[Illustration: Fig. 274. Eagle—Ensign of France.]
=Eagle=, Her. The eagle (called in heraldry _Alerion_) appears in the
earliest English examples of arms, and his appearance often denotes an
alliance with German princes. Both the German emperors and Russian czars
adopted the eagle for their heraldic ensign in support of their claim to
be considered the successors of the Roman Cæsars. The eagle borne as the
ensign of Imperial France sits, grasping a thunderbolt, in an attitude
of vigilance, having its wings elevated, but the tips of the feathers
drooping, as they would be in a living bird. In remote antiquity the
eagle was an emblem of the sun, and the double-headed eagle typifies the
rising and the setting sun. The eagle was the attribute of Jove as his
messenger. The eagle killing a serpent or a hare is an ancient symbol of
victory. In Christian art the eagle is the attribute of St. John the
Evangelist, the symbol of the highest inspiration. St. John is sometimes
represented with human body and eagle head. The lectern in Christian
churches is commonly in the form of an eagle. Elisha the prophet is
represented with a two-headed eagle. (See AQUILÆ.)
[Illustration: Fig. 275. Earl’s coronet.]
=Earl=, Her. (from the Gaelic _iarflath_, “a dependent chief” = _iar_,
“after,” and _flath_, “lord”; pronounced _iarrl_). Before 1337 the
highest, and now the third degree of rank and dignity in the British
peerage. An earl’s coronet has eight lofty rays of gold rising from the
circlet, each of which supports a large pearl, while between each pair
of these rays there is a golden strawberry-leaf. In representation five
of the rays and pearls are shown. Elevated clusters of pearls appear in
an earl’s coronet as early as 1445; but the present form of the coronet
may be assigned to the second half of the following century.
=Earl Marshal.= In England, one of the great officers of state, who
regulates ceremonies and takes cognizance of all matters relating to
honour, arms, and pedigree.
=Early English Architecture.= The first of the pointed or Gothic styles
of architecture used in England. It succeeded the NORMAN towards the end
of the 12th century, and gradually merged into the DECORATED at the end
of the 13th. Its leading peculiarity is the long narrow lancet window.
=Earn=, Scotch. An eagle.
[Illustration: Fig. 276. Greek or Etruscan ear-rings in gold.]
=Ear-rings= (Lat. _inaures_, Gr. ἐνώτια) were a common ornament for
ladies in Greece and Rome, and among the early Saxons: they were worn by
men during the reigns of Elizabeth and James I.
=Earth Tables=, Arch. The projecting course of stones in a wall,
immediately above the surface of the ground, now called the plinth.
(_Parker._)
=Earthenware.= (See POTTERY.)
=Easel= (from the German _esel_, an ass). A frame with movable rest for
resting pictures on.
=Easel-picture.= A small portable picture.
=Easter=, Chr. (A.S. _eastre_). From the goddess “Eostur,” whose
festival fell in April. The Latin name “Paschal” refers to the Jewish
feast of the Passover. The Paschal season originally extended over
fifteen days, from Palm Sunday to Low Sunday. (See _Smith and Cheetham’s
Dict. of Christian Ant._)
=Eaves= (A.S. _efese_, the edge). The overhanging “edge” of the roof of
a house.
=Ebénistes=, Fr. Workers in fine cabinet-making.
=Ebony.= A heavy, hard, black wood, obtained from the Diospyrus ebenus.
Ebony and other exotic woods came into general use in Europe from the
end of the 17th century—subsequently to 1695, when the Dutch settled in
Ceylon. The black ebony is the most valuable, but there are green and
yellow varieties. Old carved ebony furniture found in English houses
dates generally from the early years of the Dutch occupation of Ceylon.
=Eburnean.= Made of ivory.
=Ecbasios= (ἐκβαίνω, to disembark). A sacrifice offered to Apollo after
a favourable voyage.
=Ecclesia=, Gr. General assembly of the citizens of Athens. (See _Smith
and Cheetham’s Dict. of Christian Ant._)
=Echea=, Gr. and R. (ἦχος, sound or noise). Earthenware or bronze
vessels used to strengthen the sound in theatres. (See ACOUSTIC
VESSELS.)
=Echinate.= Armed with spines or bristles like a hedgehog.
[Illustration: Fig. 277. Echinus or egg and tongue on the ovolo of a
Greek cornice.]
=Echinus=, Arch. (Gr. ἐχῖνος, a hedgehog). The _egg and dart_ or _egg
and tongue_ ornament frequently carved on the round moulding, much used
in classic architecture, called the _ovolo_. (Fig. 277.)
=Echometry= (μέτρον, a measure). The art of measuring the duration of
sounds.
=Ecorchée=, Fr. (lit. flayed). Said of an anatomical model specially
prepared for the study of the muscular system.
=Ecphonesis=, Chr. That part of a devotional office which is said
_audibly_, in contrast with that said _secreté_.
=Ectypus=, R. A hollow mould which produces an impression in relief
which is called _ectypum_.
[Illustration: Fig. 278. Ecuelle, Venetian porcelain.]
=Ecuelle=, Fr. A porringer. Fig. 278 is a specimen in the best style of
Venetian porcelain.
=Edward-Shovelboards=, O. E. Broad shillings of Edward VI., formerly
used in playing the game of shovelboard. (_Halliwell._)
=Effeir of War=, Scotch. Warlike guise.
=Effigies=, R. An image or effigy. The word is usually applied to the
heads upon coins or medals.
=Egg and Dart=, or =Egg and Tongue, Ornament=, Arch. (Fr. _aards et
oves_). A carving commonly inserted on the ovolo moulding. (See
ECHINUS.)
=Egg-feast= or =Egg-Saturday=, O. E. The Saturday before Shrove Tuesday.
=Egg-shell Porcelain.= A very thin white porcelain of the “Rose family,”
to which the Chinese have given the name of “porcelain without embryo.”
=Eggs=, as a Christian emblem, are supposed to represent “the immature
hope of the resurrection.” (_Martigny._)
=Egret= (Fr. _aigrette_). A small white heron, marked by a _crest_ on
his head.
=Egyptian Architecture= and =Sculpture= can be studied in the monuments
remaining from remotest antiquity to about A. D. 300. Great varieties of
style occur, which can be easily attributed to their respective periods
by the hieroglyphical inscriptions. The three primitive motives of all
Egyptian buildings are the _pyramid_, _caves_, and _structures of
timber_; all contemporary with the most ancient relics. In sculpture,
the most ancient works of all are also those most remarkable for
fidelity to nature. The conventionality introduced afterwards with the
_canon of proportions_ is still combined with a close imitation of
Nature in the details. The Grecian or Ptolemaic period begins B.C. 322.
[See _Wilkinson’s Ancient Egyptians_, _Canina’s Egyptian Architecture_;
and the works of _Brugsch_, _Marriette_, _Soldi_, _Ebers_, &c.]
=Egyptian Blue=, the brilliant blue pigment found on the monuments, is
found by analysis to consist of the hydrated protoxide of copper, mixed
with a minute quantity of iron. The green colour was derived from
another oxide of copper; violet from manganese or gold; yellow from
silver, or perhaps iron; and red from the protoxide of copper.
[Illustration: Fig. 280. Lenticular Phials. Louvre Museum.]
[Illustration: Fig. 279. Oviform bottle. Egyptian.]
=Egyptian Pottery= of great beauty is found in great quantities along
with the costly ornaments in the tombs. It is intermediary between
porcelain and stone-ware, and its colouring demonstrates a high degree
of skill, science, and precision of execution. Among the forms
frequently found are the oviform, long-necked bottles (Fig. 279),
lenticular phials, with royal cartouches (Fig. 280), lamps (Fig. 281),
&c. (See also Fig. 219.)
[Illustration: Fig. 281. Lamp in blue enamelled earthenware. Egyptian.]
=Eikon=, Gr., or =Icon=, Lat. An image; hence iconoclasts or
image-breakers.
=Eileton=, Chr. (from εἴλω, to wind or fold). The cloth on which the
elements are consecrated in the Eucharist. “The _eileton_ represents the
linen cloth in which the body of Christ was wrapped when it was taken
down from the cross and laid in the tomb.” (_Germanus_).
=Eisodos=, Chr. A ceremony of the Greek Church, of two parts. (1) The
bearing into the church in procession of the book of the Gospels is
called the _Lesser Entrance_. (2) A similar bearing in of the elements
of the Eucharist is called the _Greater Entrance_.
=Elæolite= (lit. oil-stone). A mineral having a fatty resinous lustre.
=Elæothesium=, Gr. and R. A room in a suite of baths where oils,
perfumes, and essences were kept, and the bathers were anointed and
rubbed.
=Elaphebolia=, Gr. Athenian festivals held in the month called
_Elaphebolion_, or the ninth month of the year, when a stag (ἔλαφος) was
sacrificed to Diana.
=Elbow-gauntlet.= A long gauntlet of plate armour, adopted from the
Asiatics in the 16th century.
=Elbow-pieces= (Fr. _coudières_). Plate armour to cover the joint at the
elbow.
=Elbows=, Mod. (Fr. _accoudoirs_). The divisions between the stalls in a
church, also called by the French “museaux,” from the fact of their ends
being ornamented with an animal’s head.
=Electoral Bonnet=, Her. A cap of crimson velvet guarded with ermine,
borne over the inescutcheon of the arms of Hanover from 1801 to 1816.
=Electrotint.= A method of preparing engraved copper plates for the
printing-press by the electrotype process. (See _Art Journal_, 1850.)
=Electrotype.= The process whereby works in relief are produced by the
agency of electricity, through which certain metals, such as gold,
silver, and copper, are precipitated from their solutions upon moulds in
so fine a state of division as to form a coherent mass of pure metal,
equal in toughness and flexibility to the hammered metals. (_Fairholt._)
At the present day electrotypes are generally taken from engravings on
wood for printing from.
=Electrum= (ἤλεκτρον). In Homer and Hesiod this word means _amber_.
Pliny says that when gold contains a fifth part of silver, it is called
electrum. Its colour was whiter and more luminous than that of gold, and
the metal was supposed to betray the presence of poison. Specimens are
rare. A beautiful vase of electrum is preserved in the St. Petersburg
Museum. Some coins in electrum were struck by the kings of Bosporus, and
by Syracuse and some Greek states.
=Elements=, Chr. The bread and the wine in the Lord’s Supper. In the
Eastern liturgies the unconsecrated elements are called “the MYSTERIES,”
and the bread alone the SEAL (σφραγὶς), from its being divided by lines
in the form of a cross. The interesting subject of the composition and
form of the elements in the early churches is fully discussed in the
“Dictionary of Christian Antiquities” (Smith and Cheetham).
=Elemine.= A crystallized resin used to give consistency to the varnish
which forms part of the composition of lacquer.
=Elenchus=, R. (ἔλεγχος). (1) A pear-shaped pearl highly esteemed by the
Roman ladies, who wore such pearls mounted as drops or pendants to
brooches and rings. (See the illustration to CROTALIUM.) (2) An index to
a book.
=Elephant.= In mediæval heraldry this animal is a symbol of piety, from
an ancient legend, mentioned by Ælian, Pliny, and others, that it has in
religious reverence, with a kind of devotion, not only the stars and
planets, but also the sun and moon.
=Elephant Paper.= Drawing-paper manufactured in sheets, measuring 28
inches by 23. _Double Elephant Paper_ measures 40 inches by 26¾.
=Eleusinian Mysteries.= The holiest and most venerated of the Greek
festivals. The Lesser Eleusinia, held at Agræ in the month Anthesterion,
were a preparation for the Greater, which were celebrated at Athens and
Eleusis. The _Mystæ_ were the initiated at the Lesser, of which the
principal rite was the sacrifice of a sow, previously purified by
washing in the Cantharus. The Greater were celebrated every year in the
month Boedromion, and lasted nine days. On the first day the Mystæ
assembled at Athens; on the second they went through a ceremony of
purification at the sea-coast; the third was a day of fasting; on the
fourth there was a procession of a waggon drawn by oxen, followed by
women who had small mystic cases in their hands; on the fifth, or torch
day, the Mystæ went in the evening with torches to the temple of
Demeter, where they passed the night; on the sixth, which was the most
solemn of all, a statue of Iacchos, the son of Demeter, was borne in
procession to Eleusis, and the Mystæ were there initiated in the last
mysteries during the following night. There was something in the secrets
of this part of the ceremony which excited greatly the imagination of
the ancient writers, especially Christians, who describe them “in an
awful and horrible manner.” Each of the initiated was dismissed by the
_mystagogus_ with the words κόγξ, ὄμπαξ. On the next day they returned
to Athens, and resting on the bridge of Cephisus engaged in a contest of
ridicule with the passers-by: the eighth and ninth days were
unimportant.
=Eleutheria.= A Greek festival in honour of Zeus Eleutherios (the
Deliverer).
=Elevati= of Ferrara. One of the Italian literary academies. Their
device was from the fable of Hercules and Antæus, with the motto from
Horace, “_Superat tellus, sidera donat_” (Earth conquers us, but gives
us Heaven).
=Elevation.= (1) In Architecture, &c., a perpendicular plan drawn to a
scale. (2) In Christian archæology, the _lifting up_ of the elements at
certain points in the Eucharistic service, universally prescribed in the
early Oriental liturgies, and introduced into the Western Church with
the doctrine of transubstantiation.
[Illustration: Fig. 282. Bas-relief from the frieze of the Parthenon.
One of the Elgin Marbles.]
=Elgin Marbles.= Friezes and metopes from the Parthenon at Athens,
brought to the British Museum by Lord Elgin. They are adorned with
sculptures in relief; those on the frieze represent the Panathenaic
procession in honour of Athena; those on the metopes, chiefly the
contests of the Centaurs and Lapithæ. There are also statues and
friezes, especially from the temple of the Wingless Victory and the
CHORAGIC MONUMENT of Lysicrates. They are admirably described by Mr.
Newton in his “Guide” to these sculptures published by the authorities
of the British Museum. (Fig. 282.)
[Illustration: Fig. 283. Great Seal of Queen Elizabeth.]
=Elizabeth, Queen.= The costume and the royal appurtenances of this
monarch are well illustrated by the Royal Seal. In the Royal Arms we see
the lions and the lilies (_France modern and England quarterly_). On the
reverse (Fig. 284) the Tudor Rose, fleur-de-lis, and harp appear
separately crowned for England, France, and Ireland. Elizabeth was fond
of allegory and devices. In her portrait by Zoffany “the lining of her
robe is worked with eyes and ears, and on her left sleeve is embroidered
a serpent—all to imply wisdom and vigilance.” In her other hand is a
rainbow with the motto, “_Non sine sole iris_” (no rainbow without the
sun).
[Illustration: Fig. 284. Great Seal of Queen Elizabeth.]
=Elizabethan.= The style of architecture and decoration gradually
developed during the reign of the Tudors in England. Its characteristics
are a mixed revival of classical forms with quaint and grotesque relics
of the Gothic. Typical examples are Crewe Hall, Speke, in Lancashire,
Haddon Hall, Kenilworth Castle, Raglan Castle, &c.
=Ellipsis=, =Ellipse=. A figure formed by cutting a cone obliquely
across its length; hence—
=Ellipsograph.= An instrument for describing a semi-ellipse.
=Ellotia= or =Hellotia=. A Corinthian festival with a torch-race, in
honour of Athena as a goddess of fire.
=Ellychnium=, R. (λύχνος, a light). The wick of an oil lamp; it was made
of flax fibres or papyrus.
=Emarginated.= Having the _margin_ broken by a notch or notches.
=Embalming= was frequently practised by the early Christians, especially
with the bodies of martyrs. The practice was derived from the Jews. As a
pagan ceremony embalming was intended to facilitate _cremation_.
=Embalon=, Gr. and R. A beak, corresponding to the modern _ram_, under
the bows of a war galley, for the purpose of sinking the enemy.
=Embas=, Gr. A shoe of white felt, used esp. by the Bœotians.
=Ember Days=, Chr. (in Anglo-Saxon, _ymbren dagas_, “recurrent days;” in
Latin, _jejunia quatuor temporum_; in French, _les quatre temps_, &c.).
Special fasts appointed to be observed at the commencement of each of
the _four seasons_ of the year. In the Eastern Church there is no trace
of such an observance. (The word has no connexion with _embers_ in the
sense of ashes.)
=Emblazon=, Her. (See BLAZON.)
[Illustration: Fig. 285. Emblemata.]
=Emblemata=, Gr. (ἐμβάλλω, to put in). INLAID-WORK, or (1) Mosaic made
of coloured cubes of glass or vitreous enamel. (See SECTILE,
TESSELLATUM, VERMICULATUM.) Fig. 285 represents _emblemata_ of different
kinds of glass. (2) _Crusts_ exquisitely wrought on the surface of
vessels or other pieces of furniture; as, for instance, alabaster on
marble, gold on silver, silver on bronze. The Romans generally used the
term _crustæ_ for this kind of work. From EMBLEMATA is derived our word
EMBLEM, the true meaning of which is “a symbolical figure or composition
which conceals an allegory.” Thus an _ape_ symbolized malice and lust; a
_pelican_ piety, and the Redeemer’s love for the world. &c. The most
important books of Emblems are by Alciati, Paradin, and Sambuco.
=Embolismus=, =Embolis=, or =Embolum=, Chr. (1) An inserted or
intercalated prayer in a liturgy. (2) The number of days required to
make up the lunar year to the solar. (See EPACT.)
=Embolium=, Gr. and R. (lit. something thrown in). An interlude or comic
piece recited by an actress (_emboliaria_) between the acts of a drama.
=Embolos=, Arch., Chr. A covered portico or cloister surrounding the
external walls of a church.
=Embolum=, Gr. The Greek term answering to the Latin ROSTRUM (q.v.).
(See also EMBOLISMUS.)
=Embolus=, R. (ἔμβολος). The piston in the chamber of a pump.
=Embossing=, =Embossment=. A prominence like a boss; raised ornamental
work.
=Embowed=, Her. Bent. An arm embowed has the elbow to the dexter.
=Embrasure=, Arch. (1) The interval between the COPS of a battlement.
(2) An expansion of doorways, windows, &c., given by slanting the sides.
(See SPLAY.)
[Illustration: Fig. 286. Indian Embroidery. In the Indian section of the
South Kensington Museum.]
=Embroidery= is one of the oldest of the ornamental arts. Some specimens
of ancient _Egyptian_ embroidery are exhibited in the Louvre, and
Herodotus mentions the embroidered vestments of the gods in Egypt. The
_Israelites_ appointed Aholiab, “a cunning workman, and an embroiderer
in blue, and purple, and scarlet, and fine linen,” to be _chief
embroiderer_ to the sacred ark. The prophet Ezekiel mentions the
embroidery of _Tyre_. It was the principal domestic occupation of ladies
in _Greece_, from the days when Penelope embroidered a garment for
Ulysses, representing a dog chasing a deer. The _Romans_ called
embroidery “Phrygium,” and imported it largely from the East. In later
times _Byzantium_ was celebrated for its embroidered ecclesiastical
vestments. Pope Paschal, in the 9th century, was the greatest patron of
the art. When the Caliph Omar pillaged the _Persian_ palace of Khosroes,
he found there a carpet of silk and cloth of gold, sixty cubits square,
having a garden depicted upon it, and rubies, emeralds, sapphires,
beryls, topazes, and pearls arranged with consummate skill to represent
trees, fruit and flowers, rivulets, fountains, roses and shrubs. Our
English word “embroidery” is derived from the Celtic “brouda,” to prick.
Anglo-Saxon embroidery was celebrated throughout Europe as _Opus
Anglicanum_. The celebrated Bayeux tapestry is attributed to the 12th
century. A copy of it may be seen in the South Kensington Museum. The
art decayed in England during the Civil War of the 17th century.
=Embrued=, Her. Stained with blood.
=Embu.= A French term for the _loss of tone_ in an oil sketch, caused by
the absorption of the oil whilst it is drying. It is easily corrected by
a glaze.
=Emerald.= A precious stone of various shades of green, much used by the
ancients for gem-engraving. The less brilliant varieties are known as
beryls. For its significance in Christian art, see GREEN.
=Emerald Green.= A vivid bright green pigment, prepared from the
arseniate of copper, and used both in oil and water-colours; called also
_Paul Veronese Green_.
=Emissarium=, R. (_emitto_, to send forth). A channel, natural or
artificial, for letting off stagnant water. Some of these channels are
the most wonderful monuments of Roman ingenuity. The lakes of Trasimene,
Albano, Nemi, and Fucino were all drained by EMISSARIA. The last is open
to inspection, and is described as “a stupendous work of engineering,
planned by Julius Cæsar, and completed by the Emperor Claudius.”
=Empaistic=, Gr. _Damascening_ (q.v.) or _in crusta_ work practised by
the ancients, as opposed to TOREUTIC ART (q.v.).
=Emperor Paper.= The largest kind of drawing-paper manufactured in
sheets measuring 66 inches by 47.
=Emphotion=, Chr. (from ἐμφωτίζω, to enlighten). A name given in the
early Church to the white robe with which persons were invested in
baptism; as it were, “a robe of light.”
=Emplecton=, Gr. and R. (lit. inwoven). A method of building,
originating in Greece and adopted by the Romans, in which a space left
in the interior of the wall was filled in with rubble, the whole block
of masonry being bound together at intervals by ties (_diatonoi_). In
the engraving, _c_ and _b_ are the _square stones_, the parts between
them being the ties or diatonoi, and _o_ the rubble. (See Fig. 249.)
=Emporium=, Gr. and R. (ἔμπορος, a passenger in a ship). A place at a
sea-port where imported merchandise was warehoused and exposed for sale.
The remains of the ancient _emporium_ of Rome have been discovered on
the banks of the Tiber. The name is sometimes applied to a town, but
applies properly only to a certain place in a town.
=Enafota= or =Enafodia=, Chr. (Gr. ἐννεάφωτα). A corona or chandelier of
“nine lights.”
=Enaluron=, Her. (See ENTOIRE.)
[Illustration: Fig. 287. Pendant of gold, enamelled and enriched with
jewels.]
=Enamel= (Fr. _esmail_; Ital. _smalto_). A glassy substance of many
brilliant colours, melted and united to gold, silver, copper, bronze,
and other metals in the furnace. Enamel is coloured _white_ by oxide of
tin, _blue_ by oxide of cobalt, _red_ by gold, and _green_ by copper.
Different kinds of enamel are (1) inlaid or incrusted. (2) Transparent,
showing designs on the metal under it. (3) Painted as a complete
picture. “Many fine specimens of ancient Chinese enamel were seen in the
Exhibition of 1851. They have the enamel on copper, beautifully coloured
and enlivened with figures of flowers, birds, and other animals. The
colouring is most chaste and effective. The Chinese say that no good
specimens of this manufacture have been made for the last six or eight
hundred years.” (_Fortune._) Beautiful transparent enamels are made in
India. They look like slices of emerald or sapphire laid in beds of
gold, having tiny figures of beaten gold let into their surfaces. (See
also CLOISONNÉ, CHAMP-LEVÉ, BASSE-TAILLE, &c.) The beautiful example of
enamel-work, Fig. 287, is attributed to Benvenuto Cellini. (See Fig.
188.)
=Enamel.= Painting in enamel is done by means of colours that are
vitrifiable, a quality that is communicated to them by combining them
with a vitreous base, which is called their flux. These are fused and
fixed on the enamel by the action of fire, which produces in the colours
applied such changes as the artist has previously learned to calculate.
(_Bouvier._)
=Enamelled Glass.= (See GLASS.)
=Enamelled Wares.= (See GLAZED WARE.)
=Encænia=, Chr. A dedication festival.
[Illustration: Fig. 288. Encarpa (Festoons) on the Temple of Vesta at
Tivoli.]
=Encarpa=, Gr. An architectural decoration formed of festoons or
garlands of flowers and fruits (καρποὶ), whence its name. Fig. 288 shows
an example from the temple of Vesta at Tivoli.
=Encaustic=, R. (lit. burning in). The art of painting in encaustic.
Pliny says, “The colours were applied with wax on marble, and
transparent gum on ivory. Coloured wax was applied to the wall in the
form of a paste, and in the manner of mosaic or enamels. This was then
melted or fused with hot irons (_cauteria_), a small fillet of a
different tint being inserted between each flat tint.” Fairholt says,
“There is no antique painting extant which is properly called ENCAUSTIC;
all those supposed to be so have, on closer examination, proved to be in
FRESCO or in TEMPERA.”
=Encaustic Tiles.= Ornamental tiles for floorings, extensively used in
the Middle Ages.
=Encheirion=, Chr. The napkin with which the priest wipes his hands;
worn at the girdle.
=Encoignure=, Fr. A table made with an angle to fit into a corner.
=Encolpia=, Chr. (lit. worn on the breast, or from the Gr. ἐγκολπίζω, to
contain in the womb). (1) Small caskets containing relics or a copy of
the Gospels, worn by the early Christians suspended from the neck. (See
EPOMADION.) Their use is of the highest antiquity, and specimens have
been found in the tombs of the ancient cemetery of the Vatican,
belonging to the 4th century. These were square in form, having on one
side the sacred monogram ΙΧΡ for ΙΗΣΟΥΣ ΧΡΙΣΤΟΣ between the letters Α
and Ω. (2) The pectoral crosses worn by bishops are also called
_encolpia_. Reliquaries in the form of a cross are first mentioned by
Gregory the Great. He sent one of them to Queen Theodelinda.
(_Martigny._)
=Encomboma=, Gr. (i. e. girt on). A Greek apron, tied round the waist,
worn chiefly by young maidens and by slaves to keep the tunic clean.
=Encyclical Letters.= (1) Chr. Letters “sent round” to all who should
read them, and not addressed to any particular person (from the members
of a council, &c.). (2) Gen. The same words, γράμματα ἐγκύκλια, apply to
the subjects which the Greeks included in the “circle of the sciences,”
or encyclopædia.
=Encysted.= Enclosed in a cyst.
=Endecagon= (ἕνδεκα, eleven; γωνία, an angle). A plane figure having
eleven sides and eleven angles.
=Endorse=, Her. A diminutive of the PALE (q.v.), one-fourth of its
width.
=Endothys.= (See ENDYTIS.)
=Endromis=, Gr. and R. (δρόμος, a course or running). In Greek this name
is given to hunting boots of Cretan origin, such as Diana is represented
wearing by the Greek sculptors. Among the Romans the _endromis_ was an
ample blanket of coarse wool, introduced from Gaul, in which athletes
wrapped themselves when they were heated with the exercises. _Endromis
Tyria_ was the name given to a large woollen wrap much finer than the
ordinary _endromis_, and which was worn by the Roman ladies after their
gymnastic exercises.
=Endytis=, Chr. (ἐνδύω, to put on). This term, in the Middle Ages,
denoted an altar-covering; other terms for it were _endothis_ and
_endothys_.
=Energumens=, Chr. Men possessed with devils.
=Enfeu=, Fr. A sepulchral vault usually placed under the choir of a
church; it assumed the form of a large niche. Originally bishops were
interred by “droit d’enfeu” in tombs of this kind. The term is derived
from the Latin _infodere_ (to dig).
=Enfiled=, Her. Pierced with the sword.
=Engageants=, Fr. “Double ruffles that fall over the wrists.” (_Ladies’
Dictionary_, 1694.)
=Engineer’s Cartridge.= Drawing-paper manufactured in sheets measuring
30 by 22 inches. _Double Engineer’s Cartridge_ measures 46 inches by 30.
=Engobe=, Fr. A “slip” or thin coating of white clay used to coat
pottery before the invention of the tin glaze.
=Engrailed=, Her. A border line indented in semicircles.
=Engraving.= Copper-plate engraving is called CHALCOGRAPHY (q.v.) (Gr.
χαλκὸς, copper); wood-engraving, XYLOGRAPHY (q.v.) (Gr. ξύλον, wood);
and engraving on stone, LITHOGRAPHY (q.v.) (Gr. λίθος, a stone). [Each
process is described under its own heading. See also ETCHING.]
=Enhanced=, Her. Raised towards the CHIEF, or upper part of the shield.
=Enneapylæ=, Pel. (ἐννέα and πύλαι). Literally, nine gates; a fortified
enclosure constructed by the Bœotian Pelasgians round the Acropolis of
Athens, some years after the Trojan war. Xerxes destroyed the
_enneapylæ_ after the capture of Athens. A few fragments of it remain to
this day, not far from the temple of the Wingless Victory.
=Enotia=, Gr. (Lat. _inaures_). EAR-RINGS (q.v.).
=Enseniator=, Med. Lat. (from the Italian _insegna_, an ensign). A
mounted ensign-bearer.
=Ensiculus=, R. A small sword, or child’s sword, used as a plaything. It
is the diminutive of ENSIS.
=Ensigned=, Her. Adorned; having some ensign of honour placed above, as
a coronet above a shield.
[Illustration: Figs. 289, 290. Gallic Ensigns.]
=Ensigns=, Gen. (Lat. _signa militaria_; Gr. σημεῖα). Military symbols
beneath which soldiers are ranged according to the different regiments
to which they belong. The most ancient Roman ensign was a bundle of
straw, hay, or fern. Then came the eagle, the wolf, the minotaur, the
horse, and the boar. Afterwards the eagle alone was displayed (B. C.
104); it was made of silver or bronze, with expanded wings. The serpent
or dragon was used as a particular ensign by the several _cohorts_, and
the centuries had also each its ensign; but these were cloth flags.
Under Constantine the LABARUM (q.v.) was introduced. (See CUSPIS, Figs.
228 to 230.)
[Illustration: Fig. 291. Gallic Ensign.]
=Ensiludium=, Med. Lat. A contest in sport with swords. (See CEMBEL,
HASTILUDIUM.)
=Ensis, Sword.= A synonym of GLADIUS (q.v.).
=Ensis a Estoc=, Med. A stabbing-sword, usually carried at the
saddle-bow.
[Illustration: Fig. 292. Entablature with leaf ornament.]
=Entablature.= A member of architecture placed as a crown to another.
The entablature is composed of _architrave_, the part immediately above
the column; _frieze_, the central space; and _cornice_, the upper
projecting mouldings. (See Fig. 184.)
[Illustration: Fig. 293. Entablature with honeysuckle ornament.]
=Entalma=, Chr. The document by which a bishop confers the right of
hearing confessions.
[Illustration: Fig. 294. Egyptian Column, showing entasis.]
=Entasis=, Gr. and R. (ἔντασις, a stretching tight). The _swelling_ of a
balustre or of the shaft of a column. The narrowing of the shaft is
called CONTRACTURA (q.v.).
=Enterclose=, Arch. A passage between two rooms in a house.
=Enthronisation=, Chr. (Lat. _incathedrare_). (1) The ceremony of
placing a newly-ordained bishop upon his throne. (2) That of placing the
relics in the altar of a church on consecration. (3) The installation of
a presbyter in his church is sometimes called _enthronisation_.
=Entire=, Her. Said of a charge when it extends to the border lines of a
shield, coat, or banner; also of a shield, coat, or banner of arms, when
borne without any difference or mark of cadency.
=Entoire=, =Entoyre=, Her. A bordure charged with a series of inanimate
figures or devices, as crosslets, roundles, &c. To a similar bordure of
living figures the term ENALURON is applied.
=Entrance=, Chr. (See EISODOS and INTROIT.)
=Entrecoupe=, Fr. When two vaults are superimposed, and both spring from
the same walls, “entrecoupe” is the term applied to the arched
interval—if any—between them.
=Enveloped=, =Environed=, Her. Surrounded.
=Eolian (Æolian) Harp.= A musical stringed instrument arranged to be
played upon by the wind (from Eolus [or properly Æolus], the ruler of
the winds).
=Eolodicon.= A musical instrument similar to a harmonium, invented in
the last century by Eschenbach.
=Eolophone.= A musical instrument similar to a harmonium.
=Eōra=, Gr. (ἐώρα). A festival held at Athens in honour of Icarius and
his daughter Erigonê. It was known also by the names of _Æora_ (αἰώρα)
and _Aletis_ (Ἀλῆτις). The last appellation originated in a hymn which
was sung at the festival, and which had been composed by Theodorus of
Colophon. It was sometimes called “Eudeipnos,” from the rich banquets
usually given during its celebration.
=Epact= (Gr. ἐπακταὶ, sc. ἡμέραι; in Med. Lat. _adjectiones Lunæ_). The
number of days required at the end of a lunar year to complete the solar
year. (See EMBOLISMUS.)
=Epagomenæ= (sc. days), Gen. (ἐπαγόμεναι ἡμέραι, i. e. intercalated
days). The name given to the five supplementary days of the year among
those nations who divided the year into twelve months of thirty days
each.
=Epaullière= or =Epaullets=, Er. Shoulder-plates; also the
shoulder-knots formerly worn by gentlemen, but now restricted to
domestic servants. (See AIGLET.)
=Ependytes=, Chr. (ἐπενδύτης, i. e. worn above). The “fisher’s coat” of
St. Peter. A coarse cloak worn by the monks of the Middle Ages over
another garment; it is also called, in the ancient MSS., _superaria_,
_superindum_, and _sagus rusticus_. It is frequently described,
especially in the East, as made of skins (μηλωτὴς, pelliceus).
=Epergne= (Fr. _épargne_, economy). An ornamental stand, with dish and
branches, for the centre of a table.
=Epernay Ware.= At Epernay were specially made glazed wares in relief
for the service of the table, in shapes such as a hare, a fowl, &c., in
half relief; also surprise or puzzle jugs.
=Epha= or =Ephah=, Heb. A measure of capacity, about 3 pecks and 3
pints.
=Ephebeum=, Gr. (ἐφηβεῖον). The large hall of a gymnasium, situated in
the centre of the building, in which the youths (_ephebi_) practised
gymnastic exercises.
=Ephippium=, Gr. (ἐφίππιον, i. e. for putting on a horse). A saddle.
Among the Greeks and Romans it was a kind of pad, square or round in
shape, and regularly stuffed. Saddle-cloths hung from it, but it had no
stirrups. The word _sella_, or _sella equestris_, became common in later
times.
=Ephod=, Hebrew. A short upper garment worn by the Jewish priests. The
ephod, which was also worn by the Jewish judges and kings, was made of
fine linen; that of the high priest consisted of a sleeved tunic, woven
with gold thread, purple, hyacinth, and twisted flax. Two sardonyx
stones set in gold adorned the clasps by which this tunic was fastened
round the shoulders.
=Epi= or =Girouette=, Fr. The complicated iron ornament with which
steeples and pointed roofs were surmounted in the architecture of the
Renaissance period, replaced in modern times by the weathercock. A
similar spiked ornament, of pottery or metal, is still common on the
gables of houses in Normandy.
=Epic.= In Art, the graphic representation of an “epos,” or event,
cardinal in history.
=Epichysis=, Gr. and R. (ἐπίχυσις, i. e. that which pours in). A Greek
pitcher with a long neck and a handle; it was used for pouring wine into
cups.
=Epicopus=, Gr. and R. (ἐπίκωπος, i. e. furnished with oars). A vessel
with oars. (See NAVIS.)
=Epicrocum=, Gr. and R. A woman’s garment, of a saffron yellow (crocus),
whence its name.
=Epicycloid.= “A curve described by the movement of the circumference of
one circle on the convex or concave part of the circumference of
another.” (_Stormonth._)
=Epideipnis=, Gr. (i. e. following the dinner). The last course of a
dinner or any kind of banquet.
=Epidemia=, Gr. (lit. among the people). Festivals held at Argos in
honour of Juno, and at Delos and Miletus in honour of Apollo. They
received their name from the fact that these deities were supposed to be
present at them, and to mingle with the people (ἐπὶ, among; δῆμος,
people).
=Epidote.= A mineral of a green or greyish colour: of the garnet family.
=Epidromos=, Gr. (1) The mizen, or sail on the mast nearest to the
stern, in vessels with several masts. (2) A part of the oil-press. (3) A
running rope passing through the rings of a large net for catching
birds, by means of which the huntsman, who was on the watch, closed the
net when the game had found their way into it.
=Epigonation=, Gr., Chr. An ornament peculiar to the Eastern Church; a
lozenge-shaped piece of some stiff material, hanging from the girdle on
the right side as low as the _knee_ (whence its name).
=Epigrus.= (See EPIURUS.)
=Epiphany=, Chr. This festival is known by various names in the
different European languages; and the names are either (1) mere
reproductions of the Latin name, or renderings of it; or (2) refer to
the manifestation to the Magi as the three Kings, as the Dutch
Drie-Koningendag, &c.; or (3) indicate it as the final day of the
Christmas festivity, _Twelfth Day_, &c. (See _Smith and Cheetham’s
Dictionary of Christian Antiquities_.)
=Epiphi=, Egyp. The third month of summer, called the season of
harvests.
=Epirhedium=, R. (ἐπὶ Gr., and _rheda_ Gallic). A kind of chariot. The
word was formed by the Romans as above, and is explained as _Ornamentum
rhedarum, aut plaustrum_. (See RHEDA, PLAUSTRUM.)
=Episcenium=, Gr. and R. (ἐπι-σκήνιον, i. e. above the stage). A room
situated above the stage, in ancient theatres, for the machinery.
=Episcopalia=, Chr. The ring and the pastoral staff, the distinctive
marks of the authority of a bishop.
=Episotron= (ἐπί-σωτρον). (See CANTHUS.)
=Epistle Side= (of a church). The south side.
=Epistomium=, R. (στόμα, a mouth). The cock of a vessel or water-pipe,
which let out only a little water at a time.
=Epistylium=, Gr. and R. (ἐπι-στύλιον). An epistyle; literally, on the
column (ἐπὶ, on, and στῦλος, a column); that is, the architrave or lower
beam of an entablature laid horizontally upon columns. By analogy the
term is used to denote the entire ENTABLATURE (q.v.).
=Epitaph= (ἐπιτάφιος). (1) A eulogy pronounced at a funeral. (2)
Memorials of art in churches, in remembrance of the dead. (3)
Inscriptions on tombs.
=Epithalamium=, Gr. A nuptial song. A fragment of verses from one of
these songs, written by Hesiod, has come down to us.
=Epithedes= or =Sima=, Arch. The upper member of the cornice of an
entablature.
=Epitoga=, R. A cloak worn over the toga.
=Epitoxis=, Gr. and R. That part of the catapult in which the missile
was laid.
=Epitrachelion=, Chr. (i. e. on the neck). The Greek name for the stole.
(See STOLE.)
=Epiurus=, R. (ἐπίουρος). A wooden peg used as a nail.
=Epoch.= A fixed and important period of novelty or change, which gave a
new and distinctive character to Art. (_Fairholt._)
=Epomadion=, Gr., Chr. The cord or ribbon by which relics, or crosses
(ENCOLPIA), were suspended from the neck.
=Eques=, R. Generally, any one on horseback, a rider, and by analogy a
knight, that is, a patrician or man of distinguished family. _Eques
alarius_ was the name given to the cavalry of the allies; _eques
cataphractus_ was a knight whose horse, as well as himself, was clad in
complete armour; _eques extraordinarius_ were the picked cavalry in the
service of the consuls; _eques legionarius_, _eques prætorianus_, the
prætorian cavalry; _eques sagittarius_, the mounted archers.
=Equipped=, Her. Fully armed, caparisoned, or provided.
=Equiria=, R. (_equus_). Games instituted by Romulus, and celebrated at
Rome in the Field of Mars on the third of the calends of March (27th
February). These games, held in honour of Mars, consisted of chariot
races. There were two festivals of this name; the second was on the eve
of the ides of March (14th March).
=Equuleus= or =Eculeus=, R. (lit. a colt, a young horse). This was an
instrument of torture on which slaves were placed astride. The law
prescribed that all slaves called as witnesses should be examined under
torture.
=Equus=, R. A horse; properly a stallion, as opposed to _cauterius_, a
gelding, and _equa_, a mare.
=Eradicated=, Her. Torn up by the roots.
=Erased=, Her. Torn off with a ragged edge.
=Eremites=, Gr., Chr. Hermits.
=Ergastulum=, R. (ἐργάζομαι, to work). A private prison attached to a
farm or _villa rustica_, in which insubordinate and ill-conducted slaves
were kept in chains; they were under the superintendence of a gaoler,
who was himself a slave, and who was called ERGASTULARIUS. _Ergastula_
were built underground, and thus formed subterranean dungeons.
=Ergata=, Gr. and R. (ἐργάτης, i. e. worker). A strong capstan used for
moving heavy weights; among other things, for hauling vessels on shore.
=Ericius=, R. (lit. hedgehog). A military engine, a cheval-de-frise or
long beam studded with iron spikes, whence its name. It was placed
across a door or other opening to which it was desired to bar ingress.
[Illustration: Fig. 295. The Ermine. Arms of Anne of Brittany.]
=Ermine=, =Ermines=, =Erminois=, Her. The animal, the ermine, sometimes
appears in blazon, and an ermine spot is borne as a charge. Generally
the ermine is an emblem of royalty, purity, and honour. The illustration
(Fig. 295) is of the arms of Anne of Bretagne, the Queen of Charles
VIII.
=Erotidia=, Gr. (ἐρωτίδια). Festivals held every fifth year at Thespiæ
in Bœotia, in honour of Eros, the principal divinity of the Thespians.
=Erpa=, Egyp. A title in use among the Egyptians implying authority
generally; the crown prince was so designated, and the high priest was,
in the same manner, called _erpa_ of the priests.
[Illustration: Fig. 296. Escallop.]
=Escallop= or =Scallop Shells= were emblems worn by pilgrims, and of St.
James the Great, from the 13th century.
=Escape=, Arch, (or Apopyge). The small curvature given to the top and
bottom of the shaft of a column where it expands to meet the edge of the
fillet above the torus of the base, and beneath the astragal under the
capital.
[Illustration: Fig. 297. Escaufaille, or portable brazier.]
=Escaufaille=, Fr. A small portable brazier on wheels, which was taken
from room to room as required.
=Eschelles=, Fr. “A stomacher laced or ribboned in the form of a
ladder.” (_Ladies’ Dict._, 1694.)
=Escoinson=, Med. Fr. The interior edge of the window-side or jamb. This
was often decorated with a pilaster called the “pilastre des écoinsons.”
=Escroll=, Her. A ribbon charged with a motto; also a ribbon, coiled at
its extremities, borne as a charge.
[Illustration: Fig. 298. Escutcheon of the Sforzas.]
=Escutcheon.= (1) The heraldic shield. (2) Metal plates on doors.
Escutcheons are abundantly used in Gothic architecture, and are
frequently carved on the bosses of ceilings and at the ends of weather
mouldings, &c. Sometimes. instead of armorial bearings, escutcheons have
the instruments of the Crucifixion or other devices carved on them.
=Escutcheon of Pretence=, Her. A shield charged upon the field of
another shield of larger size, and bearing a distinct coat of arms.
=Espadon.= A long Spanish sword. It was the weapon used for decapitation
of criminals.
=Espietus=, =Expiotus=, Med. Lat. A dart (1361).
=Espringale=, =Springale=, =Espringold=. A machine for throwing darts.
=Esquire=, Her. A rank next below that of knight.
=Esseda=, =Essedum=, R. (from the Celtic _ess_, a carriage). A chariot
of Gaulish origin, drawn by two horses, which was used by the Britons
and the Germans in war. It was mounted on two wheels, and was open in
front, but closed behind. The pole was broad, and the rider used to run
to and fro upon it in the battle. The Romans constructed carriages of a
similar kind. A similar chariot drawn by one horse was called the
_cisium_. (See CURRUS.)
=Essonite.= The cinnamon-stone, a variety of the garnet. It is of a
reddish yellow tint, resembling the colour of cinnamon. These stones
come principally from Ceylon, and are frequently sold for hyacinths or
jacinths, from which, however, they differ in many important
peculiarities. (_H. Emanuel._)
=Este.= A manufactory in Italy of soft porcelain; also of fine faience
and pipe-clay.
=Estivation=, Bot. The arrangement of the unexpanded leaves of the
flower-bud which burst in Summer; as opposed to VERNATION, the
arrangement of the leaves of the bud which burst in Spring.
=Estoc=, Fr. (Med. Lat. _estoquum_). A short sword worn at the girdle;
also called a “tuck” (_temp._ Elizabeth).
=Estoile=, Her. A star with wavy rays or points, which are six, eight,
or sometimes more in number.
=Estrade=, Fr., Arch. A platform raised three or four inches above the
rest of the floor of a chamber, upon which to place a bed or a throne,
&c.
=Estrif= or =Estref=, Med. A kind of arrow for the balista.
=Etching.= In this process the copper plate is covered with an
_etching-ground_, which is a preparation of bees’-wax, Burgundy pitch,
black pitch, and asphaltum (or other ingredients); and the lines of the
design are traced out with _etching-needles_, which remove the
etching-ground from the copper wherever they pass, and slightly scratch
the surface of the plate. Next, a border of _banking-wax_ is put round
the sides of the plate, making a trough of it. The _banking-wax_ is made
of bees’-wax, common pitch, Burgundy pitch, and sweet oil melted in a
crucible and poured into cold water. The next operation is to pour in
nitrous acid reduced with water to a proper strength (about one part
acid to four parts water). When the acid has been on a sufficient time
to corrode the fainter parts of the subject, it is to be poured off, the
plate washed with water, and left to dry. These fainter parts are then
to be varnished with a mixture called _stopping-ground_, made of
lamp-black and Venice turpentine, applied with a camel’s-hair pencil.
This stops the further action of the acid on these parts. When the
surface is dry, fresh acid is poured on to _bite in_ the bolder parts,
and the processes of _stopping_ and _biting-in_ are alternated for every
gradation of tint. The wax is removed from the plate by heat, and
cleaned away with a rag moistened with olive oil; and the work is then
complete, or it may be finished off with the _graver_. _Etching-points_
or _needles_ resemble common needles, fixed in handles four or five
inches long; some are made oval to produce broader lines. The _dry
point_ is only a very fine-pointed needle for the delicate lines.
Imitations of chalk and pencil drawings are sometimes produced by
_etching on soft ground_. _Etching on steel_ is done in the same way as
on copper. For _etching on glass_, a ground of bees’-wax is laid on, and
the design traced as above. Sulphuric acid is then poured on, and
fluor-spar sprinkled on it, or fluoric acid may be at once used; this is
allowed to remain four or five hours, and is then removed with oil of
turpentine. (See also STIPPLE, MEZZOTINTO, AQUATINTA.)
=Eterea= of Padua. One of the Italian literary academies. Their device,
a charioteer in his car in the air, drawn by a white and black horse,
the one endeavouring to touch the earth, the other to ascend. Motto,
“_Victor se tollit ad auras_.”
=Etiolation.= The process of blanching to which plants are subject in
dark places.
=Ettwee.= O. E. for ETUI (q.v.).
[Illustration: Fig. 299. Etui.]
=Etui=, Fr. (by contraction _Twee_, Boyer). A case formerly worn at the
girdle by ladies. They were made of gold or silver, or ornamented with
paintings in enamel. The richly-decorated example represented in Fig.
299 was the property of a granddaughter of Oliver Cromwell.
=Euripus=, R. (εὔριπος). An artificial canal or watercourse in the
gardens of a Roman villa, generally stocked with fish and aquatic or
amphibious animals. The same term was applied to a moat dug at the foot
of the _podium_ in an amphitheatre or circus, which was intended, in
conjunction with the metal railings or trellis-work placed at the top of
the _podium_, as a protection to the spectators, when wild beasts were
exhibited in the arena. _Euripus_ is also applied by Tertullian and
other authors to the _spina_ of a circus.
=Eustyle=, Arch. (εὔ-στυλος). An intercolumniation in which the columns
are separated by a width of two diameters and a quarter, measured at the
lower part of the column, excepting the central intercolumn, which is of
three diameters. It is the form of columniation which, according to
Vitruvius, satisfied the demands at once of solidity of structure,
beauty of appearance, and general harmony of effect.
=Euterpean.= Pertaining to music: from the Muse Euterpe.
=Everriculum=, R. (_everro_, to sweep out). A fishing-net.
=Ewery=, Med. An office of household service, where the ewers, &c., were
kept: our modern _scullery_.
=Exacisculatus=, R. Destroyed by means of a pick (_acisculus_). The term
is of frequent occurrence in sepulchral inscriptions, its purpose being
to serve as a notice to the thieves who broke into tombs.
=Examen=, R. (_exigo_, to examine). The tongue or index on the beam of a
balance.
=Exasciatus=, R. Hewn or fashioned with the adze (ascia); whence the
expression _opus exasciatum_ for work which only required to be finished
or polished.
=Excalceatus=, R. (lit. without shoes or boots). A comic actor or
comedian who wore sandals. The tragic actor, on the other hand, who wore
on the stage the laced boot or _cothurnus_, was called _cothurnatus_.
=Excubitorium=, R. The post or guard of the _excubitores_; of these
there was one in each quarter of the city, or fourteen in all.
[Illustration: Fig. 300. Exedra.]
=Exedra=, Gr. and R. An assembly-room or hall for discussion or
conversation, forming part of a gymnasium, palæstra, or private house.
In many cases _exedræ_ were in the open air, consisting merely of
circular marble benches. (Fig. 300.) When an exedra was covered in, one
of the sides often terminated in a circular apse (_absis_). [Larger
rooms were called “_Leschai_.”]
=Exedrium=, R. Diminutive of EXEDRA (q.v.).
=Exequiæ.= (See EXSEQUIÆ.)
=Exergue.= The bottom space on a coin, where the date is engraved.
=Exiteria=, Gr. and R. (ἐξιτήρια, concerning departure or result).
Sacrifices offered to propitiate the gods on the eve of an important
enterprise, or in gratitude for success.
=Exomis=, Gr. and R. (ἐξ-ωμὶς, i. e. off the shoulders). A short tunic,
of Greek origin, adopted by the Romans. It left the right shoulder and
arm exposed, and had only a short sleeve for the left arm. The term was
also applied to the _pallium_, when so arranged upon the person as to
resemble the tunic just described.
=Exonarthex.= (See NARTHEX.)
=Exostra=, Gr. and R. (ἐξώστρα). (1) A flying bridge thrown from a
movable tower (_acrobaticon_) on to the walls of a besieged town, by
means of which the assailants made their way into the place. (2) A
theatrical machine which was pushed to the front of the stage from
behind a curtain which concealed it until it was wanted.
=Expeditus= (opposed to _impeditus_), R. Free, unencumbered; light-armed
troops (_velites_) were thus called (_expediti_), [or any other troops,
when they left their _impedimenta_ behind for a forced march, &c.]
=Expositories.= (See MONSTRANCES.)
=Exsequiæ=, R. (_exsequor_, to follow after). A funeral conducted with
great pomp. (See =Funus=.)
=Extispicium=, R. (_exta_ and _inspicio_, to inspect). Divination by
inspection of the entrails of victims sacrificed on the altar; called
also _haruspicina_.
=Extra-dos=, Arch. The exterior curve of an arch; opposed to the SOFFIT
or INTRA-DOS.
=Extremities.= In Art, the head, feet, and hands: compare _acrolithes_.
=Ex-voto=, Gen. Offerings of any kind in fulfilment of a vow (_ex
voto_).
=Eye.= In Christian art, the emblem of Providence. Attribute of St.
Lucia, as a symbol, _not_ of her martyrdom, but of the meaning of her
_name_ (“light”). (See OUDJA, OCULUS.)