaneously
"

WATER-SCAPE.
used
to

sometimes

efforts came

those of other artists such

denote
to

in sea-views,

tinction contradis-

Pyne, Roberts,Prout

ing, HardCattermole,

landscapes.

WATERWORK. cuted exewho gave Wall-painting Haghe, and a host of others, in taking size or distemper, to the art a celebrity from the frequently resulting of tapestry. the place When Falstaff cain their works. joles talent and power displayed Water-oolour her tapestry Mrs. Quickly into selling rival oil can paintingnow in the depth and brilliancy of its tints, to supplyhim with cash,he declares, for the walls, while it excels it in the purity and cleanor tho ness a pretty,slight drollery, is in of its tones ; giving atmospheric German hunting, water-work, worth and these effectsand aerial perspective with singular a thousand of these bed-hangings, the result of the peculiar fly-bitten tapestries." (Henry IV., part ii. truthfulness, this pasMr. illustrates of its medium. The modern BC. Knight 1.) sage, transparency of editions in his water-colour painters called Shakspere pictorial have,however, of a series of such in the aid of body-colour very extensively, by an engravingof one w hich decorated usual which not with the earlier once was tempera paintings,
"

who artists,
an

considered

such

modes

of obtaining the walls of Grove mon,

effect

as

Once illegitimate.

House, Woodford Com. ing-lodge Essex, believed to have been a hunt-

of Robert Devereux, Earl of do the moderns overcomingsuch scruples, The to the mode, so long as the end Essex, and pulled down in 1832. not object have the initialsD. M. is gained and paintings see C., and high lights ; hence we date the the work 1617,and are evidently deep shadows put in with distemperor effects producedby brilliant, of a Dutch or Flemish artist, suck body-colour, many and wealthy scratching up the surface of the paper, "c. beingemployedby the nobility In the presentday,the art includes a large merchantmen during the reigns of the and its two number Tudors Stuarts. and professors ; among early about thousand a BKES'-'WAX WAX. Bleached is the vecontaining hicle exhibitions, don Lonin is in it added are ENCAUSTIC PAINTING each, opened yearly specimens ; alone. to correct to resins in making varnishes, WATERED.
Ornamented
is

with

wave

their brittleness. WAX tion of tartrate

of

dissolvesin

solu

pattern. It

producedon gword-blades,

and potash,

this medium

WAX"
js employed in making the pigmentsfor water-colours.

HI.

cakes of

wax-

warrior, be-iring a red banner, on white eagle is emblazoned. WHEEL. wheel

or

which

WAX

PAINTING. has
been lately

by

the ancients under The

This art,practised of ENthe name CAUSTIC, revived in several

St. Catherine is distinguished knives which is (seep. 103), a nd sometimes spikes, St. Donatus with
also

by bearinga
eet

with

countries.
was,

pigmentsare

and diluted with oil of

ground with to turpentine,

added, and oil
ING, PAINT-

representedas broken.
bears St
one a

wheel set round and

lights.S'.s.

which

mastic is sometimes
or

Euphemia
broken

of lavender the
wax

spike.In
colours of
a

ENCAUSTIC

Quintin is sometimes
emblematic

Willigis carry wheels,ana with represented

WHEELS
of Providence, of the vicissitudes of

were

burnt

into the

at his feet.

ground by means
or pan of terium), the picture. The

hot iron

cau(called near

hot
mere

coals, beingheld
process of

human the
which

burningof

introduced in life, were frequently and paintings stained glass, sculptures, decorated ancient
over

in constitutes the whole encaustic and

wax

differencebetween

churches.
the

The

the

ordinarymethod
A
vane

largerose-window
and

entrance principal

with painting

colours.
at the

to cathedrals isformed like a WHEEL

WEATHERCOCK. of of
a
a

top
of

church

or

other

in building,

the

shape

the rays are sometimes upon the seven ages of the life of
An

sented repreman.

cock, that bird being the emblem

WHEEL-LOCK.

invention

for
a

vigilance.
WEATHER-MOULDING.
over
a

winding
The moulding
to receive and DRIP-STONE.

up
a

the

explosive machineryof

gun

with

door

or

window

vented spanner, or hand-winch, inin the sixteenth century, by early

in Tuscany. of Pistoia, Vitelli, A

cast

off wet

; also termed
-

Camillo
most

WEDGEWOOD artisticand

WARE.

The

WHINYARD.
WHITE.
WHITE

broad,lightsword.
of the

beautiful of

EnglishCeramic

Theoretically speaking,

the production of Joseph manufactures, taste Wedgewood, who, by his superior and study, gave to a European renown his

is the result of the union

three the

work, and

ensured
men

the aid and of his

nage patroWHITE

of the best

day. Flaxman
the
name

in as primarycolours, may be shown experimentof Newton, but in practice it is found impossible to producea the mixture of pigpigment by ments
of any other

shire, designedfor his establishment in Staffordto

colour

on

the

trary, con-

which from

he
which

gave

of
a

the union of the three

or primaries,

of the secondaries, producesgrey or black. be white our Therefore, pigments must familiarly in for of known state as exhibit such a raised as purity cameoprepared great by the palette MENTS.) as possible. on a lavender-tinted ground. (See WHITE PIGcompositions In Heraldry, argent denotes his career Wedgewood commenced a as whiteness, purity, hope,truth,innocence. potter in 1759, and died in 1795,in his o f ment. The white raiwore priests sixty-fifth year.* antiquity WELSH-HOOK. White A military robes. The Magi wore white ment impleof the bill kind,but having, In horses were in addition sacrificed to the sun. to a cutting-blade, a hook at the back, Egypt,a white tiara decorated the head of 'toenable a foot-soldier to pull Osiris. The priests had white a horseman of Jupiter to the ground, or arrest a flying the of vestments victims Jupiterwere enemy. f ; died A.D. WENCKSLAUS, ST., 938, white. The Druids wore white vestments, He is usuallyrepresentedas an armed and sacrificed oxen of this colour. The Christian painters presented of the middle ages reSee further remarks on the Eternal Father draped in Wedgewood and

Etruria,and

whence
are

emanated

series of works

most

"

his

ware

in p. 360.

t The

give a

Scottish pole-axe, engraved p. 69, will correct idea of i's construction.

white ; and likewise Jesus, after the resurrection. White was consecrated to the dead

TV HI"

WLL tomb
at

4"7

and became a colour through all antiquity Moors of mourning. The designate by this emblem, purity, innocence, sincerity,

Thebes.
shaved

That

ancient

the head
wore
a

people nerally gevol. (Wilkinson,

of the

iii. p.

and 355),

wig,because
thus

candour.* simplicity, PIGMENTS. WHITE hitherto most

is WHITE painting of lead,t known such
as

The white

ment pigin

it gave opportunity laid aside, and the

of

being. occasionally
kept cool.

head

used extensively

The custom but

was

adoptedby the Romans,

LEAD, or the carbonate under various names

"

wig

simplyin the case of baldness. The worn takably by the Emperor Otho is unmisvisible on
his coins.

CERUSE KUEMS

FLAKE (see p. 105), WHITE

WHITE

It

was

not

"c. (see p. 256,) (see p. 192), when This material being liable to change
to the exposed
a

unusual

for the

wealthyclasses to

powder

itwith fine grains of gold and silver. Wigs, appear to have been rare, and may be said to have revived about the Elizabethan period, when if not

action of

in mediaeval ages, sulphuretted drogen hy-

gas, desideratum ; this appears to be found in oxide of zinc. CONSTANT or ZINC WHITE,
WHITE

substitute has

long

been

unknown,

theywere

condemned strongly

by the puritanic

is

of barytes. sulphate

WHITING.

Chalk dried.
as a

purities, cleared of all imI was made into

writers. The glorious era of the wig the reign of Louis XIV. of France,
a

ground with water,

cakes, and
and painting,

when
and

mountain
over

of curls covered the the shoulders of

It is used for wall-

flowed

head, gentlemen,

WHITTLE.
or
one worn

in

temper-painting, disof fanciful curls ground for gilding, while an abundance "c. scene did the same office for the ladies. With painting, A portable pocketknife, Charles II. the fashion was introduced to sheath at the girdle. so England, and became general,that
in the
to

WICKET.

The small door made

a

young

persons shaved the

worn.

head,that

wig

largegates of
such for
as

house,to give entrance

after the hours

might be

The

were

out

appointed natural hair only took

were

of the resumption placetoward the

closingthem.
made
very

Such doors

rally gene-

small,about

four

feet in

end of the last century. St. A Saxon WILFRID, much died is

of Aquitaine, A.E. 812, WILLIAM, St., soldier. St. as a mailed represented tioned stacelebrated child William of Norwich (the At the gates of a town, soldiers were with the warder,and decapitation reported to have been crucified there by on have been inflicted would immediately the Jews, A.D. as a 1137) is represented
any

must BO that the person entering height, also made, ; a step was stoop considerably lifted; all the feet to be carefully to oblige to this being done in an age of insecurity, of improperpersonages. preventthe entry

bishop,of for converting celebrity Pagans,in which act he is usually He represented.

A.D.

709.

improper intruder. for the head,to A covering WIG.

child crowned
ceal con-

with and
a a

or crucified, or thorns,

holdingnails
and wounded

hammer

in his

hands,
St.

hair. and formed of artificial baldness, The

by

knife in the side.

earliest examplein existence is in the tian British Museum, and is of ancient Egypdiscovered in a was and manufacture,
"

pontificals, St. William of cross. archiepiscopal with a lily growing from his Montpelier,
William with of York,A.D.

1154,in

Colours. Vide Portal's Euay on Symbolic leaden plates "fIt is producedby subjecting action of an "cid composed of to the heated occasions a crust vinegar or wine-lees, which of carbonate of lead to form on their surface. phate washed, and mixed with sulThis is ciirefully of barytes. If used iu equal quantities, white ; as Venice it produces the colour known burg Hamas with double ihe quintity of barytes, white ; and with three times the quantity,
as

mouth

in his grave, with Ave letters on

Maria

in

gold

it. St. William

of Monte

A.D. 1142,with a wolf by his side. Virgine, in a Benedictine'* St. William of Maleval,

habit,with the
Roesohild,A.D.
on

armour

he had discarded his grave.

beside him which of for it. St. William

a

with 1203,

torch

flaming
2

Dutch

white.

468 WIMPLE. In female Costume, a

WIM"
ing cover-

WOA.

them as wings of the bat,thus contrasting of darkness with the beingsof light. spirits WINIFRED, ST. A Welsh saint, tyred marPrince A.D. who First mentioned in the reign of Caradoc, by 5-50, and her h er the forehead a head bound on It was decapitated on John. by ; falling of silk. It is the ground miraculously of gold, cording fillet or originated(acjewelled, of to the legend) the famous healing retained in the conventual costume the present day, which, in all but colour, well in Flintshire. She is usually depicted

of silk or linen for the neck, chin,and out-door covering. as an "ides of the face,worn

is identical with

that of the thirteenth

attributes of

carryingher head.
WISE MEN.
WISE MAGI
or

century.
WINGS. The
some

of the

MEN

The offering of the three to the infant Saviour

at Bethlehem, has furnished the subject of and of demons : generally /ods of antiquity of paintings and of haste and impetuosity. a very great number the symbols with the exception of We find the Olympian Jupiterprovided sculpture ; indeed, and Crucifixion, the Nativity it may be of his appearwith wings at the moment ing doubted if any incident in the life of the to Sernele ; he is also winged as Jupiter Column. Saviour has been so Pluvius, on the Antonine frequently sented. repreof swift the the Hermes, gods, messenger They are generally depictedin in Hellenic Art with wings is represented regalcostume, and one of them as a Moor, also on his head, and on his named his feet, on Jaspar,Melchior. They are usually and and said to have devoted are staff. In Ancient Art, we find the demons Balthazar, the themselves the most to seclusion, religious spreading wings,e.g. having Their skulls are still preservedin a wings on the temple at Athens,which are Iris of storm. as the demons represented shrine,remarkable for its early splendid

has

the beautiful goldenwings. Hebe, also, of the is gods, winged ; cup-bearer and Hesperus of light and the other genii ; also Nike,the goddessof victory ; as well Deinos and Phobos, Fear and Horror, as because they strike mankind unexpectedly. and Eros (Cupid, Hymen, the god Amor), have wings ; and Momus, the of marriage, of night,the god of laughter. Furies son with wings attached to are represented in allusion to the swiftness their shoulders,

work

and

the Roman

gems

with which it

in the Cathedral at is encrusted,

Cologne. termed at times the consequently Three Kings of Cologne." They originally at in Church of St. the Sophia, reposed whither Constantinople, theywere brought from the East by the Empress Helena, who founded it : in the time of the Emperor to Milan ; Emanuel, they were removed They
"

are

besiegedand won in 1164,they by the Emperor Frederick,

and when that citywas
were

with
from

which

these

servants

of

Nemesis

removed

overtake criminals.
a

Psyche,when

tary and furnished with their relicsbelieved to possess great sanichrysalis, of life and chosen the symbol everlasting ; power. They were particularly of Methe head of the Gorgon, on dusa, as intercessors for travellers; and their pinions of Hy pnos, the god of sleep, or rings,or Thanatos, names, impressedon girdles the god of death,and Morpheus,the god believed to carried about the person, were of dreams, all refer to nightand death. In all such persons from accidents on protect Christian Art, the use of wings is limited the roads, sorcery, or sudden death. to angelsand devils. In medieval The blue dye preparedfrom WOAD. paintwhich with the isatis tinctoria of Linnaeus, ngs, we find archangels represented the feathers of the peacock, men beinga princely Plinytellsus was employed by the wofor their of Britain and decoration, givento them as the first dyeing girls among the messengers of the Almighty. The used in the bodies." It was extensively of Satan angela middle ages, and was produced have,on the contrary,the by grindiu} is the
"

rising wings,

much

to Cologne. They were worshippedin the middle ages, and

470
and bella,

\\UO. the block

In other historic personages. evidence this country there exists abundant

to prove

of the method

beingtut away ; it is the reverse adoptedin copper or steel-

that the

voured English endea-

to keep pare with their continental of ornamental neighboursin the application

and to religious sculpture and many structures;

as

domestic

of our

old towns, such

in which the incised line* plate engraving, the yield impression. of this art is intimately The history connected with that of printing ; indeed, asmuch intheymay be considered as inseparable,
as

Coven try, Ludlow, Shrewsbury, Chester, enriched them, old English mansions, such as
which
once

the earliesttype letters were

were
"

cut

fine specimensof stilldisplay Hereford, "c., the abundance while

our

in wood, and the earliest books

known

those

blockas bibliographers among books,"or books every page of which were

in a solid cut, both letters and pictures, Hatfield, Speke Hall,Audley End, Crewe, and many others, The earliest woodcut,with block of wood. Eurleigh, serve preHengrave, of work St. Christoabundance pher," to testify a date, an jet discovered is the Earl to of the old wood-carvers. t o the ability belonging Spencer. It bears and is date rude It is right, that of note a 1423,* work, in coarse however, to many the saint taming decorated by Flemish our were outline, buildings representing of the sea. in Norfolk and Sufthe Saviour over an arm This folk; artizans, particularly and it is related of Sir Thomas rude print has been afterwards coloured of a stencil-plate, Gresham tended inthat his mansion was made and f and was by means for pioususes, in conformitywith decorated in Flanders, broughtover, and belief in the protection afforded the popular merely put togetherin England. The is said of the famous Nonsuch the saint's These same gravings image. J early enHouse, by built on old London and have block-books in the teenth sixto seem Bridge rentury. The remains in Ipswich been printedby hand, and not by the
"

of

houses

once

merchantmen

the residence of wealthy and present enrichments features

press;
was

for the

reverse

of the lines still

retain marks

generalarchitectural

precisely

of friction, by which the ink transferred to the paper, the ink generally
weak have tint of been
a

like those in Flanders, and unlike the in other old towns; but that, style adopted

being very pale,like a and is believed to bistre,

water-colour. "block-books" The most

however, proves
wood-carvers

that

we

had

race

of

celebrated

of the

of native birth and

names

education,

though few of their

most

survive. The

the English woodscended few lines of inscription, GrinlingGibbons, who deblock cut in one from a Dutch family in London, of a quarto size, and printed friction on by where he was born,and worked duringthe pression dry paper. The plain back of each imreignsof Charles and James the Second. then pasted was forming together, He excelled in carvingflowers and foliage and the pictures coloured thick leaf, one ; and Walpole has said with justice,There tints. in flat or hand, by stencil-plates, is no instance of a man before Gibbona Such picture-books in use were long after who gave to wood the loose and airy of flowers, * A crit and chained together lightness purportingto have an earlier date on
tarvers was
"

illustrious of

the Apocalypse, the are and the Biblia Pauperum, all of Canticles, which consist of pictures illustrated by a

the various
with
a

productionsof the elements

natural
to

free disorder

each

species."
WOOD-ENGRAVING. The ling designs on wood,in such
to leave the lines in art of cutmanner as

which

appear

white in

those parts relief, the impression from

discovered in the Libraiy at Brussels a it was few years ago, and a fuc-simile was published and copied in the Athtrueum. in that cily, It that the ilaie has is now allowed universally been le" tampered with, and the piintmuch ancient than the periodto which these numerals referred. t See the article on CARDS, p. 98. for other remarks on earlyengravinjr. on J See his legend, p. 114.

woo. the
the

471
Durer's works
we see
an

introduction

of movable

type ; and
books of
test served pre-

abundance

of of in
His
"

besides wood-engravers, earl)which

cuts, executed

of others,consisting

a refined arrangement cross-hatching, and a beauty of drawing, unseen lines,

only,of

several

are portions

the works

of any other artist on

wood.

in

in Germany, public libraries, The

"Dead

Christ in the Arms

of the Father

France, and Holland.

at Munich

RoyalLibrary
books, forty
Toward the

alone contains about

is a triumph of art ; and his series of the " " Life of the Virgin wonderful for truth and
power;

and

hundred

leaves. single

the

"Flight into Egypt," in

find of the fifteenth century, the of

practice

woodcuts,as illustrativeof introducing the books then universally printedwith movable type, became general ; and the first printedbook executed in England by Caxton, The Game and Playe of Hie
of contains wood-engravings Chesse,

be cited as a marvelloui that series, may effect and minute example of pictorial truthfulness of

drawing,which

can

only be

at the meagre, fully appreciated by looking inartisticworks which precededhim, and

the less pure

ones

which

followed.

portant figures Wood-engravingreceived great and immilian lines. shadowed in simple parallel slightly patronage from the Emperor Maxito Breydenbach's The frontispiece in the early Travels, I., part of the sixteenth earliest works in is the and the three at 1486, magnificent printed Mentz, century ; and tive illustraunder his auspices, or ing producexample of cross-hatching, produced Th" known as of his own varied tints by lines crossing each career, and Michael other. William Pleydenwurff Adventures of Sir Theurdank, The Wist duce Wohlgemuth were next employed to proKing, and The Triumph of Maximilian, for the Nuremberg the woodcuts filled with elaborate and beautiful are in a ponderous Chronicle, tome, published engravings. The firsttwo are by Hans and the in 1493,and abounding with engravings that city Burgmair and Hans Schaufelin, few in sacred and profanehis- last also, of of scenes with the exception some and other decorations. tory, views of cities, by Durer. The wood upon which these and they attention to picThese cuts exhibit more torialold cuts are executed is pear-tree, and chiaro-oscuro effect, reserved muth
"

; but it was

for the great

"

pupilof

Wohlgeof

knives appear to have been cut with small of the ginal orifrom some or punches, judging blocks of Durer's
and Christ,"

Albert Durer about 200

are

to raise the art

small

"

Life of

to wood-engraving

its highestexcellence.

others in the British Museum.

as

There

are

engravedon subjects
with his

The art, both

designand regards

cution, exe-

wood, which
some

marked

initials;

self, engravedhimmust have been hut the larger portion the was all were designed best illustrated works produced cut by others, though at line for wood the Dance celebrated and drawn by him, of Death, published upon woodlittle of wonderful line,as engraved. The practice Lyons in 1538. These a mechanical measure became cuts thus only two inches by two and suit, purengraving drawn wood and the full of figures, of but are cutting a half, away consisting with leaving of precision, a drawing, greatexpression, between the lines engraved like the type and beauty,the artist not beingcertainly such lines standingin relief, trative that Durer Next in merit are the cuts illusknown. of a printer.It is not likely at also printed time in such mechanical of biblicalhistory, much occupied of these he may
have when labour, particularly
we

itshighest appears to have attained within about ten years of the perfection of the time of Durer's decease ; and one

consider that
a

Lyons

in

the
art

same

year.
to make

From

about

he died
amount

and early, of work

has

left such
"

vast

1530, this

began

considerable

behind him

in

painting,
In

drawing,and engravingon copper.*

"

TO Durer

we

owe

the invention of etching.

of the cuts ; and many progress in Italy 1540 executed in that country between vie with the best woodand 1580 may

472

WOO"

WRE.
out with a vigourand truth never displayed in the art before ; while his knowledgeof nature enabled him to express with his

engraving executed in Germany during the same period.Bernard Soloman,known

M
"

Little Bernard," from the small size

he
was designed,

guide of a drawing, objectswith wonderful many his genius which trade, truthfulness. It was century by the bookselling to produce" picture-books," revived the decayedart,and gave it new of consisting the enormous cuts each page, with a few lines of owe on vigour ; and to it we illustrativedescription,* cidate patronage ithas received in modern times.* well as to eluas consists in The historiesby the aid of his engravings. practised, art, as now general He seems self to have devoted himcuttingon piecesof box-wood designs Jost drawn to the art almost exclusively. by an artist upon the surface. if tinted, These designs, washed with are Ammon, born at Zurich,in 1539, was also washes Indian in cut into a the ink such manner same being extensively employed ; booksellers the until series the elose of such of fine by century. tion gradaexpressing lines, At that period, the profession of tint when printed. The drawings began to lose its artisticcharacter ; and thougha multitude are generally highly finished with the of wood-engravings executed drawn and in general were are entirely pencil, until the middle of the seventeenth cenin pencillines, the engraver thing tury, having nowood of inferior the of to cut and to out else were design they do.but very
of the woodcuta
sively exten-

graver,

without

the

employed in the middle

teenth of the six-

natural

execution.
of designs

Between
a

engraving,as

means

1650 and 1700,woodthe of multiplying

as

the intersticeswith widths and

ferent series of tools of difHence much

sorts.

of

eminent
or

either artists,
as

trations modern illus-

of books

separate cuts, may

reached the lowest

is simplymechanical, wood-engraving and does not require a knowledge of

be considered to have

well-executed cuts tolerably the block for them by a to be found line drawn are on occasionally in Italian, books of and Dutch on wood," of "draughtsman professional French, this period It therefore but times somewhom there are many. though theysufficiently ; attest that the race of workmen nical mechainto the most not were degenerates on wholly extinct,they also afford ample of arts, defendingalmost entirely proof that artists like those of former the designer. times had ceased to furnish designs for the such as are WORKING DRAWINGS The vation, eleart few f wood-engraver." made by an architect of the plan, produced are cuts at and details of a building, examples better than the ordinary sections, the head of a ballad ; and, though conthe artitinually and which he distributes among in a small way, until practised construction. its zans employed on Thomas Bewick appeared of as a professor of WREATH. A circular ornament
of ornaments

ebb.

"

A few

Art ; indeed,many wood-engravers have and get every no power of drawing at all,

the art,obtained

no

attention.

Bewick's with

used or leaves, flowers, ribbons, purposes

"

for decorative

stylewas precededhim, inasmuch

different to all which essentially

as

to crown

at the sacrifices

games, conquerors in war, the graver testifiesto his power as an artist, or citizens in ancient times. deserving well as a mere as cutter of wood. He guish to distinIn mediaoval ages, it was adopted and carried them effects, adoptedpictorial and consisted of the'twisted

his work

victors in altar,

"

knight, garland of cloth by

a

which held
to

the

knightly

the Icones Histories Ot'such character were Veteru et tfovi Testament*, and LA Mttnmor~ phase(fOcitle figurie.both printedat Lyons. Historical + A Trettise on ^'ood-Enyrmiinrj^ I Practical, an by W. A. Chatto, published by f from which elegant erudit* and Knight, 1839, work we quote all oar authorities.
"

crest

was

affixed

or

the helmet.

* born Aug., 1753,and died Nov. Bewick was His best work is his History of British 9. 1828. " Birds, and the "" tail-pieces in that and hi* other books.

WliO-ZI'J It is supposed to have been adoptedby the in the fourteenth century, from Crusaders,
the Saracenic turban. "
to

473

These wreaths

are

formed

being those of the colours, colours of the arms, which are principal
of two

exposed to rapid deterioration when gold is the symbol of light. In blazonry, love, constancy, and of wisdom ; and by in our days still denotes opposition, yellow a nd adultery. In jealousy, inconstancy,
France, the doors
with law of traitors
were

twisted

divisions in modern

and divide it into six alternately, heraldry. WROUGHT. Worked into shape, or decoratetl by hand-labour. A Saxon ST. WULSTAN, bishop of Worcester,who died 1095, he received

daubed
in

yellow ;
ordains

and

in

some

countries the be
clothed

that

Jews had

yellow, because Lord. Judas is

his
on

from Edward the Confessor ; and, see accused by enemies, and being falsely ordered to resignit,planted his crozier in the confessor's shrine,declaring that he
alone should decide
on

they clothed in represented of the yellow. In Spain,the vestments executioner are red or yellow ; the yellow indicates the treason of the guilty, the red
its punishment.

betrayed the

In Christian symbolism, void and yellowwere the emblems of faith.

the

The recipient.
couia

relatesthat none legend

remove

but Wulstan

j Rt. Peter,the rock of the Church and was guardian of the holy doctrine, sented repre-

it ; hence and

he

was

cleared of
one

this miracle is the artists.

An

imputation, usually cf

by the
the middle

illuminators and miniaturists

ages with
a

by depicted
WYVEKN.

robe.

In China, yellowis the

goldenyellow symbol of

vented faith. inimaginary beast, the head and YELLOW LAKE. A bright coloured by heralds,having o f with two legsonly, forepart a dragon, pigment liable to change by the action of tail of a scorpion, and winged. light,and which will not bear metallic the pointed XENIA. (Or.) Pictures of still-life, conjunction. "o., m.-iny of which have been YELLOW An OCHRE. fish, fruit, earthy pigment found
as

decorations

on

the walls of houses

and appear to have been popular in Pompeii, for this purpose with the classic nations.

coloured by the oxide of iron. It is very useful both in oil aud water-colours, being transparent, durable, and mixing well with other pigments. YELLOW ORPIMENT ARSENIC. of
a

XYLOGR

A P H

Y.

A Greek

term, of

cent re-

to wood-engraving, invention, applied

or

YELLOW

and derived from

to engrave.

wood xylos,

; and

grapho, primary

oxide of arsenic A sulphurated

not

brightand
to

YELLOW.

One

of the three

uthough
when

pure yellow colour, but, liable to any injuryby exposure

colours : united with blue it yields green ; Its wilh red it produces type may orange.
which is buttercup, a pure yellow. All our yellowpigments with blue or red. Gamboge is are alloyed tolerably a pure yellow pigment, but is with blue ; then comes goldochre, tinged tinged with red,next, yellow ochre and ments Naples yellow. The other yellow pigchrome lemon yellow, are yellow, Roman Indian yellow, ochre, gall-stone, Mars yellow,terra di Sienna (raw and cadmium "c. burnt),Italian pink, yellow, All the vegetable yellowsare very liable be found in the field
*

mixed

it has little lity durabiimpure air, with water or oil, and soon with white-lead.
A

fades if mixed ZAFFRE.

from

pigment prepared cobalt, resemblingsmalt,and much artists. Ultramarine ancient the used by and as lazuli were known and lapiszujKro, that term merges into saphiro or sapphire, for all which stone ; the terms the precious
seem to
come

blue

from
A

one

root.

ZIGZAG.
writers
to

term

adopted by
chevron*
a BO as

some

denote

the

quently frein

introduced Norman

decoration

architecture.
"

See

cut

to ORLB

and

CRKST.

.N"w etit ".

ii*

474

/IN"

ZOO.

ZINCOGRAPHY.

The and

art

of

draw-

the of Zodiac. ZONE

month,

known

as

the

signs

of

the

ing
sine.

upon,

printing

fro'm,

plates

(Gr.),
girdle
worn

CIKGULUM
round

(Lat.) thehipg;
money,

flat
pose pur-

ZINC
oxide

WHITE,
of zinc

CHINESE has

WHITK.
come

The
sive exten-

belt

or

its

lately
in It 'but well

into

was

manifold
;
was

fo hold
up

instead when exertion

use

as

pigment,
lead.

the has

place
not
so

of much

the

of
the

purse
wearer

to

hold

the in

TUNIC

carbonate

of

engaged
such
as

active

body
the

as

the and The

latter,
mixes

it

is

permanent
othei
or

in

of

any

kind,
The
zone

hunting,
girdle
was

travelling,
worn

air,

with

ments. pigwhite

"c.
young

or

by

sulphate
used been
as

of
a DHYKK.

zinc,

unmarried
upon

women

and

removed works

vitriol,
zinc

is

Plates
of

of

only
of

their
Art

marriage.
the

In
is
worn

some

have
stones

used the

instead

phic lithograyears

ancient

girdle

round

the

within

last

few

for

cuirass. ZOOPHORDS.

(See

CINGOUJM.) (Gr.)
The
term

"imilar ZODIAC.
a

purposes.

foi from

(Gr.)

The

celestial
of

sphere
lations, constel-

the

frieze
an

in

classic
""epu"

architecture,
; to

pictured

representation
to

the
and

"uor,
it
was

animal;

bear,
such Greeks

because

according
forms

the

human
to

animal,
The

generally
the
same

adorned
reason,

with the

figures.
times some-

they

are

supposed
in
passes

resemble.

For

imaginary
which the

belt
sun

the
in

heavens,
its

through
tions. revoluof
latioiis

termed
of

the

zodiac
used

zoophorus,
for

cause be-

annual

the

figures

the

oonstel* forms.

It

contain*

the

twelre

emblems

frequently

taking

animal