=Ich Dien.= I serve. The popular belief that Edward the Black Prince
adopted this motto and the “Prince of Wales’s feathers,” at the battle
of Cressy, from the blind King of Bohemia, is not sustained by
investigation. It was at the battle of Poitiers that he first adopted
this crest, joining to the family badge the old English word _Ic den_
(Theyn), “I serve,” in accordance with the words of the Apostle, “The
heir, while he is a child, differeth nothing from a servant.” (_Mrs.
Palliser_; _Historic Devices_.)
=Ichnography.= The art of making maps or plans.
=Iconic= (sc. _statues_), Gr. and R. (εἰκονικὰ, i. e.) Portrait-statues;
especially statues raised in honour of athletes who had been victorious
in the contests.
=Iconoclasts=, Chr. Image-breakers. The name originated in the 8th or
9th century in the Eastern Empire, from which finally Theophilus
banished all the painters and statuaries in 832. It has been since
generally applied to those who, at various outbreaks of fanaticism, have
destroyed ecclesiastical objects of art, and is especially applicable to
the disciples of Savonarola in 1497, and to the Puritans of Scotland and
England during the civil wars.
=Iconography= (i. e. image-description). The science that deals with
statues and images, bas-reliefs, busts, medals, &c. Thus we have an
Egyptian, Greek, Roman, mediæval iconography, &c. The best work on this
science is “Christian Iconography; or the History of Christian Art in
the Middle Ages,” by M. Didron. The second volume contains a manual on
the subject by a painter of the 12th century.
=Iconostasis=, Chr. The screen of the chancel in ancient churches, so
called because it was there that images (εἰκόνες) were displayed for the
adoration of the faithful.
=Ideal= and =Real.= “Any work of art which represents, not a material
object, but the mental conception of a material object, is in the
primary sense of the word _ideal_; that is to say, it represents an
_idea_, not a _thing_. Any work of art which represents or realizes a
material object is, in the primary sense of the term, _un-ideal_.”
(_Modern Painters_, vol. ii. chap. 13.) In a practical sense an _ideal_
picture or statue (e. g. the Medici Venus) is not the portrait of an
individual model, but the putting together of selected parts from
several models. Raphael said, “To paint a beautiful woman I must see
several, and I have also recourse to a certain _ideal_ in my mind;” and
Guido said, “The beautiful and pure _idea_ must be in the mind, and then
it is no matter what the model is.”
=Ides=, =Idus=, R. One of the monthly divisions in the Roman year; it
fell on the 15th in months of thirty-one days, excepting January,
August, and December; in months with only twenty-nine or thirty days,
the _ides_ fell on the 13th. The _kalends_ are the first of every month;
the _nones_ are the 7th of March, May, July, and October, and the 5th of
all the other months; and the ides always fall eight days later than the
nones; and the days are reckoned backwards: thus the 13th of January is
the ides of January, and the 14th of January the 19th day _ante diem_
(or before) the February kalends. The morrow of the ides was looked upon
as an unlucky day (_nefas_).
=Illapa=, Peruv. One of the divisions of the temple of the Sun (_Inti_)
among the ancient Peruvians, so called because it was dedicated to the
thunder (_Illapa_). (See INTI.)
=Illumination.= This art originated simply in the application of
_minium_ (or red lead) as a colour or ink, to decorate a portion of a
piece of writing, the general text of which was in black ink. The term
was retained long after the original red lead was superseded by the more
brilliant _cinnabar_, or vermilion. Ornaments of all kinds were
gradually added, and the term includes the practice of every kind of
ornamental or ornamented writing. From the 3rd century Greek and Roman
specimens exist of golden lettering upon purple or rose-coloured vellum,
and the art prevailed wherever monasteries were founded. Anglo-Saxon and
Irish MSS. of the 6th and 7th centuries exhibit a marvellous perfection,
characterized by wonderfully minute interlacements of the patterns.
Nearly all the best specimens of illumination were destroyed on the
dissolution of monasteries. (Consult “_The Art of Illuminating_,” _by W.
R. Timms_.)
=Imagines a vestir=, It. Wooden images set up in Italian churches, with
the heads and extremities finished, and the bodies covered with real
drapery.
=Imagines Majorum=, R. Portraits of ancestors, or family portraits; they
usually consisted of waxen masks, which were kept in the cases of an
_armarium_ or in an _ædicula_; or small statues which were carried
before the corpse in a funeral procession.
=Imbrex=, R. A ridge-tile of semi-cylindrical form, and thus distinct
from the _tegula_, which was a flat tile. It was called _imbrex_ from
its collecting the rain (_imber_). _Imbrex supinus_ was the name given
to a channel or gutter formed of ridge-tiles laid on their backs.
=Imbrications.= Architectural ornaments which take the form of fishes’
scales, or of segmental ridge-tiles (_imbrices_) which overlap; whence
the name given to them.
=Imbricatus=, R. Covered with flat and ridge-tiles (_tegulæ_ and
_imbrices_).
=Imbrothered=, O. E. Embroidered.
=Imbrued=, Her. Stained with blood.
=Immissarium=, R. (_immitto_, to send into). A stone basin or trough;
any receptacle built upon the ground for the purpose of containing water
supplied from the _castellum_.
[Illustration: Fig. 395. Device of Philip and Mary. Arms of Tudor and
Aragon Impaled (_Rayonnant_).]
=Impale=, Her. To conjoin two separate coats of arms on one shield (as a
husband’s and wife’s, &c.). The device of Queen Mary (Fig. 395) is the
_impalement_ of the double Tudor rose with the arms of Catherine of
Aragon.
=Impannata=, It. Oiled paper.
=Impasto=, It. The thickness of the body of pigment laid on to a
painting. Rembrandt, Salvator Rosa, and others used a thick _impasto_;
Raphael, Guido, and others, one extremely thin.
=Imperial.= Anything adapted by its excellence for royal uses, or
distinguished in size, is generally so called. (1) O. E. A sort of
precious silk, wrought partly with gold, used by royalty and for
ecclesiastical purposes, brought to England from Greece in the 12th
century. (2) The largest kind of slate for roofing. (3) Paper 27 inches
by 23. (4) Sp. The roof of a coach; hence, in English, a trunk made to
fit the top of a carriage. (5) Russian. A gold coin of 10 silver
roubles.
=Impluviata=, R. A cloak of square shape and brown in colour, worn as a
protection against rain.
=Impluvium=, R. (1) A cistern on the floor of the atrium in a Roman
house, into which the rain was conducted. (2) The aperture in the roof
of the atrium. (See DOMUS.)
=Impost=, Arch. The horizontal mouldings on a pillar, from which an arch
is projected.
=In antis=, Arch. A name given to those temples, the pronaos or entrance
porch of which was formed by two antæ or pilasters, and two columns.
(See ANTÆ.)
=Inauguratio=, R. Generally the term applies to the ceremony by which
the sanction of the gods was invoked upon any decree of man, such as the
admission of a new member into a corporation or college, or the choice
of the site of a theatre, city, or temple, &c.
=Inaures=, R. (_auris_, the ear; Gr. _enotion_). Ear-rings. Among the
Greeks and Romans they were worn only by women. (See EAR-RINGS.)
=Incensed=, =Inflamed=, Her. On fire. (See FOCULUS.)
=Incisura=, R. (_incido_, to cut). Hatchings made by means of a brush.
=Incitega=, R. A kind of tripod or stand for vessels rounded or pointed
at the bottom.
=Incle=, =Inkle=. A sort of tape used as a trimming to a dress.
=Incrustation.= The word has a general signification, “a coat of one
material applied to another.” Technically it should be applied to marble
alone; thus a thin slab of marble is _incrusted_ upon a body of slate or
stone, metals are DAMASCENED, fused pigments are ENAMEL, and woods are
VENEERED.
=Incubones=, R. Genii who were supposed to guard treasure hidden under
the earth.
=Incunabula.= (1) Swaddling clothes for infants. (2) Ancient specimens
of printing are so called.
=Incus=, R. (_incudo_, to beat on). An anvil.
[Illustration: Fig. 396. Indented.]
=Indented=, Her. One of the dividing and border lines. It resembles the
teeth of a saw.
[Illustration: Fig. 397. Printed Calico (Indian) illustrating the
treatment of flowers.]
=Indian Art.= The study of the forms and principles of Indian Art is
indispensable to an appreciation of the true principles of ornamental
design in general. The excellence of Indian manufactures is due to the
system of Guilds rigidly adhered to for ages, which has resulted in the
production of a race of hereditary craftsmen unequalled for their skill
and taste in execution and design. Their pottery is distinguished above
all others for purity and simplicity of form, obvious fitness to
purpose, and individual freedom of design. Its origin antedates the
Institutes of Manu, and is lost in antiquity. Indian gold and metal work
is supposed by Dr. Birdwood to owe its origin to Greek influence, but
has acquired in its development a purely Oriental character. The Hindoos
exhibit the greatest skill in the Oriental arts of damascening and
enamelling, as well as in lacquer work and wood and ivory carving. All
their designs are deeply symbolical, and closely interwoven with the
primitive religious impulses of humanity. India was probably the first
country in which the art of weaving was brought to perfection, and the
fame of its cloudy gauzes and its gold and silver brocades is more
ancient than the Code of Manu. The art is repeatedly mentioned in the
Vedas. The purity of Indian Art is endangered in modern days by the
introduction of machine-made goods and European design. (Consult _Dr.
Birdwood’s Handbook of Indian Art_.)
=Indian Ink= or =Chinese Ink=. A black pigment for water-colour
painting, made from oil and lamp-black, thickened with some vegetable
gum, and scented with musk or camphor. Many cheap and poor imitations of
it are made.
=Indian Ochre.= A red pigment. (See RED OCHRES.)
=Indian Paper.= A delicate yellowish paper used for proof impressions in
engraving. A Japanese paper of a similar quality is now frequently used.
=Indian Red= or =Persian Red=. A purple earth commonly sold under this
name is the peroxide of iron. It is of a deep hue, opaque and permanent,
and useful both in oil and water-colour painting; mixed with white it
forms valuable flesh-tints. (_Fairholt._) (See OCHRE, AMATITA.)
=Indian Rubber=, =Caoutchouc=. An elastic gum; the sap of the _Siphonia
elastica_, and several of the fig tribe in India and South America. It
was brought into use early in the 18th century. In its natural state it
is of a pale yellow brown.
=Indian Yellow.= A golden yellow pigment and dye, said to be procured
from the urine of the cow, or else from camel’s dung. It is used in
water-colour painting, but is not usually permanent. In some parts of
the East it is called PURREE.
=Indigetes= (sc. _Di_), R. Indigenous gods. Heroes who were deified and
worshipped as protectors of a place. The term is derived from _inde_ and
_genitus_, meaning born in that place. Æneas, Faunus, Romulus, &c., were
indigenous gods.
=Indigo.= A deep blue pigment prepared from the leaves and branches of a
small shrub; it is transparent, tolerably permanent, and mixes well with
other pigments, forming excellent greens and purples. A deep brown,
known as _indigo brown_ and a deep red resin, known as _indigo red_, may
be extracted by purifying the blue colour obtained from this dye. The
old blue dye of the aboriginal Britons was produced from _woad_ (isatis
tinctoria). (_Fairholt._) (See INTENSE BLUE.)
=Inescutcheon=, Her. An heraldic shield borne as a charge.
=Inferiæ=, R. Sacrifices or offerings made at the tombs of the dead.
=Infiammati.= A literary society of Padua in Italy. Device: Hercules
upon the funeral pile on Mount Œta. Motto: “_Arso il mortal al ciel n’
andrà l’ eterno_.”
=Infocati.= One of the Italian literary societies. Device: a bar of hot
iron on an anvil, beaten by two hammers. Motto: “_In quascunque
formas_.”
=In Foliage=, Her. Bearing leaves.
=Infrenatus= (sc. _eques_), R. A horseman who rides without a bridle
(_frenum_), controlling his horse solely by the voice or the pressure of
the knees upon its side. (Fig. 282.)
=Infula=, R. A flock of red and white wool worn by priestesses and
vestals and other Romans on festive or solemn occasions. In sacrificing
also an infula was tied with a white band (_vitta_) upon the victim.
Hence—
=Infulæ=, Chr. Ribands hanging from a bishop’s mitre.
=In Glory=, =In Splendour=, Her. The sun irradiated.
=Inlaying.= Inserting ornaments in wood-work for decorative furniture.
(See BOULE, MARQUETRY.)
=In Lure=, Her. Wings conjoined, with their tips drooping.
=Inoa.= Greek festivals in honour of Ino, esp. on the Corinthian
Isthmus; they consisted of contests and sacrifices. (See MATRALIA.)
=In Pretence=, Her. Placed upon, and in front of.
[Illustration: Fig. 398. Peacock in pride.]
=In Pride=, Her. Having the tail displayed, as a peacock’s. The
illustration is the device of Joan of Castile: “A peacock, in his pride,
upon the terrestrial globe.” (Fig. 398.)
=Insensati of Perugia.= One of the Italian literary academies. Their
device was a flock of cranes, arranged in order, flying across the sea,
each with a stone in its foot and sand in its mouth. Mottoes, “_Vel cum
pondere_” (even with this weight), or “_Iter tutissimum_,” in allusion
to Pliny’s statement that the cranes used stones and sand for _ballast_,
“wherewith they fly more steadily and endure the wind.”
=Insignia=, R. (_in_, and _signum_, a mark). Generally, any object which
serves as a mark or ornament for distinguished persons; a ceremonial
badge, a badge of office, &c. (See ENSIGNS.)
=Insubulum=, R. A weaver’s beam or roller, round which he rolled the
cloth as it was made.
=Insula=, R. A house, or block of houses, having a free space all round
them. [Under the emperors the word _domus_ meant any house, detached or
otherwise, where a family lived; and _insula_ meant a hired lodging.]
=Intaglio=, It. A stone in which the engraved subject is sunk beneath
the surface, and thus distinguished from a cameo, which is engraved in
relief.
=Intaglio-relievato= (It.), or _cavo-relievo_. Sunk-relief, in which the
work is recessed within an outline, but still raised in flat relief, not
projecting above the surface of the slab; as seen in the ancient
Egyptian carvings.
=Intense Blue.= A preparation of indigo, very durable and transparent.
=Intense Madder Purple.= (See MADDER.)
=Intercolumniation=, Arch. The space between two columns. This space
varies according to the orders of architecture and the taste of the
architect. According as the space is greater or less between the columns
of a temple, the latter is called _aerostyle_, _eustyle_, _systyle_, and
_pycnostyle_. Generally speaking, in the monuments of antiquity,
whatever be the intercolumniation adopted, the space comprised between
the two columns which face the door of the building is wider than the
intercolumniation at the sides.
=Intermetium=, R. The long barrier running down the arena of a circus
between the two goals (_metæ_). (See META.)
=Intermodillions=, Arch. The space included between two modillions
(projecting brackets in the Corinthian order). This space is regular,
and often decorated with various ornaments. In the Romano-Byzantine and
Renaissance styles, modillions are often united by arcades.
=Intertignium=, R. The space between the tie-beams (_tigna_) in the
wood-work of a roof.
=Interula=, R. (_interior_, inner). An undertunic; a kind of flannel
chemise worn by both men and women.
=Intestinum= (opus), R. (_intus_, within). The inner fittings or work of
any kind in the inside of a house, and thence wood-work, JOINERY.
[Illustration: Fig. 399. Part of the Façade of the Peruvian temple
Inti-huasi.]
=Inti= or =Punchau=, Peruv. The Sun or supreme god, inferior deities
being called _conopa_ and _canopa_. The temple of the Sun was called
_Inti-huasi_ (house of the Sun); it comprised seven principal divisions;
the _inti_ or sanctuary, situated in the centre of the temple; the
second division was called _mama-quilla_, from the fact of its being
dedicated to the moon, which was thus named; the third was dedicated to
the stars, called _cayllur_; the fourth to the thunder, and called
_illapa_; the fifth to the rainbow, and called _ckuichi_; the sixth
division was occupied by the chief priest (_huilacuma_); the seventh and
last division formed the dwelling of the priests.
=Intronati of Siena.= One of the Italian literary academies. Their
device was a gourd for containing salt, with the motto, “_Meliora
latent_” (the better part is hidden).
=Iodine Scarlet= (_pure scarlet_). A pigment more brilliant than
vermilion, very susceptible to metallic agency.
=Iodine Yellow.= A very bright yellow pigment, very liable to change.
[Illustration: Fig. 400. Ionic capital. From the Erechtheium, Athens.]
=Ionic=, Arch. One of the orders of Grecian architecture, distinguished
principally by the ornaments of its CAPITAL, which are spiral and are
called VOLUTES, four in number. The Ionic SHAFT is about nine diameters
high, including the BASE (which is half a diameter) and the CAPITAL, to
the bottom of the volute. The PEDESTAL is a little taller and more
ornamented than the Doric. The BASES used are very various. The Attic
base is very often used, and, with an _astragal_ added above the upper
_torus_, makes a beautiful and appropriate base for the Ionic. The
CORNICES are (1) plain Grecian, or (2) the _dentil_ cornice, or (3) the
_modillon_ cornice. The Ionic shaft may be fluted in twenty-four
semicircular flutes with fillets between them. The best Ionic example
was the temple on the Ilissus at Athens. The temple of Fortuna Virilis
at Rome is an inferior specimen. (See also Figs. 69, 184.)
=Irish Cloth=, white and red, in the reign of King John was much used in
England.
=Iron.= _Indian red_, _Venetian red_, _Mars red_, _Mars orange_, _Mars
yellow_ are all coloured by iron (see MARS), and are valuable for their
great durability. (See METALLURGY.)
=Irradiated=, Her. Surrounded by rays of light.
=Iseia=, Gr. and R. (Ἴσεια). Festivals in honour of Isis. Among the
Romans they degenerated into mere licentiousness, and were abolished by
the senate.
=Iselastici Ludi=, Gr. and R. Athletic contests which gave the victor
the right of returning to his native city in a chariot (εἰσελαύνειν);
whence the name _iselastici_. These contests formed part of the four
great games of Greece, viz. the Olympic, Pythian, Isthmian, and Nemean
games.
[Illustration: Fig. 400 a. Isodomum opus.]
=Isodomos= or =Isodomum=, Gr. and R. (ἰσόδομος, i. e. equal course). A
structure built in equal courses, that is, in such a way that the
surface of each stone is of one uniform size, and that the joints of one
layer are adjusted with those of another so as to correspond
symmetrically.
=Isokephaleia= (Gr. ἴσος, equal; κεφαλὴ, head). A rule in Greek
sculpture by which the heads of all the figures on a bas-relief were of
the same height from the ground.
=Isometrical Perspective=, used for representing a bird’s-eye view of a
place, combines the advantages of a ground-plan and elevation; only the
lines of the base are made to converge, leaving the whole figure
cubical, and without the expression of _distance_ from the point of
sight.
=Ispahan Tiles=, of the period of Shah-Abbas—16th century—are remarkable
for exquisite design.
=Italian Earth.= Burnt _Roman ochre_; resembles Venetian red in colour;
and, mixed with white, yields valuable flesh-tints. (_Fairholt._)
=Italian Pink=, or _yellow lake_. A transparent bright-coloured pigment,
liable to change. (See YELLOW LAKE, PINKS.)
=Italian Varnish.= A mixture of white wax and linseed oil, used as a
vehicle in painting. It has good consistency, flows freely from the
pencil, and is useful for glazing.
=Ivory Black.= A pigment prepared by heating ivory shavings in an iron
cylinder; when from bone, it is called _bone black_ (q.v.). The real
ivory black is a fine, transparent, deep-toned pigment, extremely
valuable in oil and water-colour painting. The _bone black_ (commonly
sold as _ivory black_) is much browner.
[Illustration: Fig. 401. Ivory carving. Sword-hilt of the 16th century.]
[Illustration: Fig. 402. Ivory carving. Spoon of the 16th century.]
=Ivory Carving.= This art, in considerable perfection, was known to
prehistoric man at the period of the so called stone age. Egyptian and
Assyrian specimens of the art are of a date at least as early as that of
Moses. From the year 1000 B.C. down to the Christian era, there was a
constant succession of artists in ivory in the western Asiatic
countries, in Egypt, in Greece, and in Italy. From the time of Augustus,
ivory carving shared in the general decline of art. Increasing in number
as they come nearer to the Middle Ages, we can refer to carved ivories
of every century, preserved in museums in England and abroad. The most
important ivories up to the 7th century are the consular _diptychs_,
originally a favourite form of presents from newly-appointed consuls to
eminent persons; subsequently adapted to Christian uses, or as wedding
presents, &c. In the Middle Ages, from the 8th to the 16th century, the
use of ivory was adopted for general purposes. The favourite subjects of
the carvings are those drawn from the romances of the Middle
Ages—especially the romance of the Rose—and in the 15th century, scenes
of domestic life, illustrating the dress, armour, and manners and
customs of the day. Combs of every date, from the Roman and Anglo-Saxon
period, and earlier, are found in British graves. In short, from the
time when the first prehistoric carvings of antediluvian animals were
made to the present, every age of human civilization appears to be more
or less fully illustrated in carvings upon ivory and bone. (See also
CHESSMEN.) The earliest material was found in the tusks of the mammoth:
from Iceland we have beautiful carvings of the 7th century in the teeth
of the walrus. Fossil tusks of the mammoth are found in great quantities
in Siberia, and are almost the only material of the ivory-turner’s work
in Russia. African and Asiatic elephant ivory are the best, and differ,
the former, when newly cut, being of a mellow, warm, transparent tint.
Asiatic ivory tends to become yellow by exposure. A fine specimen of
carving in ivory is given in Fig. 403 from a MIRROR-CASE of the 15th
century. (See also Fig. 185, and illustrations to PYX, TRIPTYCH, &c.)
[Illustration: Fig. 403. Ivory carving, 15th century.]
=Ivy=, Chr. The symbol of eternal life.
=Iwbwb=, Celt. The ancient military cry, which has given name to many
places; as Cwm Iwbwb, in Wales, the Jujupania of Ptolemy. (_Meyrick._)
=Izeds=, Persian. Beneficent genii of the mythology of Zoroaster.
Ormuzd, the supreme god, created twenty-eight of them to be the
attendants of the _amchaspands_.