NATIONAL ART LIBRARY, SOUTH KENSINGTON MUSEUM.

_ISSUED BY AUTHORITY._

LIST OF WORKS ON COSTUME, 1_s._; FURNITURE, 1_d._; HERALDRY, 3_d._;

LACE AND NEEDLEWORK, 1_d._; ORNAMENT, 6_d._; PAINTING, 4_d._;

POTTERY AND PORCELAIN, 3_d._; SCULPTURE, 3_d._

_These Catalogues may be had on application to the Secretary of the

Science and Art Department, South Kensington, S.W._

ILLUSTRATED DICTIONARY OF WORDS

USED IN

ART AND ARCHÆOLOGY.

ABBREVIATIONS—Arch. _Architectural_; Chr. _Christian_; Egyp. _Egyptian_;

Fr. _French_; Gr. _Greek_; Her. _Heraldic_; It. _Italian_; Lat. _Latin_;

Med. _Mediæval_; O. E. _Old English_; Orient. _Oriental_; R. _Roman_.

* * * * *

=Aar= or =Aarou=, Egyp. A plain in a supra-terrestrial region, which

corresponded, with the Egyptians, to the Elysian Fields of the Greeks

and the Asgard of Scandinavian mythology.

[Illustration: Fig. 1. Abaculi used as pavement.]

=Abaculus=, Gr. and R. (a diminutive of _abacus_, q.v.). A small square

or cube of glass, or some vitreous composition made to imitate stone or

glass of various colours. _Abaculi_ were employed for the inlaid-work of

pavements, or the incrustations of mosaic.

=Abacus=, Gr. and R. (ἄβαξ, a slab or board). 1. In general a

rectangular slab of stone, marble, or terra-cotta. 2. A board or tray

used in arithmetical calculations, and constructed for reckoning by

tens. 3. A play-board divided into compartments, a kind of backgammon in

use in antiquity. The same term was also applied to a board used for

another game of skill, the _ludus latrunculorum_, which was more like

our chess. 4. A side-board on which were displayed, in the _triclinium_,

or dining-room, silver plate and other table utensils. 5. A slab of

marble, used for a coating in the decoration of a room or apartment of

any kind. 6. A square slab of terra-cotta or wood, placed by the

earliest builders at the top of wooden columns, in order to give them a

broader head, and so afford a better support to the beams which rested

on them. It was this motive that gave rise to the formation of the

_abacus of the capital of a column_.

=Abaton= or =Abatos=, Gr. (α, βᾰτὸς, inaccessible). A term used

generally to denote any inaccessible place, such as the _cella_ of a

temple, an adytum from which the profane were excluded. The term

_Abaton_ denoted more particularly a building in the city of Rhodes,

which contained, together with two statues in bronze, a trophy

commemorating a victory gained over the Rhodians. This memorial had been

placed in the building by queen Artemisia, who had consecrated it to a

divinity. To destroy it would have been a sacrilege, and as no one could

be allowed to penetrate into the interior of the _Abaton_, without the

defeat of the Rhodians becoming known, all access to it was forbidden.

=Abezzo, Olio di=, It. Strasburg Turpentine (q.v.).

[Illustration: Fig. 2. Ewer for ablutions (Persian).]

=Ablutions=, Chr. There were various ablutions: that of the head

(_capitilavium_), as a preparation for unction in baptism; that of the

hands (_aquamanile_), during Mass, &c.; that of the feet (_pedilavium_),

including the ceremony of washing the feet of the poor, performed on

Maundy Thursday, by the Pope. (Fig. 2.)

=Abococke=, Med. Cap of estate, worn by kings on their helmets: “a huge

cappe of estate, called Abococke, garnished with two rich crownes;” 15th

century.

[Illustration: Fig. 3. A Lictor with the fasces, wearing the _abolla_.]

=Abolla=, Gr. and R. (ἀναβολὴ, a throwing back and around). A cloak made

of a piece of cloth folded double and fastened round the throat by a

brooch. _Abolla major_ was the name given to the ample blanket in which

the Greek philosophers were accustomed to wrap themselves. This cloak

was adopted by the philosophers as an instance of their humility,

because it was mostly worn by the poorer classes at Rome. Fig. 3 is a

representation of one of the lictors, with his fasces on his shoulder,

and wearing the _abolla_.

=Abraxas=, Gr. (a mystical or cabalistic word formed of the Greek

letters α, β, ρ, α, ξ, α, ς). Cut stones or gems of very various shapes,

upon which are engraved the words Abraxas, Abrasax. They are also known

as _Basilidian_ stones or gems, because they constituted the symbols of

the gnostic sect of the Basilidians. Certain peoples looked upon them as

magic amulets against particular maladies and demoniacal influences. The

impressions on these stones are very varied; cabalistic figures, the

signs Α and Ω, and the word ΙΑΩ, which designates the Supreme Being.

Numerous explanations have been sought for this term _abraxas_; some

philologists assert that it comes from the Persian [or Pehlvi], and that

it signifies _Mithra_; others derive it from the Hebrew, or the Coptic,

while others again recognize in it only a numerical sign, the letters of

which, added together, would give the number 365, or the number of days

that make up the year, and in this case _abraxas_ would symbolize the

annual revolution of the sun. A figure often found upon Abraxas stones

is that of a serpent with a radiated lion’s head (Chnouphis), which

rears itself amid seven stars. The reverse of these stones often bears

the inscription ΤΩ ΧΝΟΥΦΙ, “To Chnouphis.”

=Absidiole.= Diminutive of _apse_, and thus used to denote a small apse

terminating a lateral nave, while the apse closes the central or chief

nave. (See ABSIS.)

=Absis= or =Apse=, R. (ἁψὶς, a bow or vault). Any enclosure of

semicircular form terminating a room, hall, &c. There was an _absis_ in

the _Basilica_ (q.v.), or court of justice, and it was in the

semicircular recess thus formed that the judges’ seats were placed. Many

temples also had an _absis_ attached to them, and there is one in

particular of this description well known to all archæologists. This is

the _absis_ of the temple of Venus at Rome, which was built by the

emperor architect Hadrian. (See APSE.)

=Abutment=, Arch. called also =Impost=. The solid part of a pier from

which an arch immediately springs.

=Abydos, Tablets of=, Egyp. Under this term are designated two

hieroglyphic inscriptions containing the names of Egyptian kings. These

tablets were graven upon the walls of a _cella_ in a small temple at

Abydos, in Upper Egypt; hence their name. The first tablet, the

beginning of which was destroyed at the time of its discovery, contains

the names of the kings of the twelfth and eighteenth dynasties; this

inscription was discovered in 1817 or 1818 by J. W. Bankes, and drawn by

Caillund in 1832; it had been taken down from the wall of the temple by

Mimaut, the French consul at Alexandria. It is now at the British

Museum. The second tablet, which begins with Menes, who is generally

supposed to have been one of the first kings of Egypt, contains a

complete list of the two first dynasties, as well as a great number of

names belonging to kings of the third, fourth, fifth, sixth, ninth,

tenth, and eleventh dynasties. This tablet was discovered in 1864 by M.

Mariette. It is reproduced in De Rougé’s treatise on the six first

dynasties.

=Abyssus=, Egyp. A Coptic word, read by some archæologists as NOUN

(q.v.), and which signifies the _abyss_, the immensity of the celestial

waters upon which sails the solar bark.

=Acacia=, R. A term employed by some antiquaries to denote an object

held in the hand of the statue of an emperor of the Lower Empire. It

usually consists of a piece of cloth, which the emperor unfurled as a

signal for the games to commence.

=Academies of Italy.= Literary societies established during the middle

ages. The principal were the Accesi, Affidati, Amorevole of Verona,

Animosi of Milan, Arcadi of Rome, Ardenti of Pisa, Ardenti of Naples,

Ardenti of Viterbo, Catenati of Macerata, Chiave of Pavia, Crusca of

Florence, Elevati of Ferrara, Eterea of Padua, Florimontana of Annecy,

Granelleschi of Venice, Infiammati of Padua, Infocati, Insensati of

Perugia, Intronati of Siena, Lincei of Rome, Occulti, Offuscati,

Ostinati, Rinovati, Sonnachiosi of Bologna, Trasformati of Milan,

Travagliati, Unanimi. Their devices are described under the respective

headings.

=Acæna=, Gr. (ἀκαίνη), a measuring-rod; ten Greek feet in length.

[Illustration: Fig. 4. Architectural acanthus.]

=Acanthus=, Gr. and R. (ἀκὴ a point, and ἄνθος, a flower). A plant, the

ornamental foliage of which has been largely employed as an

architectural decoration by different peoples. The acanthus has been

applied to the ornamentation of friezes, cornices, modillions, and

various other members of architecture, but in especial to the decoration

of modillions (projecting brackets) (Fig. 4) and of Corinthian and

composite capitals. There are several varieties of the acanthus; those

most in use are the cultivated acanthus, or Brankursine (_Acanthus

mollis_), and the spring acanthus (_Acanthus spinosa_), the foliage of

which is much less beautiful, and furnished with small spikes which make

the plant resemble a thistle. This last has also often been applied to

decoration, in the Romano-Byzantine and lanceolated styles of

architecture. An English name for this ornament is the “bear’s claw.”

[Illustration: Fig. 5. Bracket decorated with acanthus.]

=Acapna=, Gr. (α, priv., and καπνὸς, i. e. without smoke). Wood for

fuel, which had undergone several operations to hinder it from smoking

when put on the fire. One of the methods employed consisted in stripping

the bough of the bark, immersing it in water for some days, and then

leaving it to dry. In a second method, the surface was rubbed with oil

or oil-lees, or else the piece of wood was plunged into the oil for a

few moments. A third method consisted in slightly charring the surface

of the wood by passing it through the flame. The wood prepared by this

last process was also called _cocta_ and _coctilia_.

=Acatium=, Gr. and R. (ἀκάτιον, dimin. of ἄκατος, a light boat). A

description of vessel belonging to the class called _actuariæ_, i. e.

were propelled either by sails or oars. The _acatium_ was a fast-sailer

much employed by the Greek pirates. The stern was of a rounded concave

form (_inflexa_), and the prow was adorned with a beak (_rostrum_). (See

also ACTUARIÆ.) The name _acatium_ was also given to a drinking-vessel

which was in the form of a boat. The Roman _scapha_ was a similar

vessel.

=Acca.= A word used in the 14th century for a cloth of gold shot with

coloured silk, figured with animals: from Acre in Syria.

=Accesi=, It. (_inflamed_). One of the Italian Literary Academies. Their

device was a fir-cone placed over a fire, with the motto “hinc odor et

fructus.”

=Accetta=, Med. Lat. A battle-axe, or hache-d’armes.

=Accidental= or =complementary colour=, the prismatic complement of a

ray of light: such are _orange_ to _blue_, _green_ to _red_, and

_purple_ to _yellow_.

=Accidental light.= An effect of light in a picture independent of the

principal light, such as that on the Holy Child in the _Notte_ of

Correggio, or that of a candle, &c.

=Acclamations=, Chr. Formulas employed by the first Christians to

express their grief on the occurrence of some misfortune, or on the

other hand, to testify their joy at some piece of good fortune. These

acclamations were imitated from the nations of antiquity [e. g. at

_marriages_, “Io Hymen, Hymenæe, Talassio:” at _triumphs_, “Io,

triumphe,” &c.].

=Accollée=, Her. (1) placed side by side: (2) entwined about the neck.

=Accosted=, Her. Side by side.

=Accrued=, Her. Grown to maturity.

=Accubitum=, R. (_ad_ and _cubitum_, an elbow). A bed or rather couch of

a peculiar kind, upon which the Romans reclined at meals, and which

replaced the _lectus triclinarius_. It was a kind of sofa holding only a

single person, while the _lectus triclinarius_ held two or three. The

act of reclining on this sofa was called _accubitio_ or _accubitus_, a

term derived from _accubo_, to recline at table.

=Acerra= or =Acerna=, R. (prob. from _acer_, maple). A small square box

with a hinged lid; a coffer used to hold the incense for sacrifices;

whence its Latin names _arca turalis_, _arcula turalis_, _acerra turis

custos_. The _acerra_ appears on certain bas-reliefs among the sacred

utensils. It is to be seen represented on the altar of the small temple

of Quirinus, at Pompeii, underneath a garland, and above an augur’s

wand. It is generally met with, as being carried by the officiating

priests, at religious ceremonies. The attendant carried the _acerra_ in

the left hand and employed the right hand to sprinkle the incense on the

flame of the altar; whence the expression _libare acerra_. The term

_acerra_ was also used to denote a small portable altar placed before

the dead, on which incense was burnt during the time the corpse was

exposed to view (_collocatio_). The altar was also named, from this

circumstance, _ara turicrema_.

=Acetabula=, R. A kind of bronze cymbals, attached to the hands and

feet, as also to the knees. The same name was also given to silver

cymbals which were played by striking them with a stick of hard wood.

=Acetabulum=, R. (from _acetum_, vinegar). A cup for vinegar used by the

Romans at meals.

The _acetabulum_ was also a goblet used by jugglers among the Greeks and

Romans to make nutmegs disappear. By the latter these jugglers were

called _præstigiatores_, by the former ψηφοκλέπται or ψηφοπαίκται.

Lastly, we find in Pliny the Elder that _acetabulum_ was the name given

to a dry measure of capacity, equal to the quarter of a _hemina_ or the

half of the _quartarius_, and equivalent to .1238 of a pint. [The Greek

_Oxybaphon_.]

=Acha=, =Achia=, =Hachia=, Lat. A battle-axe.

=Achelor=, =Achlere= or =Ashlar=. (Arch.) Hewn stone.

=Achromatic=, Gr. (α priv. χρομος, colour). The effect of an arrangement

of lenses by which a coloured ray of light is rendered colourless.

=Acicula=, Gr. (dimin. of _acus_, a needle or pin). In particular a

bodkin used by the Roman ladies to keep the hair in its place when

curled or plaited, and to keep on false hair. The words _acicula_ and

_acus_ are however all but synonymous. The former does not denote a

bodkin of smaller size than the _acus_, but an object made of an

inferior material; the _acus_ being of silver, ivory or gold, while the

_acicula_ was simply of bone or some hard wood such as box, myrtle,

olive, &c.

[Illustration: Fig. 6. Acinaces.]

=Acinaces=, Orient. (ἀκινάκης; orig. a Persian word). A straight poniard

resembling a very short Roman sword, used by the Eastern nations of

antiquity, especially, the Medes, Persians and Scythians. It was worn by

soldiers suspended from a belt round the waist, but the weapon hung

either at the right or the left side, according to the nationality and

accoutrements of the soldier. When, however, he wore a sword, this was

always placed at the left, and the _acinaces_ at the right side of the

body. The handles of these weapons are generally extremely rich.

=Acisculus=, R. (Diminutive of _ascia_, an adze = a small adze). A small

pick employed by stone-cutters and masons in early times.

Representations of it may be seen pretty frequently on medals, in

especial those of the Valerian family. [See ASCIA.]

=Acketon=, Fr. A quilted leathern jacket, worn under the armour,

introduced from the East by the Crusaders.

=Aclis= or =Aclyx=, R. A sort of harpoon, consisting of a thick short

stock set with spikes. This massive weapon was chiefly employed by

foreign nations, but not by the Romans. It was launched against the

enemy, and drawn back by means of a cord to which it was attached, to be

launched a second time. This weapon bears some resemblance to a

particular kind of _angon_ (or trident). (See ANGONES.)

=Acoustic Vases=, R. (Gr. ἀκουστικὸς, pertaining to the sense of

hearing). Vases of earthenware or more often of bronze, which, in the

theatres of antiquity, served the purpose of strengthening the voices of

the actors. Vases of this kind would also seem to have been employed for

the same purpose during the middle ages, for the architect Oberlin, when

repairing the vault of the choir, in the ancient church of the

Dominicans at Strasburg, discovered some acoustic vases there.

[Illustration: Fig. 7. Acratophorum, Roman.]

=Acratophorum=, Gr. and R. (ἀκρατο-φόρος, holding unmixed wine). A table

vessel for holding pure wine, while the crater (κρατὴρ), on the other

hand, contained wine mixed with water. These vessels were often

dedicated to Bacchus. They were made in earthenware and metal, but those

that were dedicated to the gods were of gold and silver, and had their

place among the treasures of the temples. Fig. 7 represents a silver

acratophorum found at Hildesheim.

=Acrolith=, Gr. (ἄκρον, end, and λίθος stone). A statue covered with

garments which in many cases were gilded. The extremities of these

statues were of marble or stone—whence their name—more rarely of gold

and ivory. The Minerva of Areia, at Platæa in Bœotia, described by

Pausanius, was an _acrolith_. This was by Pheidias. The _acrolith_

period is the infancy of the Greek plastic art.

=Acropodium=, Gr. (ἄκρον, end or point; and πόδιον, a foot). A low

square plinth serving for basement to a statue and often forming part of

it.

=Acropolis=, Gr. (ἀκρό-πολις, upper or higher city). From its primary

meaning the term came to signify a fortified city. They were very

numerous, in ancient times, in Italy, Greece and the colonies of Asia

Minor. Most ancient Greek cities were built upon hills, and the citadel

on the summit of the hill was called the _acropolis_.

=Acrostic=, Chr. (ἄκρον, end, and στίχος, a row or line). A combination

of letters formed out of some word, which is thus made to express a

thought differing from its own meaning. For instance, the Greek word

ΙΧΘΥΣ (ICHTHUS, fish), symbolizes, in the primitive church, the name of

Christ. The following is the acrostic of this word: Ιησους, Χριστος,

Θεου, Υἱος, Σωτηρ I, CH, TH, U, S.

[Illustration: Fig. 8. Roman acrostolium.]

=Acrostolium=, Gr. and R. (ἀκροστόλιον, extremity of beak of a ship). An

ornament employed by the ancients to decorate the upper extremity of the

prows of ships. This ornament often figured among trophies, since it was

the custom for the victor in a naval combat to take the _acrostolia_

from the captured ships. It is frequently to be met with on the

bas-reliefs of triumphal monuments. Fig. 8 shows an _acrostolium_ taken

from a bas-relief in the Museum of the Capitol. The object seen

projecting from the acrostolium is a sounding lead.

=Acroterium=, Gr. and R. (ἀκρωτήριον, the extremity of anything). In a

signification more restricted than the primary one, yet generally

admitted, the term _acroteria_ is applied to the plain socles and

pedestals placed at the summit of buildings to support statues, groups,

or other crownings. ACROTERIUM was the common name for the

_acrostolium_, and the taking of it away as a trophy was called

_acroteriazein_.

=Actia=, Gr., festivals held every fourth year, at Actium, in Epirus, in

honour of Apollo.

=Actinic= (rays of light:) chemically active.

=Actuariæ=, R. (See NAVES). Open boats, built to attain a high degree of

speed, propelled by sails and sweeps, and never fitted with less than

eighteen oars. Pirates used this class of vessel exclusively.

=Actuarii=, R. The shorthand writers who took down speeches in the

senate. Also certain officials who answered to our commissariat

officers.

=Acuminated=, Arch. Finishing in a point, like a lofty Gothic roof.

=Acus=, R. (Gr. ἀκὴ, a point). A bodkin, needle, or pin. The _acus_

denoted both a needle for sewing and a pin for fastening anything. When

used for the hair it was called _acus crinalis_ or _comatoria_. In

Christian archæology the word applies to the jewelled pins used as

fastenings to papal or archiepiscopal vestments. The Roman _acus_ is

worn in the hair by the Italian peasant woman of the present day.

=Addorsed=, Her. (1) Back to back; (2) pointing backwards.

=Adespotoi=, Gr. (ἀ-δέσποτοι, i. e. without masters). A name given to a

certain class of freedmen at Sparta.

=Adobare=, Med. To entrust with arms (to “dub” a knight). Meyrick.

=Adobes.= Bricks manufactured by the ancient Peruvians.

=Adramire=, Med. To challenge to a duel or tournament. (Meyrick.)

[Illustration: Fig. 9. Plan of a Roman temple, showing the adytum.]

=Adytum= or =Adyton=, Gr. and R. (ἄδυτον, from α, priv., and δύω, to

enter). An obscure and secret sanctuary in certain temples from which

the public was excluded, and into which the priests alone might enter.

The little temple of Pompeii possessed an _adytum_, and it was here that

was discovered the Portici Diana now in the Naples Museum. There was

also an _adytum_ in the temple of Delphi, which was burnt down in the

first year of the 58th Olym., and rebuilt by the Corinthian Spintharus.

The temple of Paphos contained in its _adytum_ a representation of the

goddess under the form of a column pointed at the top and surrounded by

candelabra. The engraving shows the position of the adytum of a small

Doric temple, now destroyed, which once stood near the theatre of

Marcellus at Rome. The _adytum_ was the name given to the _cella_ of a

temple, in which oracles were given, or the worship was connected with

mysteries. See ABATON and CELLA.

=Ædicula=, R. (dimin. of _Ædes_, q.v.). A small house, temple, chapel,

tabernacle, or even shrine. Thus the name was given to a small wooden

shrine, constructed to imitate the front of a temple, and in which were

preserved the ancestors of the family (_imagines majorum_), together

with the Lares and tutelar divinities.

=Ægicranes=, Gr. (αἴγειος, of a goat; κρανίον, the skull). A goat’s [or

ram’s] head employed as a decoration by ancient sculptors. It was used

chiefly to adorn altars which were dedicated to rural divinities.

=Æginetan marbles.= Two remarkable groups of very early (archaic) Greek

sculpture, in the Glyptothek at Munich—discovered in the temple of

Pallas-Athene at Ægina, and arranged by Thorwaldsen. They illustrate

“the infancy of art, which lingers round symbolic representation, and

has not yet grasped the full meaning and truth of nature.” (_Butler’s

Imitative Art._) The anatomy of the bodies and limbs at this period is

greatly superior to the expression of the heads.

=Ægis=, Gr. In its primary meaning, a _goat-skin_. The primitive

inhabitants of Greece used the skins of goats and other animals for

clothing, and defence. At a later period the _Ægis_ became a protective

mantle; the shield of Minerva, beneath which the goddess sheltered those

whom she wished to protect from the enemy’s missiles. Later still the

_Ægis_ denoted the breastplate of a divinity, in especial that of

Jupiter or Minerva, as opposed to the _lorica_, which was the

breastplate of a mere mortal. The ægis bore in its centre the Gorgon’s

head, of which the serpents were arranged round the border. Minerva is

generally represented wearing it, either as a cuirass or a scarf passed

over the right shoulder.

=Aëneator= (Lat. _aëneus_, brazen). The name given to any musician who

played on an instrument of brass (_aëneum_); such as the _buccinatores_,

_cornicines_, _liticines_, _tubicines_, &c. They formed a college.

[Illustration: Fig. 10 Eolipyle.]

=Æolipilæ= or =Æolipȳlæ=, Gr. (αἴολος, the wind; and πύλη, an orifice).

A metal vase with a narrow orifice, which was filled with water and

placed upon the fire, either to make the chimney draw better, or,

according to Vitruvius, to show which way the wind blew.

=Æolian Harp=, Gr. A musical instrument that is played on by the wind

passing over its strings.

=Ærarium=, R. (_æs_, money). The public treasury as distinguished from

the private treasury of the Emperors (_fiscus_). Under the Republic the

temple of Saturn served as the public treasury, and here were preserved

the produce of the revenue, the public accounts and other public

records. The army had a separate treasury of its own called _ærarium

militare_, entirely distinct from the _ærarium publicum_. It was

established by Augustus to provide for the special expenditure of the

army.

=Aerial perspective.= The realization of the effect of intervening

atmosphere in the distances of a landscape.

=Æro=, R. A basket made of rushes or broom, but still more commonly of

osier, and used for conveying sand. It was employed by the Roman

soldiery when at work on intrenchments, excavations, or fortifications,

as may be seen from bas-reliefs; more particularly some of those which

adorn the column of Trajan.

=Æruca=, R. (_æs_, bronze). A very brilliant green colour artificially

made to imitate _verdigris_.

=Ærugo=, R. _Verdigris_, the same colour as _æruca_ (q.v.), but obtained

from oxide of bronze. It is difficult to establish a real distinction

between the two terms, as Pliny gives the name of _ærugo_ (the rust of

bronze) to what Vitruvius calls _æruca_. It is probable, however, that

_æruca_ was a kind of verdigris obtained by artificial means, while

_ærugo_ was the natural verdigris. This has given rise to the two terms,

which by many archæologists are confused together. _Æruca_, the

artificial copper rust, formed by the action of wine refuse upon copper,

is an acetate of copper (verdigris): while the genuine copper rust,

_Ærugo_, is a carbonate of copper.

=Ærumna=, R. A kind of fork by which travellers carried their baggage

over the shoulder. 2. An instrument of punishment for slaves. (See

FURCA.)

=Æs.= A term used in antiquity to denote brass, copper, bronze, or any

alloy of these metals. It also serves, in various connexions, to denote

a number of different objects. Such as _æs candidum_, a brass mixed with

silver; _æs Corinthum_, a brass mixed with gold; _æs Cyprium_, the

ancient name for copper. (See also BRONZE.)

=Æs grave=, R. A general term current in Rome to denote any bronze money

at the period when the _as_ was equal to about a pound in value.

=Æs rude=, R. The name given to the bronze ingots employed at Rome as

ready money in exchanges and other commercial transactions.

=Æs thermarum=, Gr. and R. A bronze gong or metal bell hung up in the

public baths, the sound of which, when struck, gave notice to the public

that the baths were sufficiently warm to be ready for use.

=Æs ustum.= Peroxide of copper, or calcined copper.

=Æsthetics=, Gr. (αἰσθάνομαι, to comprehend). The science of the

instinctive apprehension of the harmonies.

=Aetos=, Gr. (Ἀετός). A Greek word signifying _eagle_, and by analogy, a

gable, pediment, or higher part of a building generally, so called from

the resemblance which these parts bear to an eagle with outstretched

wings. In the same way the Greeks gave the name of πτερὰ (wings), to the

outer rows of columns flanking each side of a temple.

=Affidati=, It. One of the Italian literary academies. Their device was

a nautilus, with the motto “tutus per suprema per ima.”

=Affrontée=, Her. Showing the full front.

=Agalma=, =Agalmata=, Gr. (ἄγαλμα, from ἀγάλλω, to glorify). Any work of

art dedicated to a god, whether it were placed in his temple or not;

such as tripods; [braziers for incense], or other accessories of a

temple. The low pillar placed over a tomb, or the statue of a god might

be _agalmata_.

=Agate.= A variety of quartz often employed by the engravers of

antiquity. The term is a corruption of the word _Achates_, a river of

Sicily, on the banks of which numerous varieties of the stone abound.

Among these maybe mentioned the _cerachates_, or white wax-like agate;

_dendrachates_, or arborescent agate; _hemachates_, or blood-agate, so

called from its blood-like spots; and _leucachates_, or white agate.

Agates were often carved into scarabæi by the Egyptians, and Babylonian

cylinders have been found, made of the same material. The oriental agate

is semi-transparent, the occidental is opaque, of various tints, often

_veined_ with quartz and jasper; hence its fitness for cutting cameos.

=Agathodæmon, Cup of=, Gr. (Ἀγαθο-δαίμων). A name given by the Greeks to

a cup consecrated to Bacchus, and meaning literally, the “Cup of the

Good Genius.” It was sent round after a feast, in order that each guest

might partake of the wine.

=Agea=, R. A narrow passage or gangway in a boat, by means of which the

boatswain (_hortator_) communicated with the rowers.

=Agger=, R. A general term to denote a mound of any materials, such as

that formed by a dyke, quay, roadway, or earthwork; and particularly a

rampart composed of trunks of trees and employed in offensive or

defensive warfare. A celebrated _agger_ was that of Servius Tullius at

Rome. The art of constructing _aggeres_ and other fortifications, had

been learnt by the Romans from the Greeks, who in their turn had derived

it from the East. It was after having penetrated into the heart of Asia

under Alexander the Great, that the Greeks learned the use of siege

works employed in the attack or defence of strong places, and became

acquainted with various kinds of warlike engines such as the

ACROBATICON, &c.

=Agnus Bell=, Chr. A sacring bell.

=Agnus Dei=, Chr. THE LAMB OF GOD, or lamb bearing the banner of the

cross. The term is also used to denote certain ornaments or medallions

of wax impressed with a figure of the lamb. They represented the ancient

custom of distributing to worshippers, on the first Sunday after Easter,

particles of wax from the consecrated paschal taper.

=Agolum, R.= A long sharp-pointed shepherd’s stick used by the Roman

herdsmen for driving their cattle. The _agolum_ was made out of a

straight shoot of the prickly pear; it is still in use among the

herdsmen of the Roman campagna at the present day.

=Agonalia= or =Agonia=, R. A Roman festival, which derived its name from

the word _agone_ (shall I proceed?) the question asked of the _rex

sacrificulus_ by the attendant, before he sacrificed the victim. The

Quirinal was called _Mons agonus_, from a festival being held there on

the 17th or 18th of March, in honour of Mars. The day itself was called

_Agonium martiale_ or day of the Liberalia. Another explanation of the

etymology of the name is that the sacrifice was offered on the Quirinal

hill, which was originally called _Agonus_. (Consult Ovid. Fasti, i.

319–332, he suggests several explanations.)

=Agonistic=, (ἀγωνιστικὴ, from ἀγὼν, a contest). With the ancients, that

part of gymnastics in which athletes contended with arms.

[Illustration: Fig. 11. Agora of Antiphellus.]

=Agora=, Gr. (ἀγορὰ, from ἀγείρω, to assemble). A place of assembly or

public market. The _agora_ was to the Greeks what the _forum_ was to the

Romans. There were numerous agoræ in Greece and Asia Minor. Fig. 11,

represents the plan of the _agora_ of Antiphellus; in which _a_ and _b_

indicate the sites of the corn-pits; _c_, that of a basilica. _Agora_ is

also used to denote the general assembly of freemen in contradistinction

to the _Boulè_ (q.v.).

=Agraulia.= An Athenian festival.

=Agrenon=, Gr. and R. A net, or garment of netted wool, worn over their

other dress by the priests of Bacchus and by soothsayers.

=Aguinia=, Med. A corruption of _ingenia_, engines of war. (Meyrick.)

=Aguzo=, It. A spear-head; a spear.

=Ahenum= or =Aenum=. A bronze vessel furnished with a handle for

suspending it over the fire, and so named from the material out of which

it was made. (2) The coppers used in the public baths for heating the

water in.

[Illustration: Fig. 12 Aiglets.]

=Aiglet=, Fr. (_aiguillette_). A metal tag or point to a lace; sometimes

used to signify the lace itself, as in the military costume of the

present day. They were formerly used to fasten the slashed dresses of

the middle ages; and sometimes to fasten armour, when they were made of

leather with metal points. In civilian costume they were of silk. The

term Aiguillette is also applied to the shoulder-knot worn by soldiers

and livery servants.

=Ailettes= (little wings). Armour worn on the shoulders to protect the

back of the neck; found in monumental brasses of the 13th century.

=Aisle= (_ala_, a wing). The wing of a building; the side passages of a

Roman house. In buildings of vast size, such as a basilica or temple,

comprising a central and two lateral naves, the latter are called

aisles.

=Alabarda=, Med. A halberd.

=Alabaster= or =Alabastrum=, (ἀλάβαστρον). A small vase for holding

precious perfumes; so called from the alabaster of which it was

generally made. It was of various shapes, but chiefly assumed an

elongated form resembling a long pear, a pearl-drop, &c. [Many of these

perfume vessels are made of stalactite.] (2) A calcareous substance of

white colour, translucent or semi-transparent, and presenting, according

to the variety, undulating and continuous veins. The various kinds of

ancient alabaster are very numerous; the following may be named;

flowered alabaster (_alabastro fiorito_); golden (_dorato_); quince

coloured (_cotognino_); eyed (_occini_); tortoise-shell (_tartaruga_);

foam-white (_pecorella_); Busca de Palombara (_palombara_); onyx

(_onice_), &c. The Egyptians used alabaster for making statues, phials,

panegyric vases, canopea, small figures, and even sarcophagi; of which

last that of Seti I., now in the British Museum, is an example.

Alabaster was at one time frequently used for tombs and carved figures,

and is now used for pulpits and other ecclesiastical purposes. False

alabaster is the name given to a gypseous variety of this substance, of

which there are rich quarries at Volterra, in Tuscany. It is called

“Gesso Volterrano,” and is much used in Italy for the _grounds_ of

pictures.

=Alabastrotheca=, R. (θήκη, a chest). A box or casket containing

alabaster flasks or vases.

=Aland=, =Alant=, Her. A mastiff with short ears.

=Alapa.= The blow on the shoulder in dubbing a knight.

=Alba creta.= Latin for white chalk, a term used by writers on art for

gypsum.

=Albani stone.= A pepper-coloured stone used in ancient buildings at

Rome before the introduction of marble.

=Albarium= (opus), R. (_albus_, white). A white coating or kind of

stucco with which brick walls were covered after a previous application

of ordinary cement. This stucco, which was also called simply

_albarium_, was made by a mixture of chalk, plaster, and white marble.

=Albalista=, =Arbalest=. A cross-bow.

[Illustration: Fig. 13. Albe.]

=Albe=, (_albus_, white). An ancient ecclesiastical vestment, common in

old brasses. It was a long white linen gown, reaching to the feet, and

secured by a girdle. The surplice is an _albe_ with wider sleeves. (Fig.

13.)

=Alberk=, for =Hauberk=. A cuirass.

=Album=, Gr. and R. (_albus_, white). A space on the surface of a wall

covered with white plaster, upon which were written advertisements or

public announcements. By analogy the term was used to denote any kind of

white tablets bearing an inscription, such as edicts, decrees, &c. These

tablets were very numerous; there were the _album pontificis_,

_prætoris_, _centuriæ_, _decurionum_, _judicum_, _senatorum_, &c.

=Alcato=, Arab. In armour, a gorget.

=Alcora pottery= (See DENIA.)

=Alcove.= A niche or recess in a room.

=Aldobrandini, Marriage=, R. A celebrated fresco from the gardens of

Mecænas, discovered at Rome near the church of Santa Maria Maggiore,

whence it was conveyed to the villa Aldobrandini, and afterwards sold to

the Borghese family. This painting which indisputably dates from the

reign of Augustus, consists of a group of ten figures, representing,

according to some, the marriage of Peleus and Thetis; and according to

others, that of Manlius and Julia.

[Illustration: Fig. 14. Point d’Alençon.]

=Alençon, Point d’.= Lace formerly known as Point de France. It is the

only French lace not made on the pillow, but worked entirely by hand

with a fine needle, on a parchment pattern; it is called “Vilain” in the

French provinces, and in England is known as needle point. (Fig. 14.)

=Alerion=, Her. An eagle, in early Her., represented without feet or

beak. (See EAGLE.)

=Ale-stake.= In the middle ages the roadside ale-house was distinguished

by a stake projecting from the house, on which some object was hung for

a sign.

=Alexandrinum= (opus), R. A kind of mosaic employed especially for the

pavement of rooms. The distinctive feature of these mosaics is that the

lines or figures composing the designs are in two colours only, the

prevailing ones being red and black upon a white ground. A large number

of mosaics of this description exist at Pompeii, which are also called

_sectilia_.

=Alexikakos= (Apollo). Another name of the celebrated statue generally

called the Belvedere Apollo; from Nero’s villa at Antium.

=Algaroth powder.= An ingredient in the manufacture of an Antimony white

pigment.

[Illustration: Fig. 15. Alhambraic ornament.]

=Alhambraic.= Ornamentation in the Moorish style of the Alhambra, the

characteristic of which is a faithful imitation of natural combinations

of form and colour, with a rigid avoidance of the representation of

natural objects. (Fig. 15.)

=Alicula=, R. A kind of large mantle, furnished sometimes with a hood.

The term is derived from the Greek ἄλλιξ, the name given to the

Thessalian chlamys. (See CHLAMYS.)

=Alizarin=, the colouring principle of the madder.

=Allecret= or =Hallecret=. A light armour for cavalry and infantry,

consisting of a breastplate and tassets (or gussets), 16th century.

=Allegory= in art, is allegorically represented as a female figure

veiled.

=All Halowes= or =All Hallowes=. O. E. for All Saints.

=Alloys= of Gold. Gold is found alloyed with various metals, never

without silver, often with copper, iron, or other substances in small

quantities, and sometimes with mercury, when it is called an _amalgam_.

Gold alloyed with silver is called _native gold_. See ELECTRUM.

=Allouyère= Fr. (Lat. _alloverium_). A purse or pouch often carried at

the girdle, for holding papers, jewels, and money.

=Almayne Rivets= (German Rivets). Rivets used in plates of armour made

to slide and thus give play to the arms and legs, invented in the 17th

century, in Germany; hence their name.

=Almery=, =Aumery=, or =Ambry=, Arch. Chr. A niche or cupboard by the

side of an altar, to contain the utensils belonging thereto.

=Almond=, Chr. An aureole of elliptic form, which is frequently met with

encircling representations of saints, or of God the Father, God the Son,

or the Virgin. A more common name, however, for this aureole is VESICA

PISCIS (q.v.). The term of _mystical almond_ was applied to the symbol

expressive of the virginity of the Virgin Mary. The mystical meaning

attached to this symbol is explained by reference to the rod of Aaron,

which consisted of the bough of an almond-tree that had flowered in a

single night and produced an almond on the morrow.

=Almonry=, =Almonarium=, Arch. Chr. A room where alms were distributed.

[Illustration: Fig. 16. Almuce.]

=Almuce=, =Aumuce=, =Amess=, Chr. (_almutium_). A furred hood worn by

the clergy for the sake of warmth, from the 13th to 16th centuries.

Common in brasses of the 15th century. (Fig. 16.)

=Aloa=, or =Haloa=. An Attic festival, in honour of Demeter and

Dionysus.

=Alostel=, O. E. A cry of heralds at the close of a tournament, ordering

the combatants to quit the lists and retire to their lodgings.

=Alpha= and =Omega=, Chr. (ἄλφα and ὠμέγα). These two letters,

respectively the first and the last of the Greek alphabet, symbolize our

earthly life, since this has a beginning and an end. They are also a

symbol of God as being the beginning and end of everything.

=Altar.= A kind of platform or table upon which sacrifices were offered

to the gods. Hence, in Christian art, the table upon which the

Eucharistic sacrifice is offered. (See ANTEPENDIUM, CIBORIUM, REREDOS,

&c. See ALTARE and ARA.)

=Altar cards=, Chr. Portions of the service of the mass printed

separately on cards, and placed against the reredos of an altar.

=Altar cloth=, Chr. The linen coverings, and embroidered hangings of an

altar.

=Altare=, R. (_alta ara_, high altar). A raised altar as

contradistinguished from the _ara_ which was of no great height. (Fig.

17.)

[Illustration: Fig. 17. Circular Roman altar.]

=Altar front=, Chr. An antependium (q.v.).

=Altar screen=, Chr. The partition behind the high altar, separating it

from the Lady Chapel.

=Alto-rilievo= (Ital.) High Relief. See RILIEVO.

=Alum= is used in many processes—in the preparation of paper for

water-colour painting, and of _lakes_, and _carmine_, from cochineal.

_Roche alum_, or roach alum, _Roman alum_, and _Turkey alum_, are

varieties of the common alum, described by mediæval writers as

_alumens_.

=Alumen= (Lat.), Greek, (_stypteria_). Mediæval writers confused this

word with the alums. The name was applied by the classics to several

salts of the nature of vitriols, and among them to the natural sulphate

of iron (_copperas_ or _green vitriol_ of commerce).

=Alur=, =Aloring=, or =Alurde=, &c., O.E. Parapet wall.

=Alvéole=; see NIMBUS.

=Alveus=, R. (_alvus_, the belly). (1) A bath constructed in the floor

of a room, the upper part of it projected above the floor, the lower

part being sunk into the floor itself. (2) A playing-board, which was

divided in the same manner as the ABACUS (q.v.). (3) A canoe hollowed

out of the trunk of a tree, the Greek μονόξυλον. (4) The hull of a ship.

(5) A wooden trough or tray.

=Ama= or =Amula=, Chr. A long phial for holding the wine presented at

the altar at the moment of offering.

=Amassette=, Fr. An instrument of horn used for spreading colours on the

stone in the process of grinding.

=Amatito=, Ital. Lapis Amatita. Amatito is the _soft_ red hæmatite, and

is called also _matita rossa_. _Lapis amatita_ is the _compact_ red

hæmatite, and is also called in Italy _mineral cinnabar_, and in Spain

_albin_. When this word is used by early writers on art, it probably

indicates _red ochre_, the red hæmatite of mineralogists. (Fairholt.)

=Amber.= There are two varieties of this substance, viz., the grey and

the yellow amber, of which the latter only need here be more

particularly noticed. Its use may be traced back to a very early

antiquity, the purposes to which it was applied being the setting of

jewels and furniture. It was employed by the Jews for making amulets.

Amber was also used by the Egyptians in the fabrication of necklaces

composed of pearls or other delicate materials. By the Romans it was

sculptured into vases or statuettes. The name of _vasa electrina_ was

given to amber vases set with silver, and that of _electrina patera_ to

pateræ made of amber alone. Amber was largely used by early painters as

a _varnish_, and also as a _vehicle_. It is harder than copal, and is

said to be the most durable of all varnishes. It requires a long time to

fit it for _polishing_. Amber is supposed to be a vegetable fossil; it

is washed up by the sea, especially on the shores of the Baltic.

=Amber Yellow=, is an _ochre_ of a rich amber colour in its raw state;

when burned it yields a fine _brown red_.

=Ambitus=, Gr. R. and Chr. (_ambio_, to go round about). A small niche

in underground Greek or Roman tombs forming a receptacle for a cinerary

urn. In the Middle Ages these niches were so far enlarged as to admit

coffins; the name under which they then went being ENFEUS (q.v.). During

the same period the term _ambitus_ was also applied to the consecrated

ground by which a church was surrounded. It served as a place of asylum

as well as for burial. The term is also applied to the process of

canvassing for votes.

=Ambivium=, R. (_ambi_ and _via_, a way round). Any road or street

leading _round_ a place.

[Illustration: Fig. 18. The ambo of St. Lawrence at Rome.]

=Ambo=, Chr. (perhaps from ἀναβαίνειν, to ascend). A tribune of stone or

marble in the ancient Latin basilicas, a pulpit. Fig. 18 gives a

representation of the ambo in the church of St. Lawrence without the

walls at Rome.

=Ambrices=, R. The cross laths (_regulæ_) inserted between the rafters

and the tiles of a roof.

=Ambry=; see ALMERY.

=Ambulant=, Her. In the act of walking.

=Ambulatory=, Chr. (_ambulo_, to walk). Part of a cloister, forming a

kind of gallery for taking exercise in.

=Amenti= or =Amenthi=, Egyp. One of the names given to the nether world

of the Egyptians. It means the _unseen region_. We learn from Plutarch’s

treatise on Osiris that, “the subterranean regions whither souls betake

themselves after death is called _Amenthes_.” Osiris is the lord and god

of Amenti, which was also called by the Egyptians the _country of

truth_.

=Amentum=, R. A thong attached to the shaft of a lance at the centre of

gravity. The soldier placed the fingers of his right hand between the

two ends of the thong, gave the weapon a rapid turn, and then hurled it.

_Amentum_ was also used to denote the leather strap by which certain

kinds of boots, such as the _crepidæ_, _solæ_, &c., were fastened above

the instep.

=Amess.= (See ALMUCE.)

=Amethyst=, (ἀμέθυστος, without intoxication.) A precious stone of a

more or less deep violet colour. The engravers of antiquity carved

figures upon it, in especial those of Bacchus, since the stone was also

used, in preference to any other, for making drinking-cups, from a

belief that it possessed the virtue of dispelling intoxication. This was

the origin of the Greek term. Among the ancient Jews the amethyst was

one of the twelve stones composing the breastplate of the high priest;

it occupied the eighth or ninth row. In Christian symbolism the amethyst

(or the colour violet) signifies humility and modesty.

=Amiantus=, (ἀμίαντος [? undefiled]). A fibrous uninflammable mineral

substance. It was used by the ancients for making fire-proof clothing.

It was known by the name of _asbestus_ (ἄσβεστος, uninflammable).

=Amice.= A piece of fine linen in the form of an oblong square,

suspended over the shoulders of the clergy. _Pugin_ says it is “a white

linen napkin or veil worn by all the clergy above the four minor

orders.” _Durand_ says it is a proper covering for the head, typical of

the helmet of salvation alluded to by the apostle; or of the cloth with

which the Jews covered the Saviour’s face, when they asked him to

prophecy who struck him. Milton, in _Paradise Regained_, alludes to it,—

“Morning fair

Came forth with pilgrim steps, in _amice_ grey.”

=Amma=, Egyp. (1) A measure of length in use among the ancient

Egyptians. It was about sixty feet. (2) A kind of line used in land

surveying.

=Ammah=, Egyp. The door which formed the exit from the abode of the

dead. Chapters lxxiii. and cxv. of the _Book of the Dead_ are

entitled,—_On passing Ammah_; i. e. _directing one’s course to heaven by

stepping over the Ammah_.

=Amorevole= of Verona. One of the Italian literary academies. Their

device was a hedgehog with its spines laden with grapes (for its young).

Motto, “non solum nobis.”

=Amorini=, Ital. Cupids.

=Ampelitis=, Gr. (ἄμπελος, a vine). A black pigment prepared by the

ancients from the burnt branches of the vine.

=Amphibalus=, Chr. A vestment, used on Sundays and high festivals;

peculiar to the Gallican Church.

=Amphidromia.= Family festival held by the Athenians upon the occasion

of the birth of a child. The carrying of the child round the hearth gave

the name to the festival.

=Amphimallum=, Gr. and R. (ἀμφί-μαλλον, woolly on both sides). A

description of woollen cloth more or less rough, and having a nap on

both sides.

=Amphiprostylos=, Gr. and R. (ἀμφι-πρόστυλος). A temple or other

building having two open porticoes (_porticum_ and _posticum_), both in

front and rear. They are so constructed as to project beyond the

_cella_, or main body of the building.

=Amphitapus=, Gr. and R. (ἀμφί-ταπος, hairy on both sides). A particular

kind of cloth, made of some material resembling Vicuna wool, and having,

like the _amphimallum_, a nap on both sides. It was probably of Eastern

origin.

[Illustration: Fig. 19. Ground-plan of an amphitheatre.]

=Amphitheatre=, R. (ἀμφι-θέατρον). A building which was at first

constructed for the purpose of exhibiting gladiatorial shows to the

Roman populace; but later on any kind of spectacle, even to a

_naumachia_, or sea-fight, was exhibited there. In the engraving, A

shows the ground-plan of an amphitheatre, and B the plan of the seats.

[Illustration: Fig. 20. Greek Amphoræ.]

=Amphora=, Gr. and R. (ἀμφὶ-φορέω). A large earthenware vessel, having a

handle on each side of its neck (whence the name), and terminating in a

point. Amphoræ were used for holding various kinds of produce,

especially wine; they were placed side by side in an upright position in

the cellar, the floor of which was covered with a deep bed of sand. The

engravings represent amphoræ from Cnidus, Chio, and Samos. Amphoræ were

also made of glass; and a specimen is mentioned by Nepos of one made of

onyx. Homer mentions them of gold and stone; and the Egyptians had them

of brass.

=Amphotis=, Gr. and R. 1. A brass cap lined with cloth inside. 2. A

simple woollen cap worn by athletes to protect their temples and ears

from the blows of the _cestus_, in a boxing match. 3. A wooden vessel in

use among the ancient Greek peasants, as a milking-pail. It derived its

name from having two handles or ears.

=Ampulla=, Gr. and R. A phial or flask with short and narrow neck and

spherical body, which was used to hold the oil requisite for bathers

(_ampulla oleria_); it could also be used to hold vinegar, wine, and

other beverages, and was then called _ampulla potaria_. The ampulla

generally took the form of a globe or bladder, but not invariably; a

lentil-shaped variety with rounded sides was very common. _Ampulla

rubida_ was the name given to the leather-covered flasks which were made

use of by travellers or sportsmen to carry wine, vinegar, or oil. The

vessel or cruet used in Christian churches for the consecrated oil or

wine was hence called the AMPUL.

=Ampyx=, Gr. and R. (ἄμπυξ, from ἀμπέχω, to surround). Latin _frontale_.

A general term to denote any net composed of strings, bands, or ribbons,

which forms a head-band. It thus denotes at once a woman’s head-dress,

or the ornamental strips of leather which serve as head-band for a

horse. The _ampyx_ worn by women was in some cases very costly, being

made of gold or silver, and adorned with precious stones. The term was

also applied, by analogy, to the cover of a vase. Another word for it is

_ampicter_.

=Amulets.= Objects of a very heterogeneous description, to which is

superstitiously attributed the power of healing certain diseases, or

averting them from men and animals. This is the meaning which attaches,

in its widest sense, to the term amulet (_amuletum_). Amulets are

unquestionably of Eastern origin; by the Egyptians they were looked upon

as preservatives against dangers, unlucky days, enemies, &c. The

varieties of them were very numerous; among others, were scarabæi, small

columns, cartouches, symbolic eyes, interlacing fingers, heads of uræus,

&c. A large number of stones were also employed as amulets; those of

commonest occurrence are hematite, jasper, lapis lazuli, amethysts,

diamonds, heliotropes, &c. Each of these amulets had its special virtue;

for instance, the clear crystal worn during prayer rendered the god

propitious, and compelled him to give ear to the suppliant. Coral kept

every evil influence away from a house; and in Italy it is looked upon,

even at the present day, as a preservative against the evil eye. In

Christian archæology, the name of amulets, or in some instances,

ENCOLPIA (q.v.), was given to relics, or objects of devotion, such as

crosses, medals, wood from the true cross, the bones of saints, &c.

Amulets were also called _periapta_ (περίαπτα), i. e. suspended, because

they were hung round the neck, and also _pyctacium_, because some

amulets were folded in two. The Arabic word amulet means the same as

_periapta_, that which is suspended.

=Amussis=, R. The exact sense of this term is not clearly defined by

ancient authors, beyond the fact that it denotes generally any kind of

instrument employed by builders—especially masons—for testing the

accuracy, regularity, and evenness of their work. The term is used to

denote sometimes the plumb-line, rule, or square; sometimes the level,

measuring-line, &c.

=Anabathra=, Gr. and R. (ἀνά-βαθρα, steps up). Steps or stairs; a raised

step; a mounting block. These last were often placed along the high

roads.

=Anabologium=, Chr. Another name for the Humerale or AMICE (q.v.).

=Anaceia= or =Anakeia=, Gr. (from ἄναξ, a king). A festival held at

Athens in honour of Castor and Pollux, who were also called _Anaktes_

and _Anakestes_. (See ANACEIUM). Similar festivals were held at Sparta,

Argos, and other cities of Greece.

=Anaceium=, Gr. A temple of ancient Athens, dedicated to Castor and

Pollux. Slaves used to be sold there.

=Anaclinterium=, Gr. (ἀνακλιντήριον). The head-board of a sofa or bed,

which served as a support for the bolster and the pillow on which the

sleeper’s head rested.

=Anadem=, Gr. (ἀνάδημα). In general a fillet or head-band; but in a more

restricted acceptation, an ornamental band, such as was worn by women

and youths among the Greeks. It was thus distinguished from the

_diadema_ and the _vitta_, which were also head-bands, but worn solely

as the insignia of honorary, regal, or religious distinctions.

=Anaglyph=, (ἀνὰ and γλύφειν, to carve). A general term to denote any

work of art that is sculptured, chased, carved, or embossed, such as

cameos, bas-reliefs, or other raised work, whether in metal, marble, or

ivory. When such sculptures or chasings are incised or sunk, they are

called INTAGLIOS or DIAGLYPHS (q.v.). According to St. Clement of

Alexandria, anaglyphs were employed by the Egyptians when they wished to

hand down a panegyric of any king under the form of a religious myth.

Although the words of St. Clement are very obscure, and have furnished

materials for countless discussions, it is now admitted that the

anaglyphs in question belong to the group of hieroglyphics which may be

deciphered on the cartouches of the Pharaohs, and in which we have, in

fact, panegyrics of the Egyptian kings veiled in religious myths. The

Egyptians also gave the name of anaglyphs to a kind of secret writing,

understood only by the initiated; even at the present day it remains

undecipherable, owing to our imperfect knowledge of Egyptian mythology.

(See CÆLATURA.)

=Anagogia.= A festival at Eryx, in Sicily, in honour of Aphrodite.

=Analemma=, Gr. and R. (ἀνάλημμα). Any raised construction which serves

for a support or rest, and more particularly a pier, wall, or buttress.

(2) The pedestal of a sun-dial, and so the sun-dial itself.

=Anancœum=, R. A drinking-cup of great capacity, the form of which is

unknown. If we may credit Varro it was sometimes richly chased.

=Anankaion=, Gr. (ἀναγκαῖον, from ἀνάγκη, restraint). A kind of prison

the purpose of which is not exactly known. According to some

archæologists it was a private prison for slaves, or for freedmen, who,

from some fault, were reduced to servitude again; others assert that it

was a public prison.

=Anapiesma=, Gr. and R. (ἀνα-πίεσμα, that which is pressed back). An

appliance used in ancient theatres. It was a kind of trap-door by means

of which deities were raised from beneath the stage so as to make them

visible to the spectators. The _proscenium_ contained a certain number

of these trap-doors; one of them, leading from the orchestra to the

front of the stage, enabled the Furies to appear; by another, marine

deities made their appearance; while that through which passed the

shades who ascended Charon’s staircase was called _Charon’s anapiesma_.

=Anastatic.= An ingenious modern process of reproducing copies of

printed matter, engravings, ink drawings, &c., by transferring them to a

sheet of polished zinc.

=Anathēma=, Chr. (ἀνάθημα, an offering). Anything offered up in churches

by the faithful; as, for instance, vases and other utensils for

sacrifice, altar ornaments, &c.

=Anathĕma=, Chr. The greater excommunication, answering to the Hebrew

_cherem_.

=Anchor.= In Christian Art, the emblem of Hope. The attribute of S.

Clement, the Pope, who was bound to an anchor, and thrown into the sea.

(See ANCORA.)

=Ancile=, R. A shield of the shape of a violin case. It was the sacred

shield which, according to tradition, had fallen from heaven into the

palace of Numa. It occurs frequently on medals, especially those of

Augustus. The two incavations of the shield were more or less deep, and

usually semicircular. But Ovid describes it as of an entirely different

shape, being cut evenly all round; _Idque ancile vocat, quod ab omni

parte recisum est_ (Ovid, Fast. iii. 377). The SALII, or twelve priests

of Mars Gradivus, had twelve such shields. The form was oval, with the

two sides curving evenly inwards, so as to make it broader at the ends

than in the middle. They used to beat their shields and dance.

=Anclabris=, Gr. and R. A small table used instead of an altar at

sacrifices; it was slightly concave, so as to adapt it to hold the

entrails of the victim for the inspection of the diviners. (See ALTAR.)

=Ancon=, Gr. and R. (αγκων). A term admitting various meanings, (1) A

small console on each side of a door supporting an ornamental cornice.

(2) The arm of a chair or arm-chair. (3) A cramp of wood or metal

serving to connect together courses of masonry or blocks of stone. (4)

The prongs or forks at the end of the props employed by hunters to hang

their nets upon. (5) An earthenware vessel used in Roman taverns for

holding wine. According to the etymology of the word which in Greek

signifies hollow or elbow, this bottle must have been shaped like a

retort. (6) The arms or branches of the square used by carpenters and

stone masons, which form an angle similar to that formed by the bent

arm.

[Illustration: Fig. 21. Roman anchor, from a bas-relief.]

=Ancora=, Gr. and R. (ἀγκύρα, from ἄγκος, a bend). An anchor or piece of

iron used to stop a ship. Like those now in use, the ancient anchors

were generally furnished with two flukes or arms, but sometimes they had

only one. In the latter case they were called _terostomos_, a term

corresponding to our modern blind anchor. A bas-relief on the column of

Trajan represents an anchor placed at the bow of the vessel. In

Christian archæology the anchor is a symbol of hope; an anchor is

frequently met with, among Christian symbols, associated with a fish;

the emblem of the Saviour (See ACROSTIC).

=Ancorale=, Gr. and R. Literally the cable of an anchor, and then the

buoy-rope, or even the buoy itself. The ancient anchors had a ring at

the end of the shank to which the buoy-rope was attached. The latter

served not only to indicate the place where the anchor lay, but also to

drag the flukes out of the ground when the anchor was raised.

=Andiron.= Iron standards with bars for supporting logs of wood fires,

frequently richly ornamented, and sometimes made partly of silver.

=Andriantes=, Gr. (ἀνδριάντες, images of men). Statues set up by the

Greeks in honour of the victors in the public games. This custom dated

from 50 Olym., or 584 B.C.

=Androgeonia.= An Athenian annual festival, in honour of Androgeus, the

son of Minos.

[Illustration: Fig. 22. Plan of a Greek house, showing the andron.]

=Andron=, =Andronitis=, Gr. and Gr.-R. (ἀνδρὼν, from ἀνὴρ, a man). That

part of the Greek or Græco-Roman house exclusively set apart for men.

Fig. 22 represents the ground-plan of a Greek house; the _andron_

occupies all that part of the building which surrounds the open court,

and consists of the apartments numbered 1 to 9. The Romans applied the

term simply to a passage separating a house or part of a house from

another.

=Anelace=, O. E. A knife or dagger worn at the girdle; broad, two-edged

and sharp.

“An _anelace_ and a gipciere all of silk,

Hung at his girdle, white as morwe milk.”

(CHAUCER, _Canterbury Tales_.)

[Illustration: Fig. 23. Angel of the reign of Elizabeth.]

=Angel.= A gold coin current in England and France in the 15th and 16th

centuries. It derived its name from the figure of an angel stamped upon

it. A similar coin, either of gold or silver, was current in France at

various periods. From the time of Louis IX. to that of Louis XI., the

gold angel was equal in value to a crown of fine gold, or a little more

than fourteen francs. It was stamped with a figure of St. Michael,

holding in his right hand a sword, and in his left a shield with three

fleur-de-lys. Henry VI., king of England, when he was in possession of

Paris, had a gold angel struck which was not above seven francs in

value. It was stamped with the figure of an angel holding in his hand

the shields of France and England. The same king also had a silver angel

struck which was only worth about five and a half francs.

[Illustration: Fig. 24. Arms of France with Angels as supporters. XIV.

century.]

=Angels=, (Gr. ἄγγελος, a messenger) in Christian Art are represented in

nine degrees, which are divided into three categories. The first

consists of Seraphim, Cherubim, and Thrones; the second of Dominations,

Virtues, Powers; and the third of Princedoms, Archangels, and Angels.

They are represented as young, to show their continued strength; winged

as messengers of speed; barefooted and girt to show their readiness; in

robes of white indicative of purity, or in cloth of gold for their

glory; the cloth of gold diapered with bands of precious stones; the

emerald, emblem of _unfading youth_; the crystal, of _purity_; the

sapphire, of _celestial contemplation_; and the ruby, of _divine love_.

During the renaissance, Pugin complains, “the edifying and traditional

representations of angelic spirits were abandoned, and, in lieu of the

albe of purity and golden vests of glory, the artists indulged in pretty

cupids sporting in clouds, &c.” The proper attributes of the angels are

trumpets, for the _voice of God_; flaming swords, for the _wrath of

God_; sceptres, for the _power of God_; thuribles or censers for the

_prayers of saints_, and musical instruments to emblem their _felicity_.

=Angiportus= or =Angiportum=, R. A narrow road passing between two

houses or rows of houses, or an alley leading to a single house.

[Illustration: Fig. 25. Point d’Angleterre.]

=Angleterre, Point d’.= Lace made by Flemish makers who were invited to

settle in England in the reign of Charles II., the English Parliament

having passed an act prohibiting the importation of all foreign lace.

England, however, could not produce the necessary flax, and the lace was

of inferior quality. The merchants of the time remedied this by

smuggling large quantities of lace from the Brussels market, selling it

as English Point or Point d’Angleterre, by which latter name it is still

known, effacing the old name “Point de Bruxelles.” (Fig. 25.)

=Anglicanum Opus.= (See EMBROIDERY.)

=Angones.= French weapons of the Middle Ages furnished with three

blades, one of which was straight, broad and keen, the remaining two

curving outwards. Some angons have a lozenge-shaped head-blade. They

were used as a kind of pike, and sometimes hurled like javelins. The

latter kind somewhat resembled the _aclis_.

=Anguilla=, R. A whip made use of by Roman schoolmasters for punishing

their scholars. It was so called because made from the skin of an eel

(_anguis_).

=Anguis=, R. A serpent which among the Romans symbolized the local

spirit (_genius loci_). Serpents were painted upon a wall to deter the

public from defiling the spot thus indicated. At Pompeii these

representations of serpents are found in the bakehouses, kitchens, and

similar places where cleanliness is peculiarly desirable. The same term

was applied to a military ensign in the shape of a serpent.

=Anime.= Gum anime is a resin, which is mixed with copal in making

varnish, causing it to dry quickly and firmly.

=Animosi of Milan.= One of the Italian literary academies. Their device

was “stags passing a river, resting on the heads of each other.” Motto,

“Dant animos vices.” (Mutual help gives strength.)

=Anklets=, Gr. (See PERISCELIS.)

=Annealing.= The process of tempering brittle glass and metals by heat.

=Annulet=, Her. A plain ring, or false roundle.

=Annulets=, Arch. The rings or mouldings about the lower part of the

echinos or ovolo of Doric capitals.

=Annulus= or =Anulus=, Gr. and R. (dimin. of _anus_, a ring). A

finger-ring. They were originally made of iron, and used as a signet for

sealing. Later on they were made of gold. Among the Greeks and Romans

they were worn on the fourth finger of the left hand, whence the

expression _sedere ad anulos alicui_, to be seated at any one’s left

hand. The _anulus bigemmis_ was a ring set with two precious stones;

_anulus velaris_ was a curtain ring. A plait of hair arranged in circles

round the back of the head was also called _anulus_. In architecture the

term was formerly employed instead of _anulet_. The stone most

frequently used for rings was the onyx, upon which devices were carved

with wonderful skill. The _bezel_, or part of the ring which contained

the gem, was called PALA. (See RINGS.)

=Ansa=, Gr. and R. A term signifying both haft and handle, and even

eyelet or hole. Any vessel or vase which has large ears or circular

handles on the neck or body, is said to be furnished with _ansæ_. _Ansa

ostii_ was the term applied to the handle by which a door is pulled or

shut to. The bronze or iron eyelet on the top of a steelyard were also

called _ansæ stateræ_. The holes or eyelets made in the side leathers of

a Greek or Roman shoe were called _ansæ crepidæ_; the handle of the

rudder, _ansa gubernaculi_; lastly an iron cramp was called _ansa

ferrea_.

[Illustration: Fig. 26. Templum in antis.]

=Antæ=, R. Square or rectangular pilasters supporting the walls of a

temple, which was thence called _templum in antis_. (Fig. 26.) The

_antæ_ thus formed the end of the walls of the _cella_. The capitals of

_antæ_ and the friezes abutting on them were sometimes richly

ornamented, as may be seen by referring to Fig. 27, which represents, in

their restored state, the frieze and one of the antæ in the temple of

Augustus, at Ancyra, in Galatia.

[Illustration: Fig. 27. Capital and frieze of one of the Antæ in the

temple of Augustus.]

=Antarius=, =Antarii funes=, R. Ropes employed for raising into the

proper position any object of considerable weight, such as a column,

mast, &c.

[Illustration: Fig. 29. Archaic Antefixa in terra-cotta.]

=Antefixa.= Ornaments of terra-cotta which were placed above the

cornice, at the end of each row of tiles on a roof (Fig. 29). They were

also used in ancient times for decorating the ridge of a roof. We

possess specimens of antefixa remarkable for delicacy of design and

execution; such were the antefixa of the temple of Diana Propylæa at

Eleusis, and the various Etruscan specimens to be found in our museums.

They were decorated with masks, leaves, and especially palms painted to

imitate nature or in different colours. The Etruscans employed coloured

antefixa only; many specimens of these last may be seen at the Louvre,

and in the museums of Perugia, Florence, and Naples. The Antefixa of the

Parthenon were of marble. (Fig. 30.)

[Illustration: Fig. 30. Antefixa in marble from the Parthenon.]

=Antemural.= A term referring either to the outworks protecting the

approach to a castle, or to the wall surrounding the castle.

=Antenna=, R. The yard-arm of a ship.

=Antepagmentum=, R. The jamb of a door. _Antepagmentum superius_, the

lintel.

=Antependium.= Richly ornamented hangings of precious metal, wood, or

textile fabrics, in front of a Christian altar.

=Anteportico.= A synonym of PORCH (q.v.); but little used.

[Illustration: Fig. 31. Anterides of the Cloaca Maxima at Rome.]

=Anterides=, Gr. and R. (? ἀντερείδω, to stand firm). A structure

employed to strengthen a weaker one. It consisted of a kind of buttress

placed against an outer wall, chiefly in subterranean constructions,

such as a sewer or aqueduct. Fig. 31 represents the _anterides_ of the

Cloaca Maxima at Rome.

=Anthony, Cross of St.=, in the form of the letter T. It is the

idealized representation of a crutch. (See CROSSES.)

=Anthropomorphic.= Man-shaped; said for example of the character of the

Greek Religion, whose gods and demi-gods were only ideal men, from which

circumstance the representation of the human form became the first

object of their plastic art.

=Antia.= The iron handle of a shield.

=Antiæ=, R. The ringlets of hair worn by men and women which hung about

the ears and the temples.

=Antick.= Strange, irregular, or fantastic in composition.

=Antilena=, R. An appliance attached to the pack-saddle of a beast of

burden. It was a broad strap passing in front of the animal’s breast so

as to prevent the saddle from slipping backwards. It was employed

especially in mountainous districts.

=Antimensium=, Chr. A consecrated altar cloth.

=Antimony.= The oxide of this metal is employed in the preparation of

yellow pigments for enamel or porcelain painting. Glass is coloured

yellow by antimony. (See NAPLES, GUIMET’S YELLOWS.)

=Antipendium=, Chr. (See ANTEPENDIUM.)

=Antiphoner=, Chr. An antiphonarium; a book of responses set to music.

=Antique.= Pertaining to ancient Greek or Roman art: more freely used in

recent times to describe the quality of ancient art in general, but

properly applicable only to classical art.

[Illustration: Fig. 32. Opus Antiquum.]

=Antiquum Opus=, Arch. An ancient kind of stone-work or masonry composed

of irregular stones. Another name for it was _opus incertum_.

=Antiseptic varnish.= A glazing composed to protect vegetable or animal

pigments.

=Antitype.= The realization of the _type_.

=Antonine Column.= One of the most valuable architectural monuments in

Rome. It is a lofty pillar ornamented with a series of bas-reliefs

extending spirally from the base to the summit, representing the

victories of the Emperor Marcus Aurelius Antoninus.

=Anulus.= (See ANNULUS.)

=Anvil.= In Christian art the attribute of St. Adrian, and of St. Eloy,

the patron saint of the smiths.

=Apalare=, R. A kitchen utensil; a sort of large metal spoon or ladle.

=Ape.= In Christian art the emblem of malice and of lust. Common in

illuminations of the penitential psalms, in allusion to David’s fall.

=Apex=, R. (_apex_, the top). A piece of olive wood pointed at the end,

and set in a flock of wool. It formed the head-dress of the _Flamines_

and _Salii_. By analogy, the term was further used to denote a cap, and

also the ridge on the top of a helmet to which the horsehair crest was

attached.

=Aphractus=, Gr. and R. (ἄφρακτον, lit. unguarded). A vessel without a

deck, or only partly decked fore and aft.

=Aphrodisia=, Gr. (Ἀφροδίσια). A general term under which were comprised

all the festivals held in honour of Venus (_Aphroditè_).

[Illustration: Fig. 33. Aplustre and anchor of a Roman ship.—From

bas-relief.]

=Aplustre=, Gr. and R. (ἄφλαστον). An ornament placed at a ship’s stern.

It was constructed of flexible wooden planks, in imitation of the

feather of a bird’s wing.

=Apobates=, Gr. (Lat. _Desultor_). One who dismounts. (1) Soldiers in

chariots who leaped in and out in the fight. (2) The circus riders who

leaped from one horse to another.

=Apodyterium=, R. and Gr.-R. (from ἀπὸ δύω, to put off). In a general

sense, an undressing-room, and more particularly the apartment in the

baths where the bathers undressed. As little light penetrated from

without, there was generally a lamp burning in a niche. An _apodyterium_

such as that just described may still be seen at Pompeii.

=Apollino=, It. The name usually given to the beautiful “Apollo of

Florence,” attributed to Praxiteles.

=Apophyge= or =Apophysis=, Arch. The small fascia or band at the top and

base of the shaft of columns.

[Illustration: Fig. 34. Apostle Mug.]

=Apostle Mug.= The mug or tankard shown in the engraving is of Nanconian

or Nuremberg stone-ware, with figures of the twelve apostles enamelled

in colours upon it. (Fig. 34.) APOSTLE SPOONS are well known to have

received their names from the figures of the Apostles forming the

handles.

=Apostyls Coats=, O. E. Probably garments used for mystery plays.

=Apotheca=, Gr. and R. (ἀποθήκη, a granary). A store-room or magazine

for containing any kind of stock. The Romans also applied the term

specially to a wine store-room situated in the upper part of the house;

this was sometimes called the _fumarium_. Here the wine was placed in

amphoræ to ripen it more quickly, whereas when stored in the _cella

vinaria_, it was placed in CUPÆ and DOLIA (q.v.).

=Apotheosis=, Gr. (ἀπὸ, θεὸς god, to deify). A deification; the ceremony

by which a mortal was introduced among the number of the gods. The

proper term in Latin is _consecratio_ (q.v.). The funeral pile, in such

cases, was built several stories in height, and an eagle was let loose

from the top storey, to carry the soul of the emperor from earth to

heaven. This is commemorated upon the medals struck on the occasion,

which represent an altar with a fire on it, from which an eagle ascends.

=Apparel=, Chr. Embroidered additions to the vestments of the clergy.

=Appaumée=, Her. Said of a _hand_, open, erect, and showing the palm.

=Appianum=, Lat. Appian green, a pigment used by the ancients, prepared

from green earth, now known as _Cyprus_ or _Verona green_, because the

best is found at those places.

=Apple.= The emblem in classical art of victory, and in Christian art of

the fall of man.

=Appliqué=, Fr. Applied ornament, as of metal or porcelain upon wood. In

embroidery, Appliqué work is used, when a pattern cut out of one colour

or stuff is applied, or laid on, to another.

[Illustration: Fig. 35. Apse of St. William in the Desert, a monastery

in the South of France.—Built about A. D. 820.]

=Apse=, =Apsis=, or =Chevet= (ἁψὶς, bow or vault). The termination of a

church. It is generally of semicircular form, and surmounted by a

demicupola, but there are instances of rectangular apses. Fig. 35

represents the apse of St. William in the Desert. (See ABSIS.)

=Apsis gradata=, Chr. The chair occupied by bishops in the early

Christian basilicas.

=Apteral=, Arch. Without wings. A temple without columns on the sides.

=Aqua fortis= (nitric acid). Used by engravers and etchers for biting-in

on copper and steel.

=Aqua marina.= A transparent green stone, frequently used by the gem

engravers of antiquity.

=Aquæmanalis.= (See AQUIMINARIUM.)

=Aquamanile=, Chr. The basin used for washing the hands of the celebrant

in the liturgy. A. of great splendour are frequently mentioned in the

ancient records. The corresponding ewer was called URCEUS.

=Aqua-tint.= A method of engraving with the help of mastic. (_Consult_

Fielding’s “Art of Engraving.”)

[Illustration: Fig. 36. Pont-du-Gard, a Roman aqueduct near Nismes.

(_Restored_)]

=Aqueduct=, Gen. (_aqua_, water, and _duco_, to lead). An artificial

canal for conveying water from one point to another, and often to a

considerable distance from the source. Many ancient nations have

executed works of this description, but the Roman aqueducts are

especially celebrated. The most perfect is that which still exists, in a

ruined state, over the river Gard, near Nismes in the South of France,

called _Pont-du-Gard_. (Fig. 36.) Aqueducts were often discharged into

reservoirs.

=Aquilæ=, R. The eagles, or ensigns, of the Roman legion under the

Empire. They were of silver or bronze, and had the wings outstretched.

As an architectural term _aquila_ denotes the triangular face formed by

the tympanum of a pediment, because the latter was often ornamented with

an eagle. (See ENSIGN.)

=Aquiminarium=, R. An ewer for pouring water over the hands of the

guests after a banquet. Other terms for this ewer were _aquæmanalis_ and

_aquimanale_.

=Ara=, R. The Latin term for ALTAR. (See this word and ALTARE.)

=Arab Pottery.= (See GARGOULETTE.)

=Arabesque=, Gen. An ornament of a pattern more or less intricate,

composed of stems, foliage, leaves, fruits, scrolls, or leafage, as well

as of curious and fantastic animals. It is an error to suppose that

arabesque, as its name might seem to indicate, was an Arab invention; it

was known to the Greeks and Romans, and was largely employed in

Græco-Roman architecture.

=Aræostylé=, Arch. An order of temples, in which the space between the

columns is four diameters in width.

=Arbalest.= (See CROSS-BOW.)

=Arca=, R. (_arceo_, to enclose, preserve). (1) A kind of box or strong

chest used by the ancients as a receptacle for money, clothes, or any

valuable effects. (2) A strong box or money chest; (3) a rough chest

used for a coffin; (4) a cage for criminals, made of oak; (5) a wooden

caisson, answering the purpose of a modern coffer-dam.

=Arcade.= A series of arches.

=Arcadi.= A Literary Academy established at Rome in 1690. The members

adopted pastoral names. Their device was a Pandæan pipe, surrounded by a

wreath of olive and pine.

=Arcatures=, Arch. A series of blind arcades represented on a wall, in

relief or painting. Carved arcatures are those forming a kind of screen;

they are detached from the wall, and have an inner and outer face.

=Arcera=, R. A cart boarded all over so as to resemble a huge chest

(_arca_). The inmate reclined on cushions and pillows covered with

drapery; and the exterior was covered with hangings, the richness of

which varied with the rank and fortune of the owner.

=Arch= (_arcus_, a bow). A structure the form of which is based on the

segment of a circle. The kinds of arches are named according to the

curve which they make. _Round-headed arches_; semicircular, segmental or

stilted, introduced by the Romans. _Triangular arches_, of very early

date. _Horse-shoe arches_; the Moorish, the common horse-shoe and the

pointed (which is also a Moorish form). Then the _trefoil arch_ of the

Early English style: with its variations, including the square-headed

trefoil of the 13th century. The _lancet_ or acute-pointed; the

_equilateral_; the _pointed trefoil_; the _ogee_, of the 14th and 15th

century; the _Tudor_ arch, of the reigns of Henry VII. and VIII.; and

the decorative forms, not used in construction; the _flamboyant_, the

_cinquefoil_ and the _multifoil_ are all described under the headings

printed above in _Italics_.

=Archaic= (art). The first period of Art is distinguished by stiffness

and conventionality of treatment, directed much more to the symbolic

representation of an idea than to beauty or true imitation. It is

properly called also the _hieratic_ type, from its intimate relation to

religious symbolism. See SELINUNTIAN; ÆGINETAN MARBLES.

=Archangels.= The seven angels of the Christian hierarchy who stand in

the presence of God. _St. Michael_, sometimes in complete armour, bears

a sword and scales, as the Angel of Judgment, also a rod with a cross;

_St. Raphael_ bears a fish, and a pilgrim’s staff and gourd; _St.

Gabriel_ bears a lily; _Uriel_ carries a parchment roll and a book, as

the interpreter of prophecies; _Chamuel_ bears a cup and a staff;

_Zophiel_ a flaming sword; and _Zadchiel_ the sacrificial knife which he

took from Abraham. The Archangels are generally represented with the

nimbus, and clothed as princes and warriors; their ensign is a banner

and cross, and they are armed with a sword and a dart in one hand.

=Arched= or =Archy=, Her. Bent or bowed.

=Arched-buttress= or =Flying Buttress=, Arch. An incomplete arch

supporting the spandrels of a roof. It springs from a BUTTRESS (q.v.).

=Archeria=, Med. Lat. A vertical loophole from which arrows could be

discharged.

=Archibault.= (See ARCHIVOLT.)

=Architrave=, Gr. and R. (ἀρχὸς, chief; and Ital. _trave_, a beam). That

part of a structure which rests immediately on the capital of a column

or pilaster. Architraves are surmounted by a frieze and a cornice.

=Archivium=, Gr. and R. A building in which archives (charters and

records) of a city or state were deposited. It was also called ARCHEION

or TABULARIUM (q.v.).

=Archivolt= or =Archibault=, (_arcus_, and _volutus_, rolled round). The

whole of the mouldings decorating an arch or arcade, and following the

contour of the same.

=Archlute=, old Eng. A kind of _theorbo_, or double-necked lute. 16th

century.

=Archy.= (See ARCHED.)

=Arcosolium=, Chr. (_arcus_, and _solium_, a coffin). An arched or

vaulted sepulchral chamber in the catacombs, sanctified by the interment

of martyrs and holy persons; and in later generations often richly

decorated, as with marble incrustations, paintings, and mosaics. The

_arcosolia_ in which Christians of small means were buried are

constructed in the walls of the passages in the catacombs. The wealthier

Christians, however, had _arcosolia_ specially excavated for their

family and friends; the following inscription is frequently found on

them: _Nobis et nostris et amicis_.

=Arcuatio=, R. A structure formed by means of arches or arcades, and

employed to support a construction of any kind, such as a bridge,

aqueducts, &c.

=Arcubalista=, R. (βάλλω, to throw). A machine for hurling arrows,

somewhat similar to a cross-bow.

=Arcubus.= (See ARQUEBUS.)

=Arcula=, R. Diminutive of ARCA (q.v.). (1) A small chest. (2) A

colour-box used by encaustic painters. (3) A small sepulchre, or stone

coffin.

=Arculum=, R. A garland which the _Dialis_ (Priest of Jupiter) wore on

his head while sacrificing; it consisted of one or two pomegranate

boughs bent into a circle and fastened with fillets of white or red

wool.

=Arcuma=, R. A small carriage constructed to hold only one person. (See

PLAUSTRUM, CHIRAMAXIUM, VEHICULUM.)

=Arcus=, R. (1) A bow for discharging arrows. There were many kinds in

use among the ancients. Those of the Greeks and Romans presented on the

whole much analogy with each other, while the Scythian bow differed

entirely from both. (2) An arch of masonry; the _arcus triumphalis_ was

a triumphal arch. The Romans never used any other form of arch than the

semicircle.

=Ardenti.= Literary Academies of this name existed at Pisa, at Naples,

and at Viterbo.

=Area=, R. (1) Any broad, open and level space, and so a square or

parade. _Areæ_ were adorned with fountains and statues set up in honour

of some divinity, who frequently gave his name to the spot. Thus at Rome

there were the _area Apollinis_, _area Mercurii_, &c. (2) A

threshing-floor in a field.

=Arena=, R. (1) Sand; a material employed in building. (2) The level

space forming the area of an amphitheatre.

=Arenaria=, R. A Roman game of ball for two persons; it derived its name

from the fact that the ball was made to rebound from the ground

(_arena_).

=Areste.= A cloth of gold, elaborately figured, used for vestments. 13th

century. It is not to be confounded with _arras_.

[Illustration: Fig. 37. Arezzo vase.]

=Arezzo Vase.= Many fine examples of old Etruscan pottery have been

found in or near the town of Arezzo in Tuscany. They are of red lustred

ware ornamented in relief, and show evident traces of Greek origin.

(Fig. 37.)

=Argei=, R. (1) Certain sites at Rome, having a small temple attached to

them. (2) Images or lay-figures made of bulrushes, which were cast into

the Tiber, on the Ides of May, from the Sublician bridge. This custom is

still kept up in the south of France, where, in certain towns, on

Ash-Wednesday, they drown an image called _Caramentran_ who represents

the god of the carnival.

=Argent=, Her. The metal silver, represented in engravings by a plain

white.

[Illustration: Fig. 38. Point d’Argentan.]

=Argentan, Point d’.= Lace made much in the same way as Point d’Alençon,

but having the flowers bolder and larger in pattern and in higher

relief; the foundation, called the bride-ground, is also coarser. It

takes its name from the little town of Argentan in Normandy, where it

was made. (Fig. 38.)

[Illustration: Fig. 39. Argentella lace.]

=Argentella.= A name given to a lace made in Genoa, but worked much like

Point d’Alençon.

=Argive.= A school of sculpture, contemporary with the ATTIC SCHOOL of

Pheidias; of which Polycletus was the head. He was the author of the

_Canon_, or law of proportion in sculpture, exemplified in his

_Doryphorus_ (spear-bearer); he worked principally in bronze, and was

famous for his chryselephantine statues. A specimen of the Argive school

of sculpture is the _Discobolus_ of Myron (a contemporary of Polycletus)

in the British Museum. It is an ancient copy in marble from the original

bronze statue. Closeness to Nature is a distinguishing characteristic of

the Argive School.

[Illustration: Fig. 40. Battering-ram.]

=Aries= or =Ram=. A battering-ram. It consisted of a stout beam,

furnished at one end with an iron head, shaped like that of a ram, and

was used to batter the walls of a city till a breach was effected. The

battering-ram was at first worked by men, who simply carried it in their

arms, but in course of time it was suspended from a wooden tower (Fig.

40), or a vertical beam, and worked with the aid of ropes. When the

battering-ram was enclosed in a kind of wooden shed bearing some

resemblance to the shell of a tortoise, it was called by the name of

that animal (_testudo_) (Fig. 41).

[Illustration: Fig. 41. Battering-ram in _testudo_.]

=Ark=, Chr. A symbol of the church.

=Armanahuasi=, Peruv. The baths of the ancient Peruvians. They were

remarkable for the elegance and luxury displayed in their ornamentation.

They were furnished with magnificent fountains, some of which threw

their jets upwards (_huraea_), others in a horizontal direction

(_paccha_).

=Armarium=, R. A cabinet, cupboard, or bookcase. Originally a place for

keeping arms. Some were ornamented with plates of brass set in links of

gold; others were made of gold inlaid with precious stones of various

shapes. (See also ALMERY.)

=Armatura=, R. (1) In a general sense, armour of every kind. Thus

_armatura levis_ denoted the light infantry; and soldiers armed only

with a _hasta_, and the dart, _gæsa_ (of Gallic invention) were called

_leves milites_. (2) The art of fencing. (3) The pieces of iron or

bronze which connect stones or the parts of a structure. (4) The iron

framework in a window or casement.

=Armed=, Her. Having natural weapons of offence, &c. A lion is _armed_

of his claws and teeth, a bull of his horns, &c.

=Armenian Green.= (See CHRYSOCOLLA.)

=Armet=, Old Eng. A kind of helmet of the 16th century, worn with or

without the _beaver_.

=Armilausa=, Lat. A classical garment adopted in England and elsewhere,

worn by knights over their armour. Strutt describes it as “a round

curtal weed, which they called a cloak, and in Latin _armilausa_, as

only covering the shoulders.”

[Illustration: Fig. 42. Armilla. Celtic Bracelet.]

[Illustration: Fig. 43. Armilla. Gaulish Bracelet.]

=Armilla.= In general, any circlet of gold or silver which forms a

bracelet for men or women, whether worn on the wrist, arm, or ankle.

Bracelets worn by men often consisted of three or four massive bands of

bronze, silver, or gold, and thus covered a considerable portion of the

arm. Bracelets were worn by the Assyrians, the Babylonians, the Medes,

the Persians, the Celts (Fig. 42), and the Gauls (Fig. 43). The

Egyptians in some instances employed ivory and porcelain in their

manufacture.

=Armillum=, R. A kind of _urceolus_, or small pitcher for holding a

particular kind of wine. It was among the number of the sacrificial

vessels, and was well known from the Latin proverb: _Anus ad armillum_

(an old woman returns to her bottle).

=Armilustrium.= A Roman festival for the purification of arms.

=Arming Points.= The “points” or ties of armour.

=Armins.= Cloth or velvet coverings for pikehandles.

=Armory=, Her. (1) Heraldry. (2) A list of names and titles with the

arms belonging to them.

[Illustration: Fig. 44. Primitive Roman Armour.]

=Armour=, =Arms=. In almost every deposit where _prehistoric_ remains

are buried, we find clubs, hatchets, arrows, hammers, or other arms,

mostly, even in the _stone age_, carefully ornamented. The ancient

_Egyptians_ were armed with “the bow, spear, two species of javelin,

sling, a short and straight sword, dagger, knife, falchion, axe or

hatchet, battle-axe, pole-axe, mace or club, &c. Their defensive arms

consisted of a helmet of plate, or quilted head-piece, a cuirass, or

coat of armour made of metal plates, or quilted with metal bands, and an

ample shield” (_Wilkinson_). Among the Greeks, the heavy-armed warrior

wore the greaves, cuirass, with the mitra underneath, and the zone or

cingulum above; his sword, ensis or gladius, hung on his left side, and

the large round shield, sacus, aspis, clipeus or scutum, hung from his

shoulder; his helmet, corys, cunea, cassis or galea; his spear, enkus,

doru or hasta, or two spears. The defensive armour, the shield and

thorax, were called hopla, and the man hoplites. The light-armed,

psiloi, anoploi, gymnai, gymnetai, had a slighter covering of skins, or

cloth, and fought with darts, stones, bows and arrows or slings. There

were also the peltastæ, so called from their small shield pelte. All the

above-mentioned parts of classical armour, and their modifications in

that of mediæval times are described under their respective headings; as

well as much of mediæval armour.

=Arnis=, Gr. and R. An expiatory festival held in honour of Linus and

his mother Psamathê, the daughter of Crotopus, king of Argos. Various

legends are extant regarding the origin of this festival, which was

called _Arnis_ from the sheep (ἀρνειὸς) that were sacrificed.

=Arotoi-Hieroi=, Gr. Literally: _sacred labours_, a term used to denote

three agricultural festivals which took place in Attica; the first was

held in commemoration of the first sowing; the second, on occasion of

reaping the earliest crop of barley in a field near Eleusis; the third,

by way of invoking the blessings of Ceres on the field of corn specially

set apart for the worship of Athena.

=Arquebus.= A hand-gun, larger than a musket. The man using it was

called an _arquebusier_.

=Arra= or =Arrha=, R. A deposit, or earnest-money to a contract.

=Arras.= Tapestry. Textile hangings for walls; first made at Arras in

the 14th century. It was originally called Opus Saracenicum.

=Arrhæ Sponsalitiæ=, called also ARRABO, was the name of the betrothal

money paid to the parents of a bride; a practice of the Hebrews,

continued by Christians.

=Arrhephoria=, Gr. (Ἀρρηφόρια). A festival held at Athens in the month

of June or _Scirophorium_. The maidens who took part in it were called

ἑροηφόροι or ἑροηφόροι. Four little girls and a priestess carried some

sacred vessels to a grotto.

=Arricciate=, Ital. One of the coats of mortar laid on to a wall to

receive fresco-painting.

=Arrondie=, Her. Curved, round.

=Arrows=, in Christian art, are the emblems of pestilence, death, and

destruction.

=Arsenicon=, Greek for _orpiment_ (q.v.).

=Artemisia=, Gr. A general term to denote all the festivals of _Diana

Artemis_. The most celebrated were those held at Ephesus, Delphi, and

Syracuse.

=Articulation.= The anatomical study of the juncture of the bones.

=Artolaganus=, R. (ἀρτο-λάγανον, i. e. bread-cake). A kind of dough-cake

made with wine, milk, oil, and pepper. Cicero, in one of his letters,

asserts that it was delicious.

=Artophorium= (bread-bearer), Chr. Another name for the ciborium or

costly box prepared to contain the consecrated Host.

=Artopta=, Gr. and R. (from ἀρτάω, to bake). A mould in which bread and

pastry were baked.

=Artopticius=, R. (sc. _parús_). A roll or loaf of bread baked in an

_artopta_, many examples of which may be seen in the small museum at

Pompeii; owing to their having become hardened, these loaves have

retained their shape perfectly when taken from the oven after eighteen

centuries.

[Illustration: Fig. 45. Arundel device.]

=Arundel Device.= A chapeau _or_, and _gules_, surmounted by a fret

_or_, and an acorn leaved _vert_. This is only one of the numerous

badges of the house of Arundel, which is peculiarly rich in armorial

bearings.

=Arundel Marbles.= A collection of ancient sculptures found in Greece

and Asia Minor in the early part of the 17th century and brought to

England at the expense of Thomas Howard, Earl of Arundel. In 1667 his

grandson presented them to the University of Oxford.

=Arundo=, R. A term with various significations. (1) A reed or cane. (2)

An arrow or bow made of cane. (3) A fishing-rod. (4) A cane rod tipped

with bird-lime for catching birds. (5) A reed pen for writing. (6) A

Pan’s pipe in which the reeds were joined together by wax; whence its

name _arundo cerata_. (See CALAMUS.)

=Arx=, R. (_arceo_, to enclose). A citadel or fortress. _Arx_ is almost

equivalent to ACROPOLIS (q.v.), since citadels were usually built on

elevated sites, thus forming an upper city (ἀκρόπολις).

[Illustration: Fig. 46. Greek Aryballos.]

=Aryballos.= A Greek flask or vase used for oil or wine. It was commonly

of a bladder shape with a thin neck. The example engraved (Fig. 46) is

painted in the Asiatic style. On some of these vases the ornament is

engraved.

=Arystichos=, Gr. and R. (from ἀρύω, to draw water). A vessel for

drawing water, especially from the AMPHORA (q.v.). It was also called

_ephebos_ (ἔφηβος), because, at banquets, it was the duty of youths to

mix the wine with water before handing it to the guests. This term has

as synonyms _aruter_, _arusane_, _arustis_ and _oinerusis_.

=Arzica.= (1) An artificial pigment of a yellow colour, used for

miniature painting. (2) A yellow lake made from the herb “reseda

luteola.” (3) A yellow earth for painting, of which the moulds for

casting brass are formed; it yields an ochreous pigment of a pale yellow

colour, which, when burned, changes to an orange colour.

=Arzicon.= A contraction of _Arsenicon_, for _orpiment_ (q.v.).

=As=, R. The unit of value in the bronze currency of the Romans.

Originally the _as_ weighed one pound, whence its name _as liberalis_;

and as it was composed of a mixture of copper and tin (_æs_), it was

also called _æs grave_. At a later period the _as_ had much declined in

value; under Augustus it was only worth somewhat less than a penny.

=Asaminthos=, Gr. (ἀσάμινθος). A large vase of the Homeric epoch, large

enough to admit of a person bathing in it. It is supposed that this was

the _tub_ of Diogenes.

=Asbestus.= (See AMIANTUS.)

=Ascendant=, Her. Issuing upwards, as a flower.

=Ascia=, Gr. and R. A term applied to instruments of various shapes and

employed for different purposes, but all bearing a general resemblance

to a carpenter’s adze. The expression _sub ascia dedicavit_, which is

frequently found engraved on tombs together with the representation of

an _ascia_, has given rise to numerous interpretations. It is supposed

that this expression signified: This tomb [never before used] has been

dedicated to the memory of the person in whose honour it was erected; or

possibly the formula implied that the plot upon which the memorial stood

had been granted in perpetuity. After all the discussion to which the

formula has given rise, these are the two hypotheses most generally

accepted. (See ACISCULUS.)

=Ascopera=, Gr. and R. (ἀσκὸς, leathern bag or wine-skin; πήρα, a

pouch). A large bag made of undressed leather, carried as knapsack by

foot-travellers, and thus distinguished from the HIPPOPERA (q.v.).

=Ascolia=, =Ascolias=, Gr. and R. (from ἀσκὸς, a wine-skin). An Athenian

game which consisted in leaping upon a wine-skin, filled with wine and

greased over with oil, during the festivals in honour of Dionysus.

=Ashlar=, =Achelor=, &c.; also ASTLER or ESTLAR, O. E. Hewn stone for

the facings of walls. “Clene hewen Ashler.”

=Asilla=, R. A yoke, like a milkman’s, or the Malay _picol_, for

carrying burdens; is a common object in Egyptian and all other ancient

representations of domestic appliances.

=Asinarii.= A term of reproach inherited by the early Christians from

the Jews, who were accused of worshipping an ass.

=Askos=, Gr. and R. (ἀσκός). A vessel, originally shaped like a leather

bottle (_uter_) for holding water or wine. It was furnished with a

handle at the top, and had sometimes two mouths, one of which served to

fill, the other to empty it. Later on, the _askos_ assumed the form of

an earthenware pitcher.

=Asor=, Heb. A musical instrument of ten strings played with the

plectrum.

=Asp.= In Egyptian art the emblem of royalty; in Christian art, under

the feet of saints, of conquered malice.

=Aspectant=, Her. Looking at one another.

=Asperges=, =Aspergillum=, Chr. The rod for sprinkling holy water.

=Aspersed=, Her. Scattered over,—the same as Semée.

=Aspersorium=, Chr. The stoup, or holy water basin.

=Asphaltum.= A brown carbonaceous pigment used in painting. It is found

in various parts of the world, more particularly in Egypt, China,

Naples, and Trinidad. The best is the Egyptian. (See BITUMEN, MUMMY.)

=Aspic.= (See OIL OF SPIKE.)

=Ass=, Chr. An emblem of patience and sobriety; but also of idleness and

obstinacy; sometimes of the Jewish nation.

=Ass, Festival of the.= A grotesque Christian festival of the Middle

Ages, connected with the prominence of the ass in religious history.

=Asser=, R. (1) A beam, pole, or joist. (2) The rafters of a wooden

roof. (3) _Asser falcatus_ was a kind of ram which was launched, with

the aid of machinery, by the garrison of a fortified town, against the

enemy’s siege works.

=Assett=, O. E. A salver.

=Assommoir=, Fr. A sort of gallery built over a door or passage of a

fortified place, from which stones, lead, and other heavy objects could

be hurled down to _overwhelm_ (_assommer_) the besiegers. Hence the

name.

=Asterisk=, Chr. Sometimes called STELLULA. A kind of crossed framework

made of gold or silver, consisting of two arched bands which are

sometimes surmounted, at the point of intersection, by a cross. The

asterisk is placed upon the patera for the purpose of keeping up the

cloth which covers the consecrated wafers of the host.

=Astler.= (See ASHLAR.)

=Astragal= (ἀστράγαλος, knuckle-bone). A small semicircular moulding, so

called from its resemblance to a row of knuckle-bones placed side by

side. As it is decorated with beads, or berries of laurel or olive,

separated by discs, it is now commonly known as a _chaplet_. Astragals

are placed at the top of a column, beneath the capital, and divide the

architrave into two or three parts. They are also used to decorate any

kind of base. (See TORUS.)

=Astragalus=, R. The ancient game of knuckle-bones; a common subject in

classical sculpture, called also TALI.

=Astreated=, Arch. Star-shaped ornaments, used in Norman mouldings.

=Asylum=, Gr. and R. (ἄ-συλον, safe from violence). A place of refuge,

to which was attached the privilege of inviolability called _asulia_.

This privilege belonged to certain temples, woods, or other sacred

enclosures. There were a considerable number of such retreats in Greece

and the Greek colonies.

=At Gaze=, Her. Said of animals of the chase “standing still and looking

about them.”

=Atach-gah=, Pers. The fire-altar of the ancient Persians; mentioned in

the writings of Pausanias and Strabo.

=Atellanæ= (sc. _fabulæ_), R. A farce, so called from its having

originated in _Atella_, a city of the Osci, in Campania. Hence the name

of Oscan games (_ludi Osci_). _Atellanæ_ were played by youths of good

family, on the conclusion of a tragedy. They were introduced into Rome

in the fourth century B.C. These farces were distinguished by their

refinement, and freedom from low buffoonery.

=Athenæum.= A university for literary and scientific studies at Rome, on

the Capitoline Hill.

=Athyr=, Egyp. One of the months of the ancient Egyptians. It was the

third of the four months called the months of inundation.

[Illustration: Fig. 47. One of the Atlantes of the Theatre of Bacchus at

Athens.]

=Atlantes=, Gr. and R. (from τλῆναι). Human figures so called, in

allusion to the story of the Titan Atlas, which were employed instead of

columns to support entablatures (Fig. 47). The Latin equivalent for the

term is TELAMONES. Similar _female_ figures were CARYATIDES.

[Illustration: Fig. 48. Atlas, a device used by Philip II. of Spain.]

=Atlas.= One of the several devices adopted by Philip II. of Spain was a

figure of Hercules bearing on his shoulders and kneeling beneath, the

weight of the world; a feat recorded to have been performed by him in

order to give relief to Atlas from his customary burden. The motto “Ut

quiescat Atlas,” is written on a ribbon.

=Atramentale=, =Atramentarium=, Gr. and R. (_atramentum_, q.v.). An

inkstand, of any shape or material whatsoever. Inkstands were made of

terra-cotta, bronze, and silver. There is a Pompeian painting in which a

_double_ inkstand is represented, one side of which contains black ink,

the other an ink of some different colour. There were also portable

inkstands called _theca_. (See THECA.)

=Atramentum=, Gr. and R. (_ater_, black). A general term to denote any

kind of black liquid; such were _atramentum scriptorum_, _atramentum

librarium_, or simply _atramentum_—all terms for writing ink;

_atramentum sutorum_, the black used by shoemakers for dyeing their

leather, another name for which was _chalcamentum_ (q.v.); and

_atramentum tectorium_, a kind of ink used for writing inscriptions with

a brush. In ancient times, all descriptions of ink were made with soot

and gum, forming a kind of Indian ink which was diluted with water.

Vitruvius (Book VII.) thus describes the process by which _atramentum_

was obtained: “Soot is first procured by burning rosin in a vaulted

chamber, and the black (_atramentum_) thus obtained is then mixed with

gum.”

=Atriolum=, R. (dimin. of _Atrium_). (1) A small atrium. It might be

either a smaller atrium adjoining the principal one in a house, or the

atrium of a dwelling of inferior size. (2) A small antechamber forming

the entrance of a tomb.

[Illustration: Fig. 49. Atrium, with Ionic columns.]

=Atrium=, R. and Mod. A term perhaps derived from _Atria_, a city of

Tuscany in which structures of this description were first built. It

consisted of a kind of covered court (_cavædium_), round which were

grouped the different apartments of the house. In the centre of the roof

was an aperture with sloping sides called the _compluvium_, and in the

court beneath, a basin which collected the rain-water from the roof.

This was called the _impluvium_. There were besides, the _atrium

displuviatum_ and the _atrium testudinatum_. The atrium was

unquestionably the most essential and the most interesting part of a

Roman mansion; it was here that numbers assembled daily to pay their

respects to their patron, to consult the legislator, to attract the

notice of the statesman, or to derive importance in the eyes of the

public from an apparent intimacy with a man in power.—_Moule._

[Illustration: Fig. 50. Atrium, with Doric columns.]

During the Middle Ages the term _atrium_ was used to denote the open

plot of ground surrounding a church, which served for a cemetery, and

the close or courtyard of certain churches.

=Attegia=, R. A hut or cabin made of reeds, and covered with thatch.

=Attic-order=, Arch. An arrangement of low pilasters, surmounting a

building.

[Illustration: Fig. 51. Atticurge doorway at Agrigentum.]

=Atticurge=, Arch. (Ἀττικουργὴς, wrought in Attic fashion). A doorway,

the uprights of which, instead of being perpendicular, inclined slightly

inwards, so that the opening was wider at the threshold than immediately

under the lintel. Fig. 51 represents the doorway of an ancient monument

at Agrigentum, in Sicily.

=Attires=, =Attired=, Her. The antlers of a stag or “hart” having

antlers.

=Attributes.= Conventional symbols of the character, or the agency, or

the history, of subjects of art representation.

=Auditorium=, R. (a place for hearing). A lecture-room, assembly-room,

court of justice, or generally any place in which orators, poets. &c.,

were heard. The BASILICÆ contained halls so named, in which courts of

justice were held.

=Augmentation=, Her. An honourable addition to a coat of arms.

=Augurale=, R. (_augur_, a soothsayer). In a Roman camp the _augurale_

was a place situated to the right of the general’s tent or PRÆTORIUM

(q.v.). It was so called because the augurs there took their station to

observe the flight of birds. In Greece, the _oracles_ were consulted;

but in Rome questions were addressed to Jupiter, who answered simply

“_Do_” or “_Do not_,” by his messengers the birds. They gave no

prophecies.

=Augustine’s Oak=, at Aust on the Severn; the scene of the conference

between St. Augustine and the British bishops, A. D. 602.

=Aula=, Gr. and R. (αὐλή). (1) An open court attached to a house. It was

usually in front, and on either side of it were the stables and offices.

When it belonged to a farm it was round this courtyard that the

stabling, sheepfolds, and other outhouses were arranged. (2) _Aula

regia_ was the central part of the scene in a Greek or Roman theatre.

=Aulæa= or =Aulæum=, R. (_aula_, a hall). (1) Hangings or tapestry used

to decorate the dining-room or _triclinium_, or generally, any piece of

tapestry used as a curtain, whether to cover a doorway, act as a screen,

or hide the stage in a theatre. (2) The covering of a sofa or

dining-couch, also called, from the way in which it hung all round it,

_peristroma_ (περίστρωμα). Aulæa is almost synonymous with VELUM (q.v.).

[Illustration: Fig. 52. Aulmonière.]

=Aulmonière.= The Norman name for the pouch, bag, or purse appended to

the girdle of noble persons, and derived from the same root as “alms”

and “almoner.” It was more or less ornamented and hung from long laces

of silk or gold; it was sometimes called Alner. (Fig. 52.) (See

ALLOUYÈRE.)

I will give thee an _alner_

Made of silk and gold clear.

(_Lay of Sir Launfal._)

=Aulos=, Gr. The Greeks gave this name to all wind instruments of the

_flute_, or _oboe_, kind; it was not blown at the side like a flute, but

by a vibrating reed in the mouthpiece, like a clarionet. The single

flute was called _monaulos_, and the double one _diaulos_.

=Aumbrie=, =Aumery=, =Almery=, O. E. A cupboard or closet.

=Aumery of Here=, O. E. A cupboard with hair-cloth sides for

ventilation. A meat-safe.

=Aureola=, Chr. (_aurum_, gold). A quadrangular, circular, or elliptic

halo surrounding the bodies of Christ, the Virgin, or certain saints.

Another name for this ornament is the _mystical almond_ or VESICA PISCIS

(q.v.). When it envelopes the head only it is called the NIMBUS.

=Aureole.= (See AUREOLA.)

=Aureus=, R. (sc. nummus, golden). The unit of value for gold currency

under the Roman emperors, worth about a guinea.

=Auripetrum.= A cheap imitation of gold leaf; made of tinfoil coloured

with saffron.

=Auspicium=, R. (_aves aspicio_). Divination from observation of the

flight of birds. (_Auspicium ex avibus_, _signa ex avibus_.) There was

also the _auspicium cœleste_ or _signa ex cœlo_, of which the most

important was a flash of lightning from a clear sky. Besides these there

were the _auspicia pullaria_, or auspices taken from the sacred

chickens; the _auspicia pedestria_, _caduca_, &c. (See AUGURALE.)

=Authepsa=, Gr. and R. (αὐθέψης). Literally a _self-boiler_; it was a

sort of kettle or cauldron, which was exposed to the rays of the sun, to

heat the water within it; whether, however, the ancients had attained

the art of raising water to boiling heat, in this manner, it is

impossible to say. The apparatus is mentioned by Cicero and Lampridius,

but neither of them gives any description of it.

=Avellane.= A variety of the heraldic cross. (See CROSSES.)

=Avena=, R. (oats). A Pandæan pipe, made of the stalk of the wild oat.

=Aventail=, Fr. (_avant taille_). The movable front of a helmet.

=Aventurine.= A kind of brown glass, mixed with bright copper filings,

formerly made at Venice.

=Averta=, R. A trunk, bag, or portmanteau, carried on the crupper by

travellers who rode on horseback.

=Aviarium=, R. (_avis_, a bird). (1) A poultry-yard. (2) An aviary in

which birds—and more particularly those of rare breeds—were kept.

=Axis=, R. (1) The axle-tree of a carriage. (2) _Axis versatilis_ was a

cylinder worked by a crank, and used for drawing water from a well by

means of a cord which rolled round it as it revolved. (3) The upright

pivot upon which a door turned. It worked in two sockets, placed

respectively in the upper and lower lintels.

=Azarcon.= The Spanish name for red lead.

=Azure.= A blue colour known from the very earliest times. Azure stone

was the name given to the lapis lazuli. The name is given also to

COBALT. In heraldry it is the name for the blues in the arms of persons

whose rank is below that of a baron; it is represented in heraldic

engraving by regular horizontal lines.

=Azyme=, Chr. Unleavened bread.